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Hardcore fever sound... top sound ina top style !

Agent By Default In Hybrid Systems' is a deep dive into today’s and tomorrow’s society. Across four tightly constructed tracks, cinematic-surrealist musician and DJ JessyJiggy reflects on how mankind and machine-driven systems coexist and evolve. We act, respond, and adapt as agents by default caught between instinct and structure. Built for movement yet rooted in observation, every progression feels less like a command and more like a suggestion inviting listeners to negotiate their own place inside the grid.

This poetic concept translates into music where analogue and digital tools merge into a hybrid sound. Compositions carry an almost automatic rhythm that drives motion while sound design elements subtly reference modern technology. Raw, bass-driven, minimal and techno showcase the breadth and progressiveness of Rotterdam with its brutalist spirit embedded in every detail.

Carefully mixed and mastered by Simon Lescure, who works at the intersection of sound design, club culture, and contemporary art, the record is optimized for a wide spectrum of sound systems while offering a distinct, full-bodied experience on the dance floor. With his vision of music as a system of memory and tension, a way to hold time and transmit presence, raw energy is brought into focus, shaping JessyJiggy's signature sound with clarity, weight, and intent.

A work committed to pushing boundaries and contributing something lasting to the electronic music landscape, this record is crafted to become a cult classic.

“Música Para Caminar” is the new album by 80%Baul, and the record that confirms his definitive leap from revelation to legend. Following the critically acclaimed debut Ayer y Ahora, this release positions 80%Baul alongside the great names of Spanish post-punk, standing shoulder to shoulder with seminal acts such as Décima Víctima and Parálisis Permanente. Rooted in a dark, introspective sensibility, Música Para Caminar also connects seamlessly with the vitality of today’s Spanish underground, aligning with the current wave of forward-thinking artists, including labelmates like Yvgoslavia. But this album is not defined by sound alone. Once again, 80%Baul surprises with songs that function as poems—bleak, incisive reflections on a decaying, dystopian present. More than music, Música Para Caminar is a statement: music with intention, depth, and meaning—an artistic vision that transcends genre and cements 80%Baul as one of the essential voices of contemporary Spanish post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

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

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

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

Mastered by Conor Dalton @ Glowcast Mastering.

Derailed Records x Planet Rhythm return with a focused new EP from Milo Raad, hailing from Belgrade.

This release sees Derailed adding its own VVS edge to the vinyl saga. Tougher, more direct, and forward thinking. The tracks are stripped back but intentional, designed to lock you in rather than overwhelm. Don't get it twisted though: there's still plenty of depth here, the kind you can lose yourself in if you let it run.

'' I Want VVS's More Than Ever ''

Artwork: Studio ANTM
Mastering: Audiosculpture
Distribution: Triple Vision

Renowned Italian jazz master Nicola Conte presents an incandescent limited edition 7" single for Record Store Day 2026. "Terra Em Transe" and "Naquela Base" are brand new tracks from sessions for Conte's forthcoming Far Out Recordings album, drawing deep from early 70s Brazilian jazz and modal hard bossa while underlining the vital role of the arts in social and political struggle.

In Nicola's own words: "Terra Em Transe' is a dedication to visionary director Glauber Rocha and to all free thinkers willing to portray the conflicts, contradictions and lies of those in power around the world." The original composition takes inspiration from Milton Nascimento's vocal harmonies and Tamba 4's sophisticated samba-jazz.

'Naquela Base' is a stunning reinvention of João Donato's classic: pure modal hard bossa recorded entirely live in the studio. Inspired by samba-jazz classics like Tenório Jr.'s "Embalo" and Paulo Moura's "Fibra", the track is carried beautifully by Teppo Mäkynen's masterful drumming, with solos from Gaetano Partipilo on alto saxophone and Pietro Lussu on piano, supported by Ameen Saleem on double bass and Abdissa Assefa on percussion.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out Recordings has produced his acclaimed Umoja project, his five-part Viagem compilation series, and most recently Viaggio, a compilation exploring Italy's library music renaissance from 1970-79.

'Terra Em Transe / Naquela Base' will be released as a limited edition 7" single for Record Store Day 2026 via Far Out Recordings.

The third release on Children of the Sun welcomes Argentinian mastermind Dani Labb.

We are delighted to present this EP, a body of work that perfectly captures Dani Labb’s sonic wizardry. Through a collection of versatile tracks that engage the mind while retaining a deep emotional undercurrent, the record resonates deeply with the ethos behind the COTS aesthetic.

Each piece unfolds with its own character, blending hypnotic rhythms and emotive textures into a journey that reflects both the artist’s vision and the spirit of the label.

LIMITED TO 150 COPIES! 2 x 12" Black Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

UK producer Tom Carruthers delivers another masterclass for Skylax, diving deeper into the DNA of house music with Deepline, a 5-track journey that connects the raw futurism of the late ’80s to the deep innovations of the early ’90s. Known for his MPC-driven grooves on L.I.E.S., Clone Jack For Daze and Craigie Knowes, Carruthers has become a true guardian of machine funk — always stripped down, always pure. The title track Deepline captures the very essence of house, hypnotic and driving, right at the crossroads of 80s machine funk and early 90s deepness, a timeless groove that feels like the missing link. Dream 12 unfolds as lush and atmospheric, with pads that instantly recall the golden era of early 90s deep house, a reverie made for afterhours and smoke-filled basements. Experience stands as a raw reminder of the four pillars of house — drum machines, bass, minimalism and repetition — metallic, stripped, relentless, pure underground. On the flip, Fantasy explodes with wild energy, channeling the raw spirit of Trax Records and Armando, dirty and direct, a weapon for uncompromising dancefloors. Finally, Folx closes the record with a cosmic edge, its tough jackin’ drums colliding with spacey synth touches to create a bridge between Chicago basements and interstellar dancefloors. Once again, the visual identity is entrusted to the iconic H5 studio (Daft Punk, YSL, Logorama), whose bold modernist artwork perfectly mirrors Carruthers’ stripped yet futuristic vision. Vinyl only. No digital. No compromise.

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”

LIMITED TO 350 COPIES! 2 x 12" Gold Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

Following the release of the dreamy and bewitching darkwave debut single “Mirror Twin”, Harsh Symmetry announces the release of a full-length debut Display Model on Fabrika Records, home of Selofan, Lebanon Hanover, and She Past Away, whose own Doruk Öztürkcan mixed and mastered the LP. With a vocal style reminiscent of Cocteau Twins collaborator Cinder (This Mortal Coil, Cindytalk), and Ian McCulloch of Echo & The Bunnymen, Harsh Symmetry’s Julian Sharwarko is the epitome of old-school and post-punk and goth, capturing a vision that perfectly matches his sound, while physically resembling his music forebears to the point where he looks like he just stepped out of a copy of Smash Hits circa 1983. Hailing from Sacramento, California, Sharwarko’s love of music began at the tender age of 8, with parents who influenced his early music tastes by playing the music of Siouxsie and The Banshees, The Birthday Party, Iggy Pop, Depeche Mode, and Bauhaus. David Lynch’s work also made a profound impact on his style, specifically the short film The Grandmother.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

Unlock the allure of The Hot Spot through its unforgettable soundtrack, a captivating collection that brings the film's sultry ambiance to life.

Set against the backdrop of a small Texas town, The Hot Spot follows Harry Madox, a charming drifter with a dark past. As he arrives in town, he becomes embroiled in a web of seduction and deceit, navigating his way through a love triangle involving the sultry waitress, Gloria, and the alluring femme fatale, Dolly. Tensions rise and passions ignite, leading to a thrilling climax where desire and danger intertwine. Directed by the visionary Dennis Hopper, the film is a masterclass in mood and atmosphere, capturing the essence of 1990s neo-noir.

The Hot Spot has garnered acclaim for its stylish cinematography and gripping narrative, but it's the music that truly sets it apart. It's an amalgamation of swampy blues, jazz and rock — all mixed and recorded in a sparse, bloomy and eerie sort of way.

