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Feeling both familiar and forward-looking, MBK004 expands its reach with an international lineup of
producers united by a shared appreciation for the New York underground sound.
Crafted by Tunisian producer Gringow, our first two tracks take listeners to the darker side of minimal.
Also owner of the HeardOf label, Gringow lends his talent to Minimal Brooklyn with 15 minutes of
hypnotic rhythms. “Black is the new color” gives chills, while “My K” triggers introspection.
Flipping the record will bring listeners to a brighter space. We begin with Chilean DJ/producer
Francisco Ruíz-Tagle and his original track “Primal Depths”. Francisco introduces textures that have
been cultivated throughout his life. His submission to Minimal Brooklyn holds nothing back, delivering
a multidimensional auditory experience to listeners.

MBK004 ends with “Bean Water”, an original track from Chicago-based producer Double Dipp. This
spell-casting production truly highlights the attraction of minimal. Dynamic instrumentals with clean
resolution. This is Double Dipp’s formula for timelessness.

For UnExposed Records first vinyl release, Uruguay’s Marcos Coya wanted to show the world a different side of his artistic approach. In a world of monotonous copy/paste, Marcos wanted to bring something unique to the table. A compilation of spacey, dreamy & emotional tunes custom built for the dance floor yet still experimental as well. Deep grooves & long developments. No fluff. No overbearing bangers. True underground production principles. Crafted for those with a refined palate.

The A-side is dedicated to Marcos Coya’s four to the floor production work. This sonic expedition begins w/ a bang: the record’s title track “Moon Trippin”! A showcase of freaky melodies accompanied by groovy percussions which bolster a vocal of Prince speaking his mind about the true essence of creating musical art & his disdain for mainstream music industry critics.

“Delirium” closes out the A-side w/ a dreamy acid house tune adding an emotional touch to the record. After hours material. A real step forward for Marcos and his production work. Leaning heavier than ever into trusting his melodies. Taking a bit more risk with his approach by creating something you’ve never heard from him on any of his nearly 20 vinyl releases over his career.

For the B-side we shift over to a more breakbeat approach with 2 absolute heaters. B1 introduces the track Hearthug has claimed to be one of the tracks of the year: “Rage Dog”. Rage Dog is a Marcos Coya signature track due to its rock & hip hop influences developed during his adolescence. Marcos even purchased new synthesizers specifically to improve this track & its melodies. The cherry on top is the vocal from Rage Against The Machine’s front man, Zack de la Rocha, which adds a rebelliously political undertone to the record, something UnExposed & Marcos both are very proud to address w/ passionate conviction during this time of war and injustice.

We close out the record with “D.N.A.”, the most experimental piece of art on this vinyl release. A wild combination of breakbeats, guitars, melodies & crazy vocals. The perfect bizarrely fascinating conclusion to this wild trip to the moon and back.

Early support from heavy hitters such as: DJ Koolt, Anthea, Velasco, KT, Hearthug, Mario Liberti, Daïf & many more!

Phwoar! TD go four for the floor on Volume 9, letting loose with a set of sure-shot hits from all corners of their sonic spectrum.
A tag team match up, this action spectacular trades peak-time pump, Balearic cool, Italo thrust and dance-punk theatrics on its way to snatch the championship.

Obviously TD ooze subtlety and taste, so as we sat sipping Schnapps from our Stanley cups, we couldn't help but take a little inspo from our kitchen decor. 'Live Love Pump' - what a mantra. In musical form, this philosophy takes the shape of a capital D-isco delight, equal Pats Cowley & Adams, EQ-freaked and filtered into something dafter than a pair of chrome clad millionaires. Big room mirrorball magic if ever we've heard it.
The A2 sees the drunk AOR funk of 'Sure Line' take a leisurely stroll down the coast, a Gauloises in the gob and tattered Baldwin in the back pocket, flipping and flopping along the prom to buoyant bass, melting brass and more than a little melancholy.

