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2026 Repress

London based composer, multi-instrumentalist and producer Akusmi announces 'Lines', an exhilarating new collection of works born from the desire to take where the acclaimed debut album 'Fleeting Future' left off - in search of new forms.

" 'Secant', I must have listened to this tune 3 times in a row, this one soundtracked my night drive through the winding roads" - Benji B, BBC Radio 1

'Lines' is presented as a Limited edition clear vinyl (500 copies only worldwide), printed in heavy-weight reverse board sleeve with a hand-numbered edition sticker. The vinyl edition also features 'Oblique' (A2), an exclusive version for the vinyl format, plus the now revered 'Longing for Tomorrow' - (Brandt Brauer Frick Remix), previously unreleased physically and now pressed on vinyl format, ending side B. The cover artwork features another collaboration with Dutch visual artist Sigrid Calon and design by label founder Adam Heron.

Formed with a sense of urgency and a reductive approach 'Lines' is almost entirely comprised of alto saxophone, clarinet and piano with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process:

"I wanted to go a bit more a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me."

Akusmi uniquely finds the spaces in between experimental jazz, crossover classical and ambient music.

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

La Peña 26 comes with box of tricks.
La Peña in the House, Skipson in the House.
Real shit will never die !

Heavy, reminiscent of a release from the nineties, Younger Than Me pulls us through interdimensional soundscapes on his debut to the label — a wormhole morphing from ultra-emotive breakbeat and hallucinatory progressions into full-blown, boisterous acid techno at its very best. A producer with an endless catalogue of releases, notably on incredible labels including Jennifer Cardini’s Dischi Autunno, now steps up on Neptune Discs with his Vaco Loco EP. The Berlin-based, Italy-born producer is joined by Byron Yeates and label regular Biodive on the B-side, each taking turns remixing A3, Aargh!!!, pulling it in different direction — one leaning into trippy trance atmospheres, the other exploring a more immersive progressive terrain.

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.

Love For Love Vol.1 is a sumptuous two-tracker that takes you into both the unknown and the familiar.

On Side A, Mauritzio’s mesmerising, swirling ‘Sympathy’ (Gamma Reshape Boot) acts like a sonic shower that hits your body wherever it aches. The track kicks off with a subtle beat and acid-tinged backbone, spreading out into a deep, bass-laden symphony of sounds, detached vocals and warm synth chords. One for the late-night crowd searching for the darker corners of the dance floor for inspiration.

Flip over to Side B and Luber's ‘Somebody’ is waiting in the alley for you. At 124 bpm, ‘Somebody’ chugs along from the off with a curiously swingy beat, complete with perfectly trimmed hi-hats and a heavy double bassline. The familiar vocal acts as the track’s calling card – melancholic yet soaringly beautiful. ‘Somebody’ hits your nostalgia nodes with the flick of an ethereal finger, delivering low-end shuffle and hypnotic rhythms to lose yourself in.

Love For Love Vol.1 feels like the start of something special – and it would be wise to have these first steps in your record bag.

Polytechnic Recordings - sublabel of Disctechno Music - presents a split EP of jacking house and psychedelic rhythms from Detroit’s DJ Slush and Dretraxx. Label co-founder DJ Slush follows up his Model Collapse EP with 2 jacking, sleazy, 80's-tinged house tracks with garbled vocal samples on A1 and B2. Dretraxx - head of Detroit’s acid-forward Body Worx party - delivers dubbed out modular grooves and on A2. On B1, Interdimensional Transmissions’ BMG remixes Dretraxx for the No Way Back Mix, with some freaky heart-pumping analog techno. Recommended for fans of Midwest rhythms.

Peace World Records returns with Hidden Atmospheres, the debut release produced by Max F and mixed by Space Ghost. Drawing from classic deep house and esoteric club sounds of the '90s and early 2000s, this seven-track collection channels these influences into fresh territory while preserving the digital grit and dreamlike essence of the era.

The release strikes a delicate balance between the meditative and the kinetic. On the A Side, tracks “Soul Control” and “Zone 6” highlight subtle yet hard-hitting percussion grooves and deep basslines that anchor the mix beneath ethereal pads and sweeps. Each track builds through hypnotic, evolving arrangements that reward close listening. On the B side, “Dream Channel” and “Earth Effects" both feature airy, spectral synth progressions that interweave with ephemeral yet decisive melodies, demonstrating a refined insight of space and dynamics. To round things off, Space Ghost took a crack at an energetic club remix of “Dream Channel. ” Carried by a classic 909 house rhythm and a bubbly bassline, the remix offers a fun, uplifting take on the original, complete with organ stabs and MIDI sax!