Critics hailed the soundtrack as "an electrifying fusion of jazz and blues that perfectly complements the film's seductive undertones." The blend of sultry melodies and haunting instrumentals creates an immersive experience that resonates long after the credits roll.

This recording is just so damn fine, so airy and warm. And the musicians aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought-after and collectible record among audiophiles. This soundtrack is essential for any music lover or film buff, capturing the very essence of the film's seductive spirit.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

After a short break, Vibes and Grooves is back with Collab Grooves Part 2. Following the success of our initial collaborative venture, we continue our mission of uniting visionary producers under a single sonic umbrella. This time Jemaho, Shaka and DFRA come together for another deep collaboration.
With “Joudia’s Groove (Drifting Away – The DAT Version)” on the A side, we are delighted to have Jemaho on board. He delivers an outstanding, warm and soulful vocal house cut driven by a smooth, uplifting groove and rich musical depth. With its unique tape sound aesthetic, a true masterpiece. Certainly a future club classic.
The B side opens with „Sparkling Soul“ from label resident Shaka. A jazzy house affair that blends vibrant piano melodies, a hypnotic lead synth line, and a tight bassline. It radiates warmth, sophistication, and an ever-present sense of romance.
The second track comes from DFRA, the man from Buenos Aires, who is already well known on the label for his outstanding tracks from the latest Collab Grooves. With “New York Style”, DFRA delivers a deep house tune shaped by warmth, restraint, and a steady underground groove. Subtle textures and raw rhythms create a smooth, flowing atmosphere that feels natural and unforced.
Timeless in feel and refined in production, Collab Grooves Part 2 captures an effortless flow that speaks directly to both the heart and the dancefloor.

Increasingly essential US artist Ben Hixon drops sublime deep house EP on Kai Alce's faultless NDATL Muzik. The six classy tracks will appeal to those who appreciate the subtleties of the classic Midwestern sound.

Ben is a Texas-born, but Brooklyn-based artist who has become a firm favourite of true deep house heads in the last year or so. He has put out several EPs on Dolfin, all of which find a perfect sweet spot between immersive atmospheres and late-night drive. Dusty analogue textures and frayed edges define his drums, while the subtle details are intelligent and add effortless emotion. He is a perfect fit for NDATL Muzik, the Atlanta label that has long been a flagbearer for well-crafted house grooves like these.

'Taping' kicks off with heavy kicks that swing under gentle chords that are perfect for after dark. There's a persuasive bump in the beats that will get early evening dancers primed and ready for more. Next up we have 'Y Do U Get So Nervous' - a mastery of sampling with nagging vocal hooks, cascading piano keys and wet finger clicks all adding soul to another low-key but all-consuming groove. 'Area Code 336 Phone Rings' is a higgledy-piggledy tapestry of toms and stuttering kicks with vocal fragments to match - the thrill is the looseness of it all. The smouldering and meandering 'December Blackout' is for gazing off it into the distance at the busy yet muted jazz keys that twinkle like faraway stars. 'It's Like A Vision' picks up the pace with more closely stacked kicks but still oodles of cuddly warmth and smudged synth work, before '0823' ends with a decidedly heavy feel - spare, lump drums unfurl beneath forlorn synths that feel utterly bruised and heartbroken.

Ben Hixon's deft artistry makes these quiet, texture tunes irresistibly danceable yet emotionally profound.

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

In Mikey’s own words, ““Myths of the MediterrAlien” is a high-octane voyage through a universe where ancient cultures collide with futuristic visions.” For him “the MediterrAlien is a hybrid character who drifts between mythology and outer space, carrying fragments of both history and hyperspace into the club.” Across four explosive tracks, the EP reimagines deconstructed club and experimental bass through a fast, hyper-energetic lens. Each piece feels like a different chapter in the MediterrAlien’s journey, spiralling through cosmic turbulence, touching down on ancient shores, and refracting tradition through the intensity of a distant galaxy.

Designed for the late-night fringes of the dance floor, Myths of the MediterrAlien is both a personal mythology and a sonic wormhole—bridging the universe where Jensen Interceptor’s comes from with where his imagination is heading next.

All tracks written and produced by Jensen Interceptor. Master by Carlos Nascimento at Qualia Audio Lab. Artwork by Conhecido João & Diogo Vasconcelos

Traversing wormholes and flexing versatility, Nicola Cruz gets back on his club-ready biz.

No proper introductions needed here. Sometimes you just have to sit back and appreciate someone at the top of their game. The third portal thing, done masterfully. Hats off.

Time-honoured templates that provide the foundations for his hybrid mutations. Three mescaline-strength techno incursions backed up with a vivid projection of fractal electro.

Big on murk. Properly steeped in introspection, expanding consciousness and horizons. The vision quest endures for the duration.

New levels of insectoid detail and lysergic flourish revealed with every close listen, but he’s always keeping it robust. Giving it chest with some serious dancefloor dramatics until the final unfurling.

the work of BIG|BRAVE is ever-expanding. The trio"s singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio"s instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: "All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person." The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Together the trio shift deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture.

the work of BIG|BRAVE is ever-expanding. The trio"s singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio"s instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: "All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person." The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Together the trio shift deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture.

In the evolving landscape of modern Southern hip-hop, the pairing of Starlito and Bandplay stands out as a unique bridge between street-level authenticity and refined, calculated musicality. Their collaborative project, Not The Country You Know, functions less like a standard release and more as a manifesto—a masterclass in the chemistry between a seasoned, introspective lyricist and a producer who possesses an intuitive grasp of the region's pulse. It is an exploration of legacy and adaptation, capturing the tension between where they came from and where the culture is currently headed.

Bandplay, long recognized for sculpting the sonic identity of Memphis icons, brings his signature, trunk-rattling 808s to the project, yet he manages to pivot here. The production feels remarkably expansive, masterfully blending the raw, stripped-back aesthetics of classic Tennessee rap with forward-thinking textures that refuse to be confined to a single sub-genre. Complementing this, Starlito operates with his trademark mix of cynical observation and genuine vulnerability. He navigates these beats with the weary grace of an artist who has weathered the music industry's relentless cycles, treating every bar like a necessary piece of a larger, ongoing story.

The album’s title serves as a direct commentary on these shifting tides. Across the tracklist, the duo investigates the growing disparity between the romanticized South and the cold realities of the streets, alongside the inevitable evolution of the music business itself. There is no frantic chasing of streaming-era trends or algorithmic bait here; instead, the project remains a stubborn, confident assertion of artistic identity. By weaving together Starlito’s "voice-of-reason" flow and Bandplay’s evolving, genre-bending sound, Not The Country You Know challenges the listener to abandon their preconceived notions of the region, offering instead a complex, urgent vision of a South that is as haunting as it is vibrant.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

Elevation, released in 1974 on Impulse! Records, finds saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across two live performances and a studio session, Elevation features a dynamic ensemble including Joe Bonner on piano, Calvin Hill on bass, and Michael Carvin on drums.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’s ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation comes towards the end of Sanders’ tenure on Impulse!— a cohesive and spiritually resonant statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’ ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation marks the culmination of his Impulse! discography — a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

a A1. Elevation 18:26
b A2. Greeting To Saud (Brother McCoy Tyner) 4:15
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1 | Elevation [18 26]
[b] A2 | Greeting To Saud (Brother McCoy Tyner) [4 15]
[c] B1 | Ore-Se-Rere (Nigerian Juju HiLife) [6 20]
[d] B2 | The Gathering [14 09]
[e] B3 | Spiritual Blessing [6 20]

The label Erdgeschoss celebrates the freedom of sound and vision at the bar of life, like football – only with a bass drum instead of a ball. And with beer. Because even with vinyl records, the ball has to go in the net.