Booting off the B-side, 'Un America' is a massive mid-tempo chugger replete with laser fire, synth scree and nipple high guitar. Powering along on a serious bass sequence armed with hooks-a-plenty, mostly incomprehensible lyrics and a groove which won't quit, this has all the ingredients required for an Italo all-timer.
The finale finds us in the company of some punk pioneers at their absolute silliest, bringing the kind of whacky vocal vibe, surf-centric style and off kilter groove the B-52s made a career of. Add in animal chatter and scratchy guitars and you've got the sort of secret weapon the Idjuts unleash waaaay post peak.

Limited Press - Numbered Insert - Drum Fun Guaranteed

Portuguese musician and expert experimentalist Diogo steps up for Heion Records second outing. Diogo signs two originals for his Healiocentric EP, joined by a remix from legendary Wild Bunch selector and producer Milo Johnson, aka DJ Nature whose roots in New York’s late-80s underground shaped his raw blend of early house. The EP opens with "Healiocentric" unfolds as a deep atmospheric journey where modular synthesis meets live instrumentation and tuned percussion. Arpeggiated sequences glide through hovering brass-like tones and modulated pads with effortless positivity, riding a syncopated landscape of rim shots and broken beats.


"Traums" dives deeper into Diogo's intricately woven world. Monochordal spoken word samples drift sparingly across organic clicks and rich analogue textures, conjuring a jazz-like atmosphere that rewards careful listening. Lush pads echo the craft of artists like Two Lone Swordsmen or Ricardo Villalobos, but the steady thump of a 909 kick and a fluid bassline leave no doubt: this is a deep-of- night heater for the enlightened dance floor. DJ Nature closes the EP by taking "Healiocentric" on an inspired tangent into disco-techno territory. Acoustic beats anchor a minimalistic take on acid funk, while a near-naive piano line sets Chicago house against Berlin school repetition. Gated noise, field recordings, wah-wah electric piano pads and classic house organs complete the picture. Cannon fodder of the highest order.

SOULMEEX record label reaches its tenth release in less than two years with Bleib Yummy, the new EP by Nürnberg-based artist Schmidt in Rio.

Martin Schmidt develops a distinctive sound rooted in the spirit of electronic music’s golden era, blending italo, disco and house with a playful and unmistakably personal touch. His productions combine analogue textures, infectious grooves and a healthy dose of eccentricity, creating music that feels both familiar and unexpected.

With Bleib Yummy, Martin delivers a four-track EP that fits naturally into the SOULMEEX universe: raw but refined, playful but never superficial, and driven by the timeless energy of the dance floor.


Emerging from a suspiciously warm corner of the edit underground, this limited white label press sees NYU & NS (or N-You-Up & Nick Studer) quietly tampering with two choice modern soulful cuts from a certain Mr .P, 'Come' and 'Wrong'.

While the originals do quite a lot of the heavy lifting, these two have been given a little more room to misbehave.
The edits keep the soul, swagger and unmistakable DNA of the originals intact, while adding extra groove, punch and just enough dancefloor mischief to cause problems after midnight

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

The Thompson Sound x Dubquake Records series returns for another trip deep into the vaults!

Joe Yorke joins O.B.F on record for the very first time with 'Danger In My Eyes'. Unearthing a 70s reggae gem, rebuilt in the O.B.F studio, they make the song their own with a nod to the legacy of The Paragons, Coxsone Dodd and Linval Thompson.

Flip the record and Rico O.B.F takes you straight into the realms of dub with a spaced-out version excursion.

Taking you back to take you forward!

Never Sleep charity spins through The City of Big Shoulders via Butlins Minehead for an electric live recording and history lesson.

Certified foe nem DJ Funk forecasts disorder with a retrospective of Booty, Ghetto and Club.. A mission statement featuring anthemic discography, lauded signature quotables and the rawest of machine funk.

Synergising live 909, 303 and 808 alongside an encyclopedic knowledge of genres that he practically invented, the mix moves at breakneck speed and does not relent for one minute. Funk keeps the crowd sweating and reminds them on the mic that this party is for now and forever. A non stop roller rink of hit after hit and delivered with such panache it would make anyone's Aunt start weighing up the dancefloor.