As a whole, Hidden Atmospheres delivers something new for fans of 90s and 2000s era house music. Think Ronin, Hanna, Chris Brann, Wamdue Kids—artists whose work holds its own in the club while remaining equally suited for intimate late-night listening. Throughout the record, tracks drift seamlessly between shimmering dancefloor functionality and liminal, introspective ambience, inviting repeat listens that reveal new details and "hidden atmospheres" with eachpass.

Hidden Atmospheres lands on Peace World Records April 9th, 2026.







g B3. Dream Channel Space Ghost Club Remix

TALISMANN strikes again with a third drop on his KLINIEK series. Examining the human eye as an instrument of clarity, a study in truth seeking and international recalibration. The point where vision, truth and self-reflection converge and collapse. An expanded 15 minutes on the A-side transfers you through a dark wormhole into the good old times of 90's pounding dub-techno. With the B-side covering three essential highly effective techno tools in true TALISMANN form.

Returning to Peak Oil for a second expedition, veteran Russian producer Kirill Vasin, aka Hoavi, explores an untrodden path on 'architectonics', drawing from his lifelong appreciation of Indonesian gamelan musics to mastermind a rhythmelodic hybrid sound that's sinuous, subtle and remarkably dubby. Over the last three and a half years, Vasin has used the music's methodologies and rhythmic forms to evolve his existing processes and signatures and transform his musical philosophy. To start the exercise, he knew he needed percussion, so used his phone and a contact microphone to pick up nearby sounds, drumming on various tables, railings, empty glasses and other objects to create a library of textured, tonally complex percussive sounds. But the work wasn't done yet - in fact, it was just the beginning of a long process of trial and error: Vasin created two full versions of the album before 'architectonics' was finished.

There are still echoes of the chrome-plated sci-fi atmospheres and complex, stuttering beatscapes that underpinned 2021's 'Invariant', but 'architectonics' asks very different questions, prompting fresher, more innovative responses. Leaning on his bank of organic percussive sounds, Vasin is able to concoct a tactile aura that he fills with eerie fluctuating repetitions that shift subtly, sometimes imperceptibly. The cavernous reverb and booming bass that supported his last few albums is still present, now employed as scaffolding for different architectures: skittering sequences and ornamented overlapping phrases that owe as much to Steve Reich's hallowed minimalist compositions as they do to Indonesian traditional forms. Lulling, almost hypnotic tessellations appear like fractals on the polished surfaces, morphing from jazz to techno and dub while retaining gamelan's haunting xenharmonic resonances and Vasin's concept becomes crystal clear. 'architectonics' isn't an attempt to make a gamelan album, it's Vasin's way of developing his own artistic process by looking far beyond the traditional boundaries of electronic music.

Diffuse Reality presents TOBAS 004. Four tracks crafted by Obscur. Deep, intense techno that invites reflection from the very first beat. Each sound wraps around you with subtle precision, shaping a unique atmosphere with a minimalist spirit that breathes through every bar. Prepare yourself for a journey with no return. A sonic landscape unfolding in the shadows, guiding you through until the last pulse. Released on vinyl and digital, this edition captures a world of shadows and tension. There will be no repress. A single, definitive cut.

Lenxi's debut album on Nous'klaer Audio receives a well-deserved remix treatment, breathing new life into its original dream world. Kindred spirits Polygonia, oma totem, Human Space Machine, and Daisy Moon each reimagine the material through their own distinct sound. A powerful and diverse collection of reinterpretations: From intricate, hypnotic textures to driving, dancefloor-ready energy, each remix opens a new pathway towards a vibrant second life primed for club systems and festival stages alike.

Building a temple of sound from reduced elements, Decoder's Alchemy EP on T3R allows selected components to generate a strong and steady drive. Using a distinctly organic sound palette, the tone of the release is wordly, sometimes almost wooden with space taking the role of an active element. When melodies or chords appear, they introduce a subtle sense of melancholy, adding emotional weight without pulling the music away from its physicality. In its unfolding storyline, the EP suggests a broader narrative. While each piece explores a slightly different soundscaping approach, a consistent DNA runs through the release - reinforced by Sanskrit and Hindu references as an underlying conceptual thread. Percussion is handled with precision and imagination: Grooves shift, evolve, and reconfigure. Dark, driving sequences are softened by airy pads and atmospheric layers, creating a dual feeling of intensity and serenity. Filters and reverbs are applied with restraint, giving the music a sense of movement and breath. Alchemy showcases an emerging artistic voice driven by aspiration and exploration. Through confident craftsmanship, genuineness and self-reflection translate into a perfectly balanced, inspiring release. ? 2026 The Third Room Written and Produced by Gautham Gaug Mixdown and Mastering by Ahmet Sisman (The Third Room Studios) Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

Xerrox Vol. 1 is the third studio album by German electronic artist Alva Noto. It was released in 2007 as part of the ongoing Xerrox pentalogy, based on the concept of digital replication of source material.