Pop Vampires Cologne will kick things off; their surrealist debut masterpiece, Karianne, was already released at Total 25 last year. PVC lives up to its name. Like vampires, oskø and Wassermann once again sample their way through the pop supermarket of unlimited possibilities.
Almost overnight, in their illegal, digital garage, they clone hybrid sound structures, saturated with both foreign and self-injected blood doping. Forbidden fruit is known to taste the best. Consciously, explicitly, and provocatively, PVC explores sampling as an indispensable stylistic device, a universal tool for quotation and pop networking. Equally daring and respectfully irreverent, they oppose the new, all-disenchanting AI search engines on the internet with the freedom of art. The rest is surrealism. Just like the accompanying video, which isn't a video in the conventional sense, but rather a kind of making-of with Sabine as the main front character. And the digital versions of some tracks may differ slightly from the vinyl versions.
Because: Anything goes…

Das Label Erdgeschoss feiert an der Theke des Lebens die Freiheit von Sound and Vision wie Fussball - nur mit Bassdrum statt Ball. Und mit Bier. Denn auch bei der Schallplatte muss das Runde ins Eckige.

Den Anfang machen Pop Vampires Cologne, deren surrealistisches Debüt-Meisterstück Karianne bereits im letzten Jahr auf der Total 25 erschienen ist. Bei PVC ist der Name Programm. Wie Vampire sampeln sich oskø und Wassermann einmal mehr durch den Pop-Supermarkt der unbegrenzten Möglichkeiten. Quasi über Nacht klonen sie in ihrer illegalen, digitalen Garage hybride Sound-Gebilde, getränkt mit Fremd- und Eigenblutdoping. Verbotene Früchte schmecken bekanntlich am besten. Bewusst, explizit und provokant arbeiten sich PVC am für sie unverzichtbaren Stilmittel des Sampling als universelle Zitat- und Pop-Vernetzungsmaschine ab. Ebenso wagemutig wie respektvoll respektlos, halten sie den neuen, alles entzaubernden K.I. Suchmaschinen im Netz die Freiheit der Kunst entgegen. Der Rest ist Surrealismus. So wie das dazugehörige Video kein Video im herkömmlichen Sinne ist, sondern eine Art Making Off mit Sabine als Frontdarstellerin. Und die digitalen Versionen einiger Stücke sich leicht von den Vinyl Versionen unterscheiden. Denn: Erlaubt ist, was gefällt…

Wolfgang Haffner is one of Europe's most respected jazz drummers, known for his impeccable sense of timing, groove, and atmosphere. Though rooted in jazz, his musical language transcends genre boundaries, guided by pulse and subtle nuance rather than tradition alone. For Cocoon Recordings, he now enters an entirely new dialogue, offering warm, organic reinterpretations that honor the spirit of the source material while opening a fresh sonic horizon. The result is a meeting of two artistic worlds where Sven Väth's timeless energy and Haffner's refined touch flow naturally into a new musical form, an encounter between two artistic universes, merging into something both unexpected and deeply musical.

Fusion is a groove driven piece built around a clear, flowing melody, allowing Haffner to reinterpret it acoustically through a jazz lens. Its straight, driving pulse lets him explore the track's rhythmic and melodic interplay with clarity and nuance.

L'Esperanza, originally a dreamy, trance like track, envelops listeners in strings, filtered downbeats, and a playful synth melody, a perfect canvas for Haffner's warm, organic touch. Its ethereal layers and subtle tension allow him to explore the track's emotional depth while preserving its entrancing charm.

Barbarella, emblematic of Sven Väth's early 90s vision, carries the energy and innovation of a club classic. Haffner's reinterpretation transforms it into a rich, acoustic exploration that honors its hypnotic essence. By emphasizing the track's iconic motifs and underlying drive, and by drawing out the track's essential elements, he bridges its electronic origins with a new, organic perspective.

Together, these three reinterpretations form a cohesive journey that celebrates the timeless essence of Sven Väth's music while revealing a new dimension through Haffner's masterful touch, a release that invites listeners to experience familiar classics in a completely new light.

Demi Riquisímo welcomes Jhobei and B.Love to the Semi Delicious fold with their debut EP on the imprint R U Listening. A solid four-tracker destined for the most discerning of dancefloors, the Bizarre Trax head honchos also enlist French master of the sultry groove Sweely to remix the title cut, bringing his signature deep house introspection to the release. Bursting with low-slung grooves, rolling basslines and club-ready energy, across the four original tracks Jhboei and B.Love demonstrate their shimmering, confident and at moments unorthodox style, honed through years of crate digging and musical exploration.

As Bizarre Trax, their own imprint and party goes from strength-to-strength, 2025 saw B.Love releasing on the esteemed 20:20 Vision and Dias De Campo records, and Jhobei on giants like FUSE and Up The Stuss, the pair successfully straddling a multitude of sounds, while maintaining their ethos of prioritising connection and feeling over trends in their house music. With Demi a frequent supporter of the pair’s releases, and vice versa, this anticipated label debut – paired with a new look for Semi Delicious’ artwork – makes a statement for the label’s intentions in 2026.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

2026 Repress

One of the all-time greats in electronic music, Uwe Schmidt-better known as Atom TM-joins the Sonic Groove roster with his latest masterpiece, "Exotrax". A true visionary, Uwe's discography is legendary, and this new release is no exception. It's a slickly reduced, hypnotic four-track journey in industrialized techno, showcasing his signature style-minimal, powerful, and intensely immersive. "Exotrax" which adds another brilliant chapter to his already remarkable legacy. Don't miss this one.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

vladimir dubyshkin has always stood sideways from the rest of the techno world whilst attaining the highest achievement for a musician: having an unmistakable signature sound.

possessing a level of instinct that can only be called supernatural, vladimir is the sort of visionary who can chop up some vocals, mix them with an insane melody that no ordinary person could ever dream to imagine, and turn it into a surreal circus that feels like the entire room has tipped over.

along with contributions on several concept albums and hot steel compilations, trip has been honoured to have released five of vladimir's solo masterpieces: ivanovo night luxe, the botox queen, pornographic novel, budni nashego kolhoza and cheerful pessimist. each one expands the strange, addictive universe only he could map out.

his new record, "jane doe's secret" is sharply futuristic, charged with quirky rave energy. "jane doe" might be a placeholder, but this collection of tracks is far from it. it's a reminder of how rare it is to witness someone create their own gravitational field.

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

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

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

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

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

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

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

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

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

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

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

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

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

Vinyl only. For devoted believers.

2026 Repress

A mastermind when it comes to crafting quality electronic music across the house spectrum, expressing various shades of his vision, French DJ/producer Traumer has solidified himself as one of the country’s finest exports while his alias has become a home for heavily sought-after minimal-leaning house productions that journey through expansive textures and trademark percussion. After combining with Romanian favourite Cristi Cons early last year as part of the imprint’s collaborative ‘X Series’ and following a series of releases on his own gettraum label, the Parisian makes a highly-anticipated solo return to Enzo Siragusa’s FUSE as he unveils his latest four-track offering in the form of his ‘Nectar’ EP. The title track ‘Nectar’ heads up the package and brings a blend of snappy drum grooves and zippy synths beneath hooky female vocals as it builds into a rolling anthem, while ‘Lamerci’ gets dubby with crisp percussion shots guiding hazy stabs and deep grooves. On the flip, ‘First School’ strips things back and focuses on a snaking bassline and signature silky melodies, before closing on the interwoven textures and shimmering tones of B2 ‘Rodage’.