DJ Funk is known worldwide for his contribution to Dance musics diaspora and remains a huge influence on that the freedom of expressionism isn't to be curtailed

All proceeds go to DJ Funks family as this recording is released posthumously.

Raw deep house pressure from Sascha Dive, four cuts blending soul, groove, and late-night mood, with Roland Clark blessing the mic. Limited green vinyl for those who still move to the real sound.

DJ Feedbacks :


Laurent Garnier : Cool tracks
Josh Wink (Ovum) : Liking 'Im Inspired' the best here.
C-Rock : Those Nights for me, nice NYC dub House touch!
Radio Slave (Rekids) : I've always been such a big fan of Sasha's productions and "There Is No Tomorrow" hits the spot.
Fleur Shore (Undergrowth / Cuttin' Headz) : im inspired, beautiful track
Reboot (Cecille / Cadenza) : schöne tracks ️
Satoshi Tomiie (Abstract Architecture) : Solid release!
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Nice one
PBR Streetgang : Invocation and Im Inspired are great
D'Julz (Bass Culture) : those night is the one for me here
Damian Lazarus (Crosstown Rebels) : Thanks for sending. Xx
Ben Sims : Now downloading... will check asap!
Archie Hamilton (Microhertz / FUSE) : Nice thanks
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Tim Sweeney (Beats In Space) : Lovely
Doc Martin (Sublevel) : Sascha on a good one,with the voice of house music Roland Clark no less!!!
Terry Farley : THOSE NIGHTS WORKS FOR ME
Chloe Caillet (Smile Records) : love this!
Oliver $ (Classic Music Company / Play It Down) : Sooo gooood!
Ame (Innervisions) : thanks
Danny Tenaglia : Downloading for Danny Tenaglia, thanks!
Robert Owens (Trax / Musical Directions) : Cool tracks
Kai Alce (Real Soon) : Nice deep tracks from Sascha
Mark Farina : dig them.
Lea Lisa (Phonica Records / Folklor Club) : Really good definition of House
Alexkid (Rawax / FUSE / NG Trax) : Phonogramme (and Sascha Dive) on fire at the moment...
Harri (Sub Club) : lovely stuff, will play and support

Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.

DJ Feedbacks :


Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!

Hector Ram and Ricky Ramirez are starting to celebrate ten years of Short Attention Records and it's US house stalwart DJ Aakmael they've enlisted to pop the champagne cork and cut the cake. He's one of those artists who turns out plenty of music, much of it sounding within the same consistent deep house framework. But there's always a little something to his tunes that keeps you coming back for more - a perfectly chosen sample, a nagging bassline, a sense of melancholy that you cannot escape. All of that is true on his latest. 'Things Always Happen' has keys that convey beautiful pain, then 'If You Believe' is a deep house haze with smudgy samples and blues-y ache. 'Free' is more light with trilling jazz-funk keys and earthy guitar frets sprinkled into the mix. 'Stopmotion' shuts down with a signature Aakmael bump. Just timeless stuff.

Harry McCanna is a DJ and producer who might be known to you for his role in running NorthSouth records for nine years with Sam Bangura and Dale Mussington, as well as staffing the decks across the capital for at least a decade and half and taking up a residency at fabric when we came out of lockdown in 2021. Here, he launches a new label, focussed on "the hypnotic, trippy, steady side of things," with his first release under his own name, having released his productions under the Henry Hyde moniker since 2015. Hypnotic it may be, but it's not lacking either in sonic imagination - check the shimmering guitar trimmings, frothy pecussion and vocal flashes of 'A Temporarily Happy Man' - or funkiness, with the basslines to 'Stand & Deliver' and 'Red Moon' the very essence of prodding urgency. Add some sparing but very effective use of neatly edited breakbeats - see the economic propulsion of 'Hard To Leave' - and you've got four track that will slip into the mix very smoothly but come with their own distinctive personality.