Using the process of copying as a basis, the Xerrox series deals with the manipulation of data through endless reproduction. Due to the inherent fallacy of making copies from other copies, everyday sounds become so altered that they are hardly associated with their source material. As a result, entirely new sounds are created: copies of originals become originals themselves.

Together with Christoph Brünggel, Nicolai designed a "sample transformer" that takes audio fragments and manipulates them beyond recognition. In this process of taking something familiar and defamiliarizing it, samples from obvious sources-advertising jingles, airport tones, telephone hold music, and film soundtracks-were used and altered, resulting in sounds totally unlike their original source. The result is a series of haunting, intricately realised pieces that recontextualise Nicolai's "glitches and bass" sound into extended, cinematic, organic, and almost orchestral works.

Xerrox Vol. 1 was followed by Xerrox Vol. 2 (2009), Xerrox Vol. 3 (2015), Xerrox Vol. 4 (2020), Xerrox Vol. 5 (2024). This remastered version will be reissued on NOTON in 2026

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Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: 10-22-38 Astoria
Playtime: 00:00:19
Explicit Lyrics: No
ISRC: DE1N62500001
(P):
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Haloid Xerrox Copy 4
Playtime: 00:03:53
Explicit Lyrics: No
ISRC: DE1N62500002
(P):
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: 03-10-06 Astoria
Playtime: 00:00:38
Explicit Lyrics: No
ISRC: DE1N62500003
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 4

Artist: Alva Noto
Title: Haloid Xerrox Copy 3 (Paris)
Playtime: 00:11:17
Explicit Lyrics: No
ISRC: DE1N62500004
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: 03-10-06 Astoria 2
Playtime: 00:00:36
Explicit Lyrics: No
ISRC: DE1N62500005
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 6

Artist: Alva Noto
Title: Haloid Xerrox Copy 2 (Airfrance)
Playtime: 00:05:07
Explicit Lyrics: No
ISRC: DE1N62500006
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 7

Artist: Alva Noto
Title: Haloid Xerrox Copy 6
Playtime: 00:06:40
Explicit Lyrics: No
ISRC: DE1N62500007
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
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Medium: 2 // Side: C // Track: 8

Artist: Alva Noto
Title: 05-10-06 Astoria
Playtime: 00:00:22
Explicit Lyrics: No
ISRC: DE1N62500008
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 9

Artist: Alva Noto
Title: Haloid Xerrox Copy 11
Playtime: 00:03:40
Explicit Lyrics: No
ISRC: DE1N62500009
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 10

Artist: Alva Noto
Title: Haloid Xerrox Copy 1
Playtime: 00:09:16
Explicit Lyrics: No
ISRC: DE1N62500010
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: 02-10-06 Astoria 1
Playtime: 00:00:51
Explicit Lyrics: No
ISRC: DE1N62500011
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 12

Artist: Alva Noto
Title: Haloid Xerrox Copy 111
Playtime: 00:07:56
Explicit Lyrics: No
ISRC: DE1N62500012
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
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Medium: 2 // Side: D // Track: 13

Artist: Alva Noto
Title: 09-10-19 Astoria
Playtime: 00:00:18
Explicit Lyrics: No
ISRC: DE1N62500013
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
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Medium: 2 // Side: D // Track: 14

Artist: Alva Noto
Title: Haloid Xerrox Copy 9
Playtime: 00:11:04
Explicit Lyrics: No
ISRC: DE1N62500014
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai

Six track 12" collecting all the cuts of Wayne's first recording for Wackie's, from 1976. A classic of raw underground vibes from the Sounds Unlimited studio early days of Wackie's productions. This 12" contains: the original NY 45 vocal & dub cuts, the second mix of the vocal from the first 'Reggae Goodies' LP, the rare horns cut by Baba Leslie & Mark, the dub cut from the very rare 'Dub Unlimited' LP, a finally a previously unreleased raw rhythm drum & bass dubplate cut (NB: this last cut is taken from a 50 year old acetate and is appropriately crunchy!)

Heavily sought after two-tracker, Ricardo Villalobos releasing under his moniker “Richard Wolfsdorf” in his early years, remastered, new cut. P O W E R P L A Y.

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.