Joe Chambers ist ein US-amerikanischer Jazz-Schlagzeuger, Pianist, Vibraphonist und Komponist. In den 1960er- und 1970er-Jahren spielte Chambers mit vielen namhaften Künstlern wie Eric Dolphy, Charles Mingus, Wayne Shorter und Chick Corea zusammen und wirkte an mehreren legendären Blue-Note-Alben der 1960er-Jahre mit. Double Exposure, ursprünglich 1978 bei Muse Records veröffentlicht, ist eine seltene und genreübergreifende Session, die zwei visionäre Musiker in einem sehr persönlichen, experimentellen Rahmen zusammenbringt. Der Schlagzeuger und Komponist Joe Chambers wird von Larry Young begleitet, einem wegweisenden Jazzorganisten, dessen modale und avantgardistische Neigungen Tony Williams' Lifetime und Miles Davis' Bitches Brew-Ära mitprägten. Remastered & Cut AAA direkt von den originalen Analogbändern durch Matthew Lutthans bei The Mastering Lab. Gepresst auf 180g-Vinyl und verpackt in Stoughton Old Style® Tip-On Jackets. Enthält ein Insert mit neu verfassten Liner Notes von Bill Milkowski und Barney Fields sowie seltenen Fotos von Jan Persson und Raymond Ross.

SKYLAX RECORDS presents the second chapter in a landmark 4-part saga — a secretive and conceptual series uniting two titans of French electronic music: ARNAUD REBOTINI & ACID WASHED. Following the acclaimed Winter Sequences (LAXBLACK 01) and Rebotini’s Musical Component, SKYLAX BLACK 3 pushes further into cinematic rave, electro, and techno territory. On the A-side, Artificial Darwinism ignites the EP with raw intensity — fusing early 2000s Blackstrobe energy, UR aggression, and cold wave tension into a hypnotic, funk-laced ritual. They Are Coming follows with darker, driving techno — mechanical yet alive, pulsing with paranoia and urgency. Flip to the B-side for Space Time 303, a dreamy ambient-acid trip evoking early R&S and IDM — ethereal, timeless, and drifting through time. Closing the EP, A Comet in the Northern Sky delivers melancholic electro in the spirit of Dopplereffekt and Drexciya, elevated by Rebotini’s analog mastery. A visionary statement — intelligent, bold, and essential. The puzzle continues to unfold…

2026 Repress

Throughout 2025, Tresor Records will reactivate Detroit house and techno originator Blake Baxter's vast Tresor catalogue digitally in chronological order, starting with 1992’s Dream Sequence, closely followed by his 1995 album, Endless Reflection. To inaugurate and celebrate this retrospective of one the genre’s true founders, an artist whose connections to Tresor go back to the very beginning, the label announces a special 12” release, Dream Sequence X, featuring remastered tracks from the early days and highlighting the harder side of his output.
Initially inspired by post-punk and funk, Baxter started making music as early as 1985. By 1991 he had already released several seminal records on classic labels like Underground Resistance, KMS, and Incognito, as well as providing multiple tracks to the groundbreaking UK compilation Techno! The New Dance Sound of Detroit, which was many European listeners’ introduction to the genre, solidifying the term techno, and launching the international careers of many of the contributors.
1992 saw Baxter make the first trip to play Tresor, on the first UR Europe tour ever, thereby pioneering the now legendary Berlin-Detroit Connection. This visit led to a long and fruitful partnership with the club’s new-fledged label beginning with Mills', Banks' & Hood’s X-101 and Baxter’s Dream Sequence, from which the first four tracks on the new 12” come.
Whilst he would become more renowned for his signature seductive vocals and a smoother music style closer to house music, these early tracks are heavier, classic 90s techno, revealing the influence of industrial, post-punk and pop of the time. Indeed the collection is something of a time capsule: jacking 909 drums, intense, ravey synth stabs, samples from classic soul breakbeat and the Speak & Spell voice synthesizer; classic sounds and styles of the era all make appearances on the record. All tracks have been remastered by Manmade Mastering breathing a new vitality and sharpness for the modern dancefloor.
In a world where longevity is difficult and superlatives are too easily deployed, it is still difficult to overstate the long-lasting influence that Blake Baxter has had on modern music. His visionary output can be heard across modern electronic and pop to this day and with this series of remasters, there has never been a better time for the world to hear it at source.

Repress
2x12" Clear vinyl
This new album is the product of a 2 year process. The LP reflects what I love about the diversity of drum & bass and all its sub genres as well as what I enjoy playing at clubs and festivals.

It was crucial to me that this new chapter was a step up in content, sound design and song writing which influenced the decision to include only solo material and even master it myself.

Manifest is Mefjus 2.0 Martin

Pressed on 2 x 12 coloured gatefold vinyl
Comes with a download card for the full album in 320 kbps MP3.

Artwork and typography by Rutger Prins / Regime
Logo by Philipp Meindl-Grausam

Métron Records announces Mycorrhizal Music, the forthcoming album from composer and multi instrumentalist Ess Whiteley. Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.

Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.

At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious.

Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil. Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.

Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.

With artwork by Kenta Senekt and mastering by Brandon Hocura, Mycorrhizal Music extends Métron Records’ ethos of cultivating subtle, interconnected sound worlds.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Rooted in electronic music yet fueled with organic sounds of nature and acoustic instruments, Late Present explores sonic landscapes beyond Mirlaqi’s signature dance moves. Journeying between jazzy hip-hop, psychedelic downtempo and colorful ambient, the twelve-piece work aims at a thorough and sincere representation of the Swiss artist’s musical soul. With simple themes such as love and loss as well as a poetic approach to the inexorable coming of our end, the double LP is a reflection on the unicity of consciousness.

As always with Mirlaqi, talented and caring friends bring their energy and craft to the project. Antoine “Favi” Favennec’s sense of melody adds another level of emotion to Passager de la Terre, Velvet Love and Riddimer. Thomas “Nips” Abbet’s soft as silk trumpet sound delves deeper in the jazzy horizon of Caucasian Tree and Inter Lux. Augustin “Gus” Von Arx’s various percussion turns the heat up on Prendre le Soleil. Finally, Tim Spoerli’s uncompromised trumpet experience overwhelms Prendre le Soleil in glitters.

On the vocal level, Mirlaqi explores various dimensions of expression through spoken words and processed singing, as well as French and English vocals. In Passager de la Terre, Velvet Love and Prendre le Soleil, he receives passionate support from Alice Moeschinger and her touching yet strong crystalline voice.

Once again, fainek’s graphic and conceptual talent turns sound into vision with style. A true masterclass of artistic depth combined with visual clarity.

A multi-layered project to be savoured over and over again.

The new 012 series opens with “Waveform Studies”, a project that brings together fresh talents on the platform, merging their visions of bleep and hypnotic techno through an interplay of deep and raw frequencies. To launch the EP, label head Claudio PRC sets the tone with “Pulse”, a deep and immersive techno journey, followed by the haunting and mesmerizing soundscapes of “Vacuum” by French DJ and producer Eman. Next, Italian artist Riccardo De Polo contributes “Aseptic”, a raw, hypnotic, and minimalistic techno banger, which seamlessly leads into the spacey and dreamy textures of “Voluta” by Venezuelan-born, Berlin-based DJ and producer Isabel Soto. Finally, emerging artist Leo Cologna closes the release with “Sinus”, a digital bonus that fully embodies the spirit of this compilation. The graphic design and visual aesthetics is curated by the Berlin artist Medas, adopting the light drawing technique, reflecting the rigor and abstraction of the sound and emphasizing the essence of the musical content.

All tracks are written and produced by the respective artists. Artwork by Medas. Mastered at Incidence Studio.

When Brazilian producer, songwriter, and multi-instrumentalist Diogo Strausz arrived in France, he already carried an impressive legacy. Known for his collaborations with the New York label Razor-N-Tape and for producing Brazilian legends such as Gal Costa and Marília Mendonça—whose tracks have gathered millions of streams worldwide—Strausz quickly made a name for himself among an international audience. His productions have also been remixed by acclaimed artists like Yuksek and Ron Trent, further cementing his global reach.

After two critically acclaimed releases on the French label Goutte d’Or Records (Flight of Sagittarius, 2022, and Samba From Outer Space, 2024), Diogo Strausz now naturally joins Favorite Recordings for a new chapter in his musical journey.

On this new album, Strausz pays tribute to the golden era of Brazilian Disco-Funk from the late 1970s and early 1980s, drawing inspiration from visionary producers Robson Jorge and Lincoln Olivetti. The result is an organic, ambitious, and deeply groovy record that celebrates both the vibrant dance culture and the rich musical heritage of Brazil.