The Is It Balearic crew has long held down all things blissed out and downtempo, and their once secretive but now essential side label Magic Wand is doing just as much vital work. Veteran house head Peter Blaker is next up after an already solid showing on Razor-N-Tape in April, and he offers two lush flips. The first is a chord-laced and gently waving rework of Kenny & Dolly that has a lovely new age wash, and the second is a more beat-driven and textured take on 'You Belong In The City.' It has a layer of percussion, big drums and a sort of rhythmic sway that is perfect for the outdoors.

A tasty slice of early 90s New Jersey hip-hop makes this inaugural release from Concrete Flowers a real doozy. Apache's 'Gangsta Bitch' was produced by Q-Tip and taken from his 1993 debut Apache Ain't Shit, so it is a portal back to the raw, unfiltered energy of a time when the Flavour Unit collective was at its most vital. Apache had already appeared alongside Naughty By Nature, Queen Latifah and 2Pac before this record landed and the Q-Tip production connection to A Tribe Called Quest gives it a lineage that still hits hard. The Beatnuts' 'Hit Me With That' on the flip doubles down on the era's boozy, sample-heavy swagger, making this a perfectly paired two-sider that reminds you exactly why the golden era was so golden.

On edit imprint Disco Mind's tenth release, they hand over the reins to iconic Italian DJ, producer and remixer Beppe Loda, once resident DJ at influential rural club Typhoon during the 1980s - and it's that period that inspired the four scalpel jobs on show. 'Mr Rocket' is a chugging chunk of oddball early 80s headiness, while 'Tu Sei' sees Loda rework what sounds like a synth-laden fusion of space rock and intergalactic jazz-funk. On side B, he does a great job on spiralling, big hair-sporting disco-rock number 'Falling', before showcasing more spacey synths and chugging rock riffs on 'Marzio'.

Teal return on October 2 with Love Comes Thru, the trio's nine-track debut album. Expanding their emotionally resonant blend of downtempo trip-pop, the record reaches into street soul, dub, and experimental grooves, marking a confident new chapter for the group.

At its core, Love Comes Thru is a reflection on the quiet strength of love—not through grand gestures, but through the steady presence that carries us through uncertainty, change, and connection. Written over the course of a year of bi-coastal collaboration, the album became a testament to the bond Teal share as artists, friends, and family.

From the lush synth landscapes of "Aries Moon" to the footwork-inspired pulse of "Time Is Blind," the album explores themes of patience, vulnerability, longing, and intimacy. Standout singles "Kissing in a Dream" and the title track lean into left-field street soul, while stripped-back, 808-driven tracks like "Change Your Mind" and "Anomaly" demonstrate the power of restraint without sacrificing momentum. Building on the group's love of ambient improvisation, Love Comes Thru also features instrumental pieces with percussion by Brandon Valdivia (Mas Aya/Lido Pimienta).

The album closes with the sensual "Bubbling," bringing the journey full circle with a reminder that love ultimately comes through in its most embodied, physical form. Love Comes Thru is presented in a deluxe, limited-edition matte-finish, double-embossed jacket with a printed inner sleeve. Available on LP and digitally through Rubadub, In Sheep's Clothing, and Forced Exposure beginning October 2.

The latest release from Rainbow Disco Club’s label imprint, Beyond Space And Time, is the debut compilation from The Melting Hours, a live project by Wata Igarashi and Kuniyuki. WataIgarashi continues to make his mark on the history of techno, whilst Kuniyuki has long been revered as one of Sapporo’s greatest treasures. The two artists, who have long held mutual respect for one another, met whilst performing at the Draaimolen Festival 2025, and this encounter gave rise to The Melting Hours.

‘Blue Sun’ is imbued with a freshness reminiscent of the ambient jazz masterpieces released by prestigious labels such as ECM and Windham Hill. ‘Liquid Dunes’ sees the organic tones of the flute and percussion melt into over ten minutes of abstract sound textures, whilst the breathtaking ‘Cloud Touch’ awakens amidst a swirling vortex of pulsating downbeats and arpeggios. It is said that ‘Blue Sun’ was created by reconstructing studio rehearsal recordings, whilst ‘Liquid Dunes’ and ‘Cloud Touch’ were crafted from live recordings at Draaimolen 2025. The essence of these works—and indeed of the project The Melting Hours itself—lies at the heart of their improvisational nature.