Faithful to Favorite Recordings’ analog spirit, the album was crafted using vintage studio gear, capturing the warmth and depth of classic recordings reminiscent of the legendary Estúdios da Sigla sessions in Rio de Janeiro.

The explosive track “Ele é Artista”, featuring Bruno “Patchworks” Hovart (Voilaaa, Mr. President, João Selva, Uptown Funk Empire), is a standout moment—a dancefloor-ready bomb that channels the joyful energy and irresistible funk of modern tropical productions.

With its sun-drenched grooves, jazz-funk sophistication, and boogie flair, this album confirms Diogo Strausz as a master at blending timeless Brazilian soul with contemporary elegance.

What Soul Media, led by Jiro Inagaki, ultimately arrived at was a tight, cool, and ultimate groove.

As Inagaki himself has stated that he “played black funk” on this album, the explosive jazz-rock foundation he had cultivated up to that point is fused with the stickiness, elasticity, and physicality of black music—elevating his musical vision to an entirely new dimension. Combined with the masterful arrangements of Hiromasa Suzuki, the groove is polished to a high sheen, growing richer, more fluid, and subtly seductive.

Every track stands out: the vibrant, driving energy of “Painted Paradise”; the coexistence of funkiness and mellowness on “Breeze”; and the low-slung, razor-sharp cover of Kool & The Gang’s “Funky Stuff”.
Now regarded as a definitive classic, this album remains in constant demand from listeners around the world.

This album is a masterpiece in which the three core pillars of Akira Ishikawa’s musical vision—jazz, rock, and African music—are fused in a sublime and thrilling balance. One arresting track follows another: the solemn and majestic “Prayer”, evoking the eternal land; the clear yet subtly psychedelic “Dawn”; the serene and beautiful “Love”; and the highly dynamic, explosive “Jumbo”.
The brilliance of Hirmasa Suzuki’s arrangements deserves special mention—simple yet profoundly deep, they give vivid clarity to the album’s overall concept and imagery. Among Ishikawa’s serious, non–instrumental-cover works, this album stands shoulder to shoulder with Electrum, Bakishinba, and Uganda, and should be regarded as one of his definitive achievements.

SUPREME STRIKER proudly presents its very first release, SST101 — Quasar “Ritmo Love EP”. This marks the beginning of a new chapter, an exclusive imprint born from the Skylax universe, with a striking visual identity crafted by the legendary studio H5 (Daft Punk, Air, Logorama), delivering an exclusive design destined for collectors. Quasar, the DJ and producer from Russia who already made waves on Mellah #3 under the alias Arash & Quasar, now delivers a true masterpiece of italo-disco infused with 80s nostalgia and modern precision.

The journey starts on Side A with “Ritmo Love,” a dazzling homage to the golden era of italo and new wave, where pulsating basslines and shimmering synths make for an instant classic. It is followed by “Easy Flight,” an uplifting and elegant trip that fuses hi-NRG energy with a deep house sensibility, crafted for nocturnal dancefloors. On the B side, “Forever in Memory” dives into a melancholic yet powerful soundscape, bridging the legacy of synth-pop with a strong club-oriented vision. Things escalate further with his collaborator Salimjan on the hypnotic and dramatic “Urkus,” and finally reach a cosmic climax with “Alhamdu Limusik,” a mystical blend of tribal rhythm and soaring electronics that closes the record with transcendence.

SUPREME STRIKER launches with a statement: this is not just another label, but a new frontier where disco, house and techno are reimagined by artists capable of pushing boundaries. With H5’s exclusive artwork, each release is conceived as a true collector’s piece. Quasar’s “Ritmo Love EP” is a bombshell—an electrifying piece of vinyl designed to delight the most discerning dancefloors and a foundation stone for what promises to be a legendary catalog.

Vinyl only.
For true diggers and devoted believers.

Architectural - Santa Compana - Fanzine TR 002 Fanzine TR continues its journey with Santa Compana, the second chapter of the label.
Behind this project is Architectural, the acclaimed alias of one of techno's most influential figures: Reeko.
This four-track release fuses Reeko's signature sound with the vision of his alter ego, shaping a techno that is both powerful and atmospheric. Don't miss out on your copy and get ready for the official release.
Artwork by Burgalego
Masters by Human Mastering

dungeon acid review 25-09-03 by Joakim Cosmo A acid house style EP by swedish acid techno pioneer on swedens oldest underground label? Making a acid house EP in 2025 that makes a difference is a challenging task but this one just nails it. Here you see a softer and more musical side of Dungeon Acid in the shape of 5 dark yet hopeful Acid House tracks. Despite the classic form and ingredients it somehow avoids feeling retro but I guess this is what happens when you let a true grand master do it combined with a selector and label boss beyond the ordinary. It's like a paralell universe version of what Acid House could have become, and its a beautiful vision. A1-101-303 starts off with a dreamy, moody dubby and slightly romantic track that is just utterly beautiful in all its simplicity. The elegance and easy touch strikes me instantly. Nails the essence of the genre. One more like this and im buying it. The way A2-Unlock rewind builds up gives me goosebumps. So hypnotic and dark and experimental and the way it progresses to the ravey chord-break. The sounds and effects and details feel so alive and on the fly. In the record store this is where id already go "ok, im having this one" B1-Lonely Acid boy is yet another simple yet super atmospheric track. The contrasts between the rough robotic parts and the jazzy live solos ontop just gets to me. The roughness in the mix, that second beat with the hi-hats and extra bass, the fact that its so loud and sudden, is just great. And then we get to B2-Shnukki and all of a sudden, a romantic melodious electro track with a asian touch and acid bassline, that somehow goes well together with the other tracks. This one isnt my favourite or what I would buy the record for, but it would probably be the one I discover years later. Typical Borft Records to think that far ahead. The EP ends with B3-Chiliflex BB come on and this one starts with more late 80's ravey chords but the further you get into the track the more disharmonic, tweaky and punky it becomes. Things dont really fit together yet they do. To sum it up, these tracks are raw, funky, gutsy, streety, visionary, full of contrast and a bit challenging, just like acid house should be, but often isnt. I think Dungeon Acid and Borft Records nails it here. I'd buy doubles of this.

With his new offering"The Stone Tablet", New Jersey native Brainorchestra solidifies his legacy in underground hip-hop, carving out a raw and unfiltered masterpiece that feels as timeless as it is bold. Produced entirely by Brainorchestra himself, the album is a testament to his relentless pursuit of authenticity and artistry, drawing listeners into a world where intricate beats meet introspective bars, and sticking to his proudly independent operation.

Featuring guest appearances from UK’s SonnyJim and Toronto's Raz Fresco, "The Stone Tablet" brings together diverse voices that seamlessly blend with Brainorchestra’s visionary beats. Each track adds to the album’s mystique, with moments of reflection, hustle, and sharp wit, all contributing to Brainorchestra’s mark on the modern hip-hop landscape.

The album cover, crafted by Italian artist Claudio Scialabba, embodies the album’s theme with its raw, textured feel — reflecting Brainorchestra’s relentless, chiseled approach to his craft. "The Stone Tablet" is a statement, a monument that etches Brainorchestra's name alongside the genre’s most revered creatives.

Endless – Universal Cosmic Sounds

Endless is a journey through cosmic soundscapes, where jazz-funk, early electronics, and ambient experimentation meet.
Carefully curated by Charles Maurice from his personal collection, this compilation brings together 10 rare recordings from 1969 to 1985, revealing an era of fearless creativity and sonic exploration.

Marking 10 years since Charles Maurice’s first compilation in 2015, Endless also celebrates a milestone — his 13th release in a decade of unearthing rare and beautiful music from forgotten archives.

From Beaver & Krause and their pioneering Moog experiments to the lush electronic symphonies of Jean-Claude Petit, the dreamy synth work of Ector Davis, and the cinematic beauty of Bernard Larquet, each track opens a window into a different musical galaxy.
Highlights include Patrick Marcel’s privately pressed 1985 recording “Bagnols”, an atmospheric fusion of ambient textures and ECM-inspired jazz, and Wlodek Gulgowski’s Scandinavian jazz-funk masterpiece that bridges groove and cosmic elegance.

Unearthed from obscurity, Endless – Universal Cosmic Sounds celebrates a timeless vision of music without boundaries — a rediscovery of the rare, the beautiful, and the endlessly imaginative.

Chicago legend Boo Williams returns to the spotlight with a stunning collection of brand-new, unreleased tracks. This record is a true gem, showcasing the timeless artistry and unmistakable groove that have defined his career. Drawing on deep Chicago influences, Boo masterfully blends soulful textures and hypnotic rhythms into an elegant house journey fit for any dancefloor. Sophisticated, inspired, and beautifully produced, this release once again highlights the endless class and musical vision of a true master of the craft.

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.

Immersive Patterns has quickly established itself as a label of rare quality, with the first three releases already proving its strong artistic vision and timeless approach. Each record blends hypnotic depth with precision and a clear sense of identity, making the catalog highly sought after among DJs and collectors alike.

For the fourth chapter, Jonas Orbiting returns with a striking four-tracker that adds a raw, Detroit-tinged energy to the label’s repertoire. Mastered by Thomas P. Heckmann at Schnittstelle, the sound is powerful, warm, and exact, while the new full-colour Pantone sleeve designed by Steve O Connell expands the visual language of the series.

Immersive Patterns continues to set its mark: refined, uncompromising, and built for both the floor and the shelf.

Alkaline is sound forged in FM — metallic surfaces, syncopated pulses, and cinematic structures. An alternative path that doesn’t reject acid, but moves into a realm less warm, more mineral, more futuristic.

With CT012, Cosmic Tribe takes the Alkaline Sound into the uncharted: music as a tool for deep-space and hidden-dimension exploration. Each track is a fragment of an expedition beyond known frontiers — charting invisible territories, intercepting signals from other worlds, and navigating encounters that alter the course of the mission.

From EC13 and Calagad 13 comes a radical, visionary approach: not just tracks to hear, but cinematic sonic devices designed to remodel the listener’s inner architecture, ignite their imagination, and expand the very map of perception.

A work of meticulous sound and mastering, paired with exceptional artwork, presented in a strictly limited edition of 150 copies on crystal-clear transparent vinyl.

Skylax Records proudly presents the first release in our brand-new archival reissue project: the SKYLAX COLLECTOR'S SERIES. This collection is dedicated to unearthing rare and forgotten underground gems, pressed back to vinyl with love and respect for the original sound. We kick off this essential series with a deep cut from one of the UK’s most respected techno pioneers: AUBREY – WAREHOUSE, originally released in 1997 on his cult imprint Textures (catalogue: TEX2). This classic slab of wax features five tracks that masterfully blend deep house grooves with raw UK techno energy: A1. Warehouse / A2. Rift Zone / B1. Shot / B2. Insult My Friend / B3. Space Lead. Aubrey, real name Allen Saei, started his journey into music in 1990 under the alias Panic, with his first release Voices Of Energy on Sheffield’s Ozone Recordings, later licensed by Buzz in Belgium. That same year, he launched his first label Solid Groove Records, which went on to drop over 30 vinyl releases in 13 years, with tracks licensed and supported by heavyweights such as Derrick May, Carl Cox, Adam X, Pete Tong and Terry Francis. Aubrey also ran four additional underground labels: Textures, Dark, DOT and Cheap Knob Gags. A true lifer, he became a hip hop DJ at age 13, discovered acid house at 16 after hearing Mr. Fingers’ Washing Machine, and released his first vinyl at 17. By 18, he had a residency at Central Park in Portsmouth (a key spot that hosted the likes of Luke Slater, Carl Cox, Frankie Bones, Joey Beltram, Grooverider…), and quickly became a fixture in the UK rave circuit, playing regularly at London institutions such as The Astoria, Turnmills, The Gardening Club, The Pirate Club, and legendary events like Energy and Raindance. He also worked behind the counter at import store Razzles, one of the most important dance music shops in the South of England, before joining Luke Slater at Jelly Jam Records. In 1991, he created Solid Groove to push his unique production vision—a journey that continues today through releases on legendary techno labels such as Metroplex and Ostgut Ton. Still fully active and devoted to music—DJing, mastering, remixing, and working in record stores—Aubrey remains a cornerstone of the underground. This reissue has been carefully remastered from the original tapes, pressed with the utmost attention to quality. A vital release for collectors, DJs, and all lovers of true UK techno and deep house. Strictly limited. No repress. Just music.

Bruce Springsteen's statewide ode Nebraska '82 is given ample extra space with a new expanded edition, as his 1982 acoustic masterwork is cast in renewed light by its use the forthcoming biopic Deliver Me From Nowhere, which documents the conception of the original album. Now with an extra 17 solo outtakes, including demos of 'Born In the USA' , 'Pink Cadillac', and 'Downbound Train', as well as the fabled Electric Nebraska sessions with the E Street Band, the new dubs illuminate the breadth of Springsteen's vision for a reconciled America, where Springsteen found much inspiration in the folk, literature and short stories of the heartland, particularly in those of Flannery O'Connor, childhood and young-adult memories. Notably, it was deemed by PopMatters to beo one of the first every DIY records made by a major artist, and soon sparked a DIY revolution by folk musicians the globe over.

"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.

Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.

And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!

Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.

Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.

Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.

Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.

On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.

The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.

Record Two captures Classic’s renewed energy in the 2010s.

Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.

Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.

On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.

Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record Simple Things finally realise Wally's vision for select backing tracks from his beloved Colors Of Silence.

The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius.

Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own.

As Wally explained to us: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though “Back To Scales Tonight”, my very first album, was, indeed, a song album."

Opener "It Couldn't Be You" embellishes the uptempo groove of soca-funk gem "The Lights Of Kinshasa". As Wally explained to us, it's about “a simple love story somewhere, one rainy night, under the lights of Kinshasa. A woman, a man, online dating, quite usual in our times. Then they meet, almost missing each other." The guide vocal Wally had laid for Colors Of Silence - with an organ sound - seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. We think it turned out pretty good!

"You Can't Hide Always" vocalises Wally's deep concerns set to the propulsive "Smiles By The Millions": "Populism, ostracism, radicalism, ethics and values all turned upside down worldwide, are they all inevitably exacerbated by our social networks? It could all melt down one day, like a house of cards in the ocean of fake news and false prophecies”. Wally wanted to keep the track as bare as possible but, inevitably, the backing vocals and the synth-brass arrive ultimately to present a welcome 70s flavour, with no snare-drum added.

The bright and breezy "We'll Make It Again" adds vocals to "Where Were We", a tropical, reggae-tinged bounce through the islands. Here's Waly: "Where were we when we last said: "I love you"? Simple words to express something quite common, but never quite simple to deal with. A simple song about the resilience of the broken hearts.” The reggae came from it being conceived when Wally was scoring for “Third World Cop”, a 1999 Jamaican action movie.

"Walk Straight Ahead" provides Wally's gorgeous, contemplative and idiosyncratic vocals to the deep serenity of Colors Of Silence highlight, "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. As Wally describes, "it started as just whispers, sweet amber whispers. Then the colour turned darker, as darker skies seemed to fall upon us while the whole world keeps on walking ahead, straight ahead, regardless of the blatant warnings, feeling much too comfortable in conformity. Initially, the verses were to be spoken only. I realised they could be sung all the while, without overshadowing the ethereal atmosphere." Amen.

The serene, celestial "Painting My Life Blue" presents the vocal version of "Days To Wonder". Says Wally, "how does it feel when your second half is gone after decades of riding life together? Past the temporary loss of your bearings, you come to realise you've been blind to the essential, and suddenly you can see...For this most intimate song of mine, I had tried to come up with a melody on top of the existing backing track, long before realising the melody was in the keyboard part already. It just needed to be properly mixed with it."