It brings to mind the Rainbow Disco Club event back in 2026, where they wove their sounds amidst fresh greenery and surrounded by listeners under a clear blue sky. It felt as though the pulsating energy was spreading across the dance floor, guided by a session from The Melting Hours that seemed almost like a living creature. The organic breath one senses in this work not only evokes precisely that scene but also allows us to feel the unique, ephemeral nature inherent in this project—and, consequently, the boundless possibilities that stem from it.

Rainbow Disco Club のレーベル・ライン'Beyond Space And Time'から放たれる最新作は、Wata IgarashiとKuniyukiによるライブ・プロジェクト、The Melting Hoursによる初の音源集だ。テクノ史に残る実績を現在進行形で刻み続けているWata Igarashi、長きに渡り札幌の至宝として尊敬を集めてきたKuniyuki。兼ねてよりリスペクトを送り合ってきた両名がDraaimolen Festival 2025への出演を契機に邂逅し、始動したプロジェクトがThe Melting Hoursである。

ECMやWindham Hillといった名門レーベルのアンビエント・ジャズ傑作群を彷彿とさせる瑞々しさを湛えた"Blue Sun"。10分以上に渡るアブストラクトなサウンド・テクスチャーの中にフルートや鳴り物のオーガニックな音色が溶ける"Liquid Dunes"と、そして鳴動するダウンビートとアルペジオの渦に覚醒する圧巻の"Cloud Touch"。"Blue Sun"はスタジオでのリハーサル音源を、"Liquid Dunes"と"Cloud Touch"はDraaimolen 2025のライヴ音源を、それぞれ再構築し楽曲化したものだという。これらの作品、ひいてはThe Melting Hoursというプロジェクト自体のエッセンスは、その即興性を核としている。

WataとKuniyukiがゼロから音を立ち上げ、お互いのエレクトロニクス/生楽器を操る技術、それぞれエレクトロニック・ミュージック以前にフリージャズやニューウェイヴ/インダストリアル等に傾倒した時期を含む、音楽家としての半生を持ち出し合う感覚。そこに、例えばDraaimolen出演時に降り出した雨や、リハーサル時にスタジオに迷い込んだ蜂のような、外的かつ偶発的な要因、感情やムードの起伏までもが絡み合う様相。互いの予想を越えるスリルの中で曲が形づくられるプロセスこそが、この作品とプロジェクトを特別なものとしているのだという。

快晴の元で新緑とリスナーに囲まれ音を紡いでいった、去る2026年のRainbow Disco Clubを思い出す。まるで、生き物のようなThe Melting Hoursによるセッションに導かれ、脈動するエネルギーがフロアに伝播していたようだった。この作品から感じられる有機的な息遣いは、まさにそんな情景を思い起こすものであると同時に...このプロジェクトが宿すその場/その時限りの唯一無二性と、それ故に広がっていく限りない可能性をも感じさせてくれる。

Pascal Moscheni debuts on Limousine Dream with a double 12" featuring 8 stunning representations of the modern tech house sound. Ultra functional, but with plenty of character, and hard-driving but never overbearing - these are tools for DJs working with high-energy dancefloors.

On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.

Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.

It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."

This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.

On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.

With her fifth solo studio album, Half An Owl And A Full Moon Rising, landing on Dekmantel Records, Steffi harnesses the energy of the dancefloor for a powerful, uplifting ride into the core of what makes this culture so transformative. From her years as a dedicated raver in the late 80s, through to her global tours, prolific production and ceaseless love for music in its many forms, Steffi's innate understanding of the dancefloor informs this new body of work. Key to all of this is the joy of the club experience: the high energy and the vibrational field that's created when the DJ, their musical selections and the dancers align on the same wavelength. The "Feel Factor" as she calls it. Even the title is a reference: half an owl meaning half a pill.

Each track is imbued with pure, unfiltered club energy. Steffi's approach with her albums is to start from scratch, working up and out from a core idea rather than compiling music from an existing collection, and Half An Owl And A Full Moon Rising is comprised of eight cuts, whittled down from over 40. Opening with 'The Rolling Wave', the album immediately transports the listener into a world of emotionally and physically moving soundscapes. Across all eight tracks Steffi weaves together potent drum programming with ethereal pads, strings, heartrending melodies and straight up grooves: honest, no fluff productions that are designed for a very specific purpose. Listening to cuts like 'Sweeping Leaps', you can hear echoes of the huge variety of house and techno Steffi has absorbed. The title track wraps you up in its scintillating rhythms and heady strings, while, midway through, 'Acoustics Of Space' fires on all cylinders with its dynamic tempo, relentless drums and euphoric pad work.

We welcome back one of Ireland’s most important electronic music pioneers, Roger Doyle for his third solo release on our Allchival label. For those who don’t know, Doyle is a composer, producer, founding member of the influential music-theatre company Operating Theatre, and friend to the label. Doyle has been exploring the possibilities of electronic sound since the 1970s which we have been mining.
Idir brings together new fixed electronic works, software piano improvisations and voice, alongside a new recording of music from Operating Theatre’s 1986 production of Sebastian Barry’s The Pentagonal Dream, performed by Olwen Fouéré. Also included is a response to the dreamlike language of James Joyce’s Finnegans Wake.
Meaning “between” in Irish, Idir feels like a fitting title for an album that moves between eras, technologies, theatre and electronic composition: connecting Doyle’s pioneering past with his continuing practice. Returning back to an electronic foundation, the majority of tracks were composed between 2023 and 2025.

*2X12" Gatefold LP - includes download code.

Electronic musician nthng presents his fifth album, Last Light of the Sun, his debut release on topo2. Renowned for his meticulous productions and quietly distinctive artistic voice, nthng continues to move effortlessly between ambient, IDM, dub techno, and drum & bass without ever feeling bound by genre. Last Light of the Sun shows that the album format is a natural home for nthng's expansive musical vision. Throughout its ten compositions, the album moves gracefully between dreamlike melodic passages, restrained, fragile 4/4 structures, melancholic drum & bass punctuated by vintage house vocal fragments, and spacious ambient compositions that feel unmistakably his own.

The double LP is released by adventurous electronic music label topo2 on October 2, 2026. The record is pressed on two 180-gram discs of ICCS-certified bio-vinyl and housed in a heavyweight full-colour gatefold sleeve. Mastered by Isabel Schröer at OLO Mastering, with artwork by Alyssa Warren and Raen Coplin. Additional contributions include bamboo flute on "Flutter" by Temple Rat and typewriting by Karina Rovira.

Curated by ZSZS, ZF002 marks Zuflucht's return after a two-year pause in releases, this time with a physicalrecord made with the help of R.A.N.D. Muzik and Inch By Inch. It means a lot to bring together talented friends and their music for a shared cause. Across the record, the tracks move between early-hour warmth and late-night dancefloor weapons. All profits from ZF002 will be donated to Plan International, supporting their humanitarian work with children and families affected by the ongoing devestating crisis in Sudan.

San Francisco electronic pioneers Darwin Chamber and DJ Spun head down the arcade for four tracks of the unmistakable flavour of modified 8 Bit sound chips from the 80s. 'LFO's Are Real' definitely nods to the Leeds duo that kicked the Warp Records revolution off, but that's just a starting point for some rough edged electro machinations and some spooky extra-terrestrial samplings. '8-Bit Phantasy' connects Chicago-style piano magic with acid undertows and gets brought to dancefloor life by a serious injections of funky ass breakbeatery. 'Intruder Alert' is the gnarliest of the lot, the bass end nothing if not speaker threatening, before 'We Gotta Get' is wonderfully disorientating disco dub delirium. Raw and direct, this will set the floor alight quicker than a can of petrol and lit match.

*Import Exclusive*

Discover the world of Swiss artist Dominique Savioz. An anthology of self-released rarities, made between 1984 and 1997, that blend funk, synth-pop, and balearic vibes.

Limited pressing, comes with insert - carefully remastered, fully licensed, and including previously unreleased tracks.