The profoundly emotional "Just Two Lovers" works up the formerly-too-brief and glorious "Crystal Falls" into a much fuller masterpiece and features acoustic guitar sparkle before fully glistening with some gentle head-nod percussion. Waly explains further: "Dear little green men, please tell me, what is it about us that makes you want to come and visit us so often (contrary to Fermi's assertion)? And here is the reply I believe I heard them sing: "You've got the key you've been searching for: Love”. I reverted to the initial backing track I had made around 1985, which already bore the melody, and which I added acoustic guitars to, before singing it." An astounding closer.

A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

When we asked Wally about the significance of this collection's title, he explained: "These are "Simple things” that everyday’s life seems to build upon. The simplest are the harder to describe, but when satisfactorily described i.e. with simple words, they are the more genuine and authentic to express and share. I’ve immersed myself in other classic song lyrics, something I hardly did before, just to appreciate the genius behind the simple words they were made of, and had a great time studying how powerful they were in expressing complex ideas such as love."

Recording was twofold: first, most of the backing tracks were recorded in 2001, in Wally's studio in Normandy, mostly using hardware synths and Yamaha digital consoles. Then, he fine-tuned the melodies and wrote the lyrics in late 2023, then added some overdubs and sang them all during summer 2024. States Wally, "Digital Performer was and remains the DAW I’ve been using throughout, ever since the 80s."

Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Sometimes, the simple things are the most extraordinary.

Celebrating 4 years of Autosimilar, we're proud to present a very special vinyl release packed with exceptional talent! This compilation (VA) features tracks from Kessel, Stanislav Tolkachev, Pergo, and Vibrations of Gravity. Each artist brings their own unique vision of techno to the record, making this release a truly diverse and powerful showcase.

We hope you enjoy it-there has been a lot of effort and passion poured into this project. This marks the first in a series of upcoming vinyl releases dedicated to highlighting outstanding techno talent from across the globe.
Mastering has been handled by Ruben Montesco, ensuring top-quality sound, and the striking artwork is crafted by Devoner.

Indian Summer of Love finds The Bongolian immersed in a new set of sounds and influences for a new Belle Epoch. It’s a musical landscape informed by the Sixties psychedelia of India via a Haight Ashbury happening.

It’s a kaleidoscopic vision that takes us from a 20th century Fin de Siècle and lands us in the here and now of the 21st Century. It’s for dancers, for seekers and is all underscored by The Bongolian’s trademark heavy rhythms and breaks. It’s another fine instalment of essential cuts for the dancefloor and for high fidelity listening, quality is guaranteed.

From the East to the West, welcome to the Indian Summer of Love. Nasser Bouzida performs drums, percussion, guitars and keys whilst the album features several new flavours to the Bongolian sound with the prominent instrumentation of sitars and bansuri, along with flute, trumpet, saxophone and trombone performances from several stellular international guest musicians.

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Swarm Intelligence, entitled "Radiance". Mastered by Alain Paul and cut by Simon at The Exchange Vinyl. Record Sleeve and labels printed to premium specification, featuring artwork by Kaan Ulgener.

Born in Dublin and now firmly based in Berlin, Simon Hayes aka Swarm Intelligence has cemented his place in the Techno underground with critically acclaimed LPs and EPs on labels such as 47, Instruments of Discipline and Voitax. He returns to Natural Selection, after releasing his track "Generative" on the label's latest VA release; "Natural Selection: Selected Works Vol. 1" in 2024. Featuring amongst an extensive list of heavyweight label affiliates such as SHXCXCHCXSH, Charlton, ASEC, Nørbak, MAEDON, Annie Hall & more. After further connections with the label via live performances at their regular label nights at FOLD London, it was inevitable that Simon would be invited to release a solo EP on their imprint.

His distinctive sound comes from over a decade of releases spanning multiple genres and tempos and oscillates between rhythmic noise, tense atmospherics, uncompromising levels of distortion, and stark, astute beats. This resolutely non-conformist approach to his productions has earned him a reputation as a true trailblazer in the realm of Techno and has led him to perform at some of the world's finest institutions including Berghain, Tresor and Basement NY.

For "Radiance", Swarm intelligence delves further into the sonic unknown, presenting a bold evolution in his uncompromising vision of Techno. Deep, fragmented textures form the backdrop for thunderous, distorted rhythms and IDM-laden drums and percussion, fused with meticulously designed cinematic soundscapes and powerful low-end muscle. Fierce, unrelenting, and deeply conceptual, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

Cosmic Tribe continues its commitment to contemporary electro with the release of XTRICTLY ELEKTRO Vol. 3, a fresh selection of tracks that blend classic roots with an innovative, dancefloor-ready sound.

Six artists bring their unique vision to the genre, creating a seamless journey: X-Truder, EC13, 5ZYL, Calagad 13, Mokotron, and Spectrums Data Forces make up this sonic capsule where intensity, rhythmic exploration, and uncompromising aesthetics coexist.

Careful track selection, visual design, and mastering ensure a refined experience for both listeners and collectors.

Limited to just 150 copies, this vinyl reinforces the label’s commitment to physical releases with personality and timeless appeal.

Electro looking forward without forgetting its foundations.

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation.

Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of “Adam Nana”. Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare.

The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market

Proud to present you our third RETROFUTUR compilation, including 6 tracks by our most regular artists.

Endrik Schroeder opens the ball with the pure warehouse banger “Automated” ! The track’s sonic intensity never falters, driven by a relentless rhythmic structure and saturated synthetic textures. The modulated layers and the syncopated break recreate the visceral urgency worthy of the underground raves of the 90s.



With “Happy End,” Brandski distils a contagious euphoria, designed to set the dancefloor ablaze with collective joy. A leading figure of the Italian-French new wave, he creates a track as jubilant as it is unstoppable, where rhythmic mastery flirts with festive instinct. An invitation to luminous abandon: arms raised, shared smiles, communion guaranteed.

With “Eldorado” John Lord Fonda reaffirms his status as a key ambassador of French techno on the international scene. The track unfolds a relentless, extremely tense groove, where darkness becomes driving tension. A rigorous, almost martial sound signature, serving an uncompromising vision.

“White Light” by Panthera is a polished track that transports us on a euphoric journey. The heavy, incisive kick blends with atmospheric layers and heady arpeggios, creating a constant tension that culminates in thunderous drops. The whole thing is supported by a deep, vibrant bassline, typical of the 90s rave scene.

Once again, Berlin’s My Secret Playground stands out as the architect of a muscular German nu-disco, flirting with the boundaries of techno. “Don’t Panic” combines percussive pulses and dark tension, while distilling subtle reminiscences of the disco aesthetic. A masterful sonic hybrid, between retro hedonism and contemporary intensity.

Club Mayz delivers a masterful closing performance with “Tonight I Have To Hide”, an electro track fueled by the raw heritage of Detroit techno and the dark textures of EBM. The track combines dramatic tension and synthetic precision in a nocturnal and introspective aesthetic.

This audio trip is provided for you by Erika Halliday an artist hailing from Argentinian capital Buenos Aires. She has provided four original cuts for our listening pleasure in her dark flavored signature electro house vibe. The EP is named after a late-night show “El Club de los Desvelados” airing in Argentina in 2017 and has this nocturnal flavor throughout the vinyl as the show did. The four tracks are stylistically gluing together well and are displaying the passage into the artist’s skill and the vision of music. It is an honor to welcome Erika to the label with this masterfully crafted disc absolutely in line with the label’s aesthetic and vision. Let’s all have a conversation together into the late night with loosing track of time in “El Club de los Desvelados” style.

SKYLAX RECORDS proudly unveils the fourth and final chapter in its epic, conceptual 4-part saga — SKYLAX BLACK 4 – Vision Quest. This secretive series brings together two pillars of French electronic music, ARNAUD REBOTINI and ACID WASHED, in a bold tribute to the essence of rave, electro, and techno. Following the critically acclaimed Winter Sequences and Musical Component, this last installment pushes even deeper into the roots and futures of the underground. On the A-side, Vision Quest opens the EP with a pulsating journey of progressive electronics — cinematic and sleek, evoking the robotic spirituality of Kraftwerk and the expansive textures of early kosmische music. Next, TOI 700-d channels the golden age of acid house with infectious 303 lines and jacking grooves. Think DJ Pierre, Phuture, and Ron Hardy at their most transcendental — raw, euphoric, and timeless. Flip to the B-side and dive into Black Star Liners — a dub techno masterclass in the lineage of Maurizio, Basic Channel, and Chain Reaction. Deep, minimal, and full of ghostly delay, it’s a meditative immersion in pure sound system hypnosis. Closing the EP, Trojan Asteroids fires into classic Metroplex territory — icy, futuristic, and funk-laced. A perfect nod to Cybotron and Model 500, this is hi-tech soul with a razor’s edge. Once again, SKYLAX RECORDS delivers a visionary release — timeless, intelligent, and essential. The final piece of the puzzle is here. The journey ends… or just begins.

Artlab launches its brand-new record label with a special inaugural vinyl release, celebrating the 10th anniversary of the renowned cultural center and multidisciplinary music and arts club. To mark a decade of fostering cutting-edge sound and artistic community, this very first label installment gathers a stellar lineup of artists for a fresh four-track compilation. Showcasing the club’s deep roots in the underground and its forward-thinking vision, each track contributes a unique character and dancefloor mastery to this milestone collection.

Kicking things off on the A-side, the legendary Random Factor delivers a funky, electro-tinged dub of 20:20 Vision's "Calling," immediately setting an infectious, energetic tone. Following this, Barem makes a welcome return with "E.Therian," a driving, highly-kinetic number delivered in typical Barem fashion, bringing his signature rolling groove and undeniable club intuition to the forefront.

On the flip side, Solimano and Furz team up for "Melancholic Dreams," a track with a pushing, Balearic rhythm and dreamy atmospheres that add a lush, emotional layer to the record. Finally, Janeret and Miroloja join forces to close out the EP with "Digital Dreams," a masterful, hypnotic breakbeat number, creating a sophisticated and powerful closing statement for this debut anniversary edition.

SKYLAX RECORDS proudly unveils the final chapter in its monumental 4-part saga — SKYLAX BLACK 4: Enlightenment Theory. This visionary series, bringing together two of France’s most iconic electronic artists — ARNAUD REBOTINI and ACID WASHED — was never just a collection of records. It was a journey through the deepest layers of the underground — a conceptual project where each release was a coded message, each track a fragment of a greater whole. On the A-side, Enlightenment Theory explodes with fierce urgency — an anthem forged in the spirit of Underground Resistance, echoing the soulful intensity of early ’90s Detroit without imitation. It’s bold, emotional, and militantly underground — a future classic cloaked in defiance and elegance. On the B-side: B1. Space Is The Place channels the weightless gravity of dub techno at its purest — all echo chambers and endless delay, a direct line to the Berlin school of Basic Channel, Maurizio, and Deepchord. B2. Beyond Current Biological Constraints closes the chapter in deep space — an electro masterwork evoking Drexciya, full of aquatic melancholy and cybernetic funk. It’s not retro — it’s timeless. With this last installment, the puzzle is complete. The meaning is revealed: R.A.V.E. — four records forming one powerful word. One timeless idea. A tribute to everything this culture stands for: raw energy, emotional truth, sonic innovation, and spiritual depth. This project could only be born on SKYLAX RECORDS — a label that has always stood apart. Uncompromising. Devoted to physical formats. Fiercely loyal to the culture. While others chase trends, SKYLAX continues to chart a different course — one rooted in the sacred codes of house, techno, electro, and beyond. It is no exaggeration to say that SKYLAX is one of the last true purist strongholds of underground music — and this series, with its layered meanings and fearless artistry, is proof. From Redshifts to Blueshifts to Artificial Darwinism then Vision Quest, every chapter has pointed toward this moment. Now, with Enlightenment Theory, the full vision is revealed. RAVE is not just a word — it is the truth. A philosophy. A myth reborn. The circle is complete. The message endures. The legacy lives on.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

The first release in the Between Dimensions vinyl series, BDREP001 , presents Oi Zé EP by Lipp — a deep and hypnotic journey rooted in minimal grooves, organic percussion, and timeless underground aesthetics.
Crafted for intimate dance floors and extended listening sessions, the EP balances raw rhythmic energy with refined textures, delivering a warm and immersive sound signature that reflects the identity of Between Dimensions.

On the A side, “Atleta Do Ano” and “Oi Zé!” explore stripped-back grooves, subtle melodic movements, and rolling low-end pressure. The B side features a special reinterpretation of “Oi Zé!” by Barac, transforming the original into a deeper and more atmospheric late-night tool.

BDREP001 marks the beginning of the Between Dimensions wax journey — a carefully curated series focused on timeless electronic music, connecting artists from different parts of the world through a shared vision of depth, rhythm, and dance floor storytelling.

Credits
Original Tracks
by Filipe Rodrigues Bezerra
Remix by Nicolae Barac
Mastering by Rob Smalls
Visual art by Steph Gar

Compounding a reputation for his unique vision on techno with an uncompromising underground ethos utilising a fusion of deep and energetic electronics, Lee’s sound always creates a myriad of tension and construction which has seen him become one of techno’s elite, appearing in the most prestigious underground venues across the planet. His consistently original and dynamic productions, which have earned him much international ecognition, are frequent and in great demand. Appearing on many impeccable cutting edge and classic imprints over the years, Lee’s music has generated relentless plays and support from the brightest and leading connoisseurs in the underground techno scene.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got an electronic guardian of such resolute astral belief in how the purest of dance music should be relayed to the occupants of any Celestial City. You will believe in RIOT when we say “The ‘Sentinel’ has awoken.”

Featuring eight tear drops out of the smoke fuelled rain from a distant belt in the galaxy, no ‘Moonrunner’ will be able to surf the ‘Gravitational Waves’ this Motor-City inspired journey takes you on. Book yourself passage on the Starliner ‘Off-World’ for a stargazing extravaganza into ‘The Gates Of Orion’ and witness the brightest of glimmers ........... in the dark.

The full digital release also features one bonus spellbinding track so your mind can melt into the depths of
space and time.

WARNING: YOU WILL OBEY IN ORDER THAT RIOT CAN TAKE YOU ONE STEP BEYOND …………….

Credits:

Written by Lee Holman
Mastered by Joe Farr
Artwork by Alan D. Oldham & Nomad

Long kept in the shadows, "+ Ou – 8000" is a rare gem of the French musical avant-garde, born from the meeting of three
composers at the peak of their inventiveness. Initially intended as sound illustration, this album crosses the boundaries of
library music, space jazz, and electronic experimentation, with a freedom and boldness that today give it cult status.
Teddy Lasry, an iconic figure from the MAGMA universe, has always moved between jazz, progressive rock, and electronic
music. A saxophonist by training, he explores here synthetic and spatial territories with striking modernity.
Francis Mercier, discreet yet remarkably effective, is a sound craftsman who left his mark on many library music records
in the 1970s. Here he delivers precise rhythmic textures, tense atmospheres, and a minimalist groove mastery.
Christian Perraudin, a chameleon composer bridging academic music and film scoring, brings his cinematic touch—
floating melancholy and sci-fi tension. A true artisan of sonic ambiance.
Boldly visionary, + Ou - 8000 is an invitation to active listening, a journey into the heart of a fascinating sound laboratory.
This unprecedented vinyl reissue is a unique opportunity to (re)discover a crucial record that remained out of reach for far
too long.
Limited edition – for lovers of rarities, analog synths, and genre-defying musical exploration.