A1, A3 Originally released on Jambo and Evasion Disques « Jambo » (EB 100 129)
A2 - Originally released on Dominique Savioz’s record «Intime»
A4 - Originally released on Dominique Savioz’s record «Nous sommes du soleil»
B1, B2, B3 - Previously unreleased

The Synewave label has legendary status amongst those who know and now boss man Damon Wild is back on it with a quartet of deep techno treasures. 'Avoidant' is a roaming, cavernous sound with gentle synth notes rising and falling over hefty kicks. 'Invincible' is more sci-fi in style with icy modulations and roaming pads over slinky, kinetic drum patterns and 'Organica' is a jumbled mix of feather hi-hats and more bleeping pulses with kicks pulled far apart. After the Detroit stylings of 'Coronas,' Sonic Mind records boss Donnel Knox aka D-Knox remixes it into something more direct and rhythmically rugged.

Long running UK Techno label Don’t hit’s it’s 50th release and welcomes Glasgow Techno heavyweight Gary Beck.

The Jerome Hill remix of Beck’s standout track ‘Glasgow Choir’ finally gets a release here, alongside the unforgettable original for the first time on vinyl plus 2 fresh new Techno hammers.

Early support from Dave Clarke amongst others.

Last year, Downside Up chief Brandon De Carlo aka BDC decided to bring the label to vinyl following a decade of digital-only releases. Release number one, which is finally available worldwide, naturally comes from the man himself. It's the first EP in his ongoing A Thousand Cuts series, which to date includes a quartet of digital missives. It offers a neat summary of his trademark sound, a blend of heady deepness, sonic grit, focused rhythms and an overall sense of tension-and-release. On side A, the muscular, raw and hypnotic 'Funny How Things' is backed by the deeper and wonkier 'Peer Pressure', while the flipside sports warped techno jacker 'Shell Of My' and weirdo ambient soundscape 'Uncommon Courtesy'.

DOSSIER002 UVB 2éme nouveau dossier contenant des éléments anciens - DOSSIER 2 A1. Dossier 2-1 A2. Dossier 2-2 B1. Dossier 2-3 B2. Dossier 2-4 "Unshadowing a second dossier by UVB. Tar Hallow and System Revival offer to rebuild the events with the precision of an addict. After finding out that the system goes far, all ideas become evidence. All tracks recorded in Berlin between the years 2012-2014.

Boston based production duo and room-mates John Barera & Will Martin continue their journey into sculptural, storytelling House music, with their debut album on Dolly - ' Graceless'. The pair's work has found a wider audience since the success of 'Reality', which found its way into the hands of Berlin's Steffi, and acted as a central gear and in her 2013 Panorama 05 Mix. John Barera has been a firm disciple of the House and Techno world for the past 10 years, and after launching Supply Records in 2011 has brought an elegant, resoundingly universal mixture of underground club tracks to the fore. A fresh and fruitful partnership with close friend Will Martin grew out of the pair's rapidly growing studio, and the latest results can be found here over the 8 cool, classy and refined contemporary House tracks.

John Prine's Found Dogs is a newly curated archival release celebrating the 30th anniversary of Lost Dogs & Mixed Blessings. Drawn from the original recording sessions and demos from the era, Found Dogs collects alternate versions, acoustic performances, and five previously unreleased tracks, offering a rare look into Prine's songwriting and studio process during a pivotal period of his career.Highlights include alternate takes of "Ain't Hurtin' Nobody" and "Quit Hollerin' At Me," a solo acoustic version of "Humidity Built the Snowman," demos such as "Lake Marie," and unreleased recordings including "Hey Ah Nothin'," "World Without Love," and "Dogs in Burlington." All tracks have been newly remastered for vinyl.

"Back in 2022, Ban Ban Ton Ton raved about George T’s then digital-only release, “Roll On, Kings Cross”. We described it as a “dynamite dose of poetry and digidub.” Likening the prose – which describes a train journey from the coast to the city – to Michael Smith and Joe Duggan, while comparing the production to Dennis Bovell’s remixes of Jarvis Cocker’s “Swanky Modes”, and The Sabres Of Paradise’s “Wilmot”. Melodica-led with a hefty post-punk flavour, its dub, which focuses on manipulating and morphing the bass-line, we called “hollowed out house.”

These tracks have now been pressed to vinyl for the second release on new imprint Noetic Rhythm, where they’re joined by Leonidas’ “Great Northern” mix. Eschewing his usual futuristic ethno techno jacking, here he drops into roots reggae. Creating something more skanking, more stepping. An extended “discomix” showered in filtered, Mutron Bi-phased percussion, ghostly horns and peppered with the odd syndrum pop. Washes of sampled surf appropriately accompanying George informing us that “to the left there’s the sea.”

The 12 also features, “Dr Doctor”, a fresh collaboration with Yas Mine, The singer / guitarist’s French vocals countering George’s Matt Johnson-esque delivery, and a John Barry / “Midnight Cowboy”-like melodica melody serenading the song’s slow, squelchy, electronic skanking. The dub, instead, showcasing Yas’ fine fretwork." BAN BAN TON TON review

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"These tracks are massive! I love Roll On King's Cross the best" KAY SUZKI (Time Capsule)
"I played the dub (Dub On, King's Cross) at a club in Oslo alongside some Maurizio and it sounded great. Bit of an oddball." Also played on NTS Radio and in Mixmag mix. JONNIE WILKES // OPTIMO
"Really digging Mr Demure when he drops into dubwise" DR ROB // BAN BAN TON TON
"Yes. Nice" NICK THE RECORD
"Awesome" JONNY ROCK
"I really like this EP... Love the Leonidas dub!" CEDRIC WOO (Beauty & The Beat, LDN)
"Love the blend of Augustus P vibes with a post punk dub feel. Bingo!" DICKY TRISCO
"I love it and will be playing" TREVOR FUNG (Ibiza Legend)
"Yes this is dark but kinda friendly.... brilliant...It's like ghost town ...I love Leo's mix" FOR MANKIND (Pikes Ibiza)
"Love the release and LOVE LOVE LOVE Dr Doctor!!!! Psyched to play this one out all weekend." ZILLAS ON ACID // James Weissinger (Philadelphia, US)
"This is amazing. Dub on kings cross is a banger - really love this one" ARVEENE
"Loving the Leonidas dub" ATEMI (Blackbush Orchestra / Abstrack)
+
PREVIOUSLY
"Melodica heaven" JD TWITCH/OPTIMO (RIP)
"I love this" IVAN SMAGGHE
"It's hot!!" JONNY ROCK
+ plays/support from:
DON LETTS (BBC 6Music)
TOM RAVENSCROFT (BBC 6Music)
HARRI (Sub Club)






[f] Roll On, King's Cross [Leonidas' Great Northern Mix] 06:54
[g] Dr Doctor [Instrumental Mix] 03:25

Warmer than warm club/techno groovers by the man Brooks Mosher, delivering his third release on Dolly. 4 very strong cuts with exactly that dreamy & sensual feeling which might be the main reason why we like to dance & sweat in the dark so much... body to body with the eyes closed, far away from everyday trouble... Dance, make love and heal yourself. Powerful dj-tool on several levels!

With 'Songs For Tova' Dolly introduces a brand new producer called Afik Naim. This rough diamond was pulled out of a cave near Jerusalem. He has a cinematic experimental take on what you would call Techno but he is rather hard to classify to be honest. Exactly what we like, somebody who stands out with his typical sound pallet! Another perfect player on this 'Songs For Tova' team is the never disappointing Kassem Mosse with a killer remix to wrap up this high class 4 tracker!

Basic Soul Unit returns with another deadly EP on Dolly, further investigating the thin dividing line between techno and broken beats. A-side "Wallow" is a menacing big room stormer with a delicate pad breakdown, with Voiski providing an alternate more driving techno version of it with a splendid melodic twist midway through the track. "Radiate" and "Joyride" on the B both have BSU's signature rhythmic ideas and fresh energy with "Radiate" even going full-on Broken Rave! "Joyride" is that upbeat funky techno nugget that's going to sit in your DJ bag forever.