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James Curd and Osunlade. After years of playing back to back DJ sets and collaborating in the studio, they decided it was time to create something that could represent both the music they make together and the shows they play. Their sound is a natural meeting point between deep house grooves and soulful roots, reflecting both artists’ histories and shared love fortimeless dance music.

The first single from Nomadic’s is “Better Man”. The track was originally signed to Defected Records,but after creative differences about how the release should be presented, the contract was voided. That decision gave James and Osunlade the chance to put the music out exactly as they envisioned, and the song now finds its proper home on Pronto Records. The package includes the original alongside a set of remixes from some of the most exciting names in underground house.

Dutch producer Frits Wentink delivers a remix in his unmistakable style – raw drum programming, warm analogue textures, and the kind of off kilter groove that has made him one of the most respected names in Europe’s house scene. Mr Ho, co-founder of the cult label Klasse Wrecks, adds his own twist with a version that nods to classic rave and electro energy, while keeping things firmly locked for the dancefloor. Finally, LA based duo Too Easy bring a mysterious touch, layering live instrumentation with electronic drive, showing why they’re quickly becoming ones to watch.

With its story of creative independence, heavyweight remixers, and the credibility of two deeplyrespected artists at the helm, “Better Man” is both a club record and a statement of intent for what Nomadic’s represents.

Four heavyweight cuts. Zero mercy. Due to leave dancefloor's destroyed - a relentless, floor-shaking display of Wrong'uns at their finest.

The first release in King Shiloh's Africa Series, now available for world wide distribution. Addis Ababa based Tiger Simeon & Brada Jahziel feature on Rastaman Vibration, while Kenyan singer Lavosti pays tribute to the Real Reggae Warrior on the flip. Both sides come with two Jah Works dubs.

The music of Foreign Material carries an invisible veil: at first glance this is great, potent and highly functional contemporary Techno. But for those willing to see, behind the veil there's more than meets the eye. An old, wise Baba-DJ once claimed that we are merely "redefining the ancient tribal ritual for the 21st century". Titles like "Kantae Niskae" and "Drums Of Kaltjär" alludes to that specific, long forgotten past that we all still carry deep within. The blissful and etheric A-side, contrasted by the caveman mania of "Kaltjär", represent the dualistic nature of our scene, our sound and our aim as a label, and encapsulates everything we love with Foreign Material's unique approach to Dance Music.

On remix duty we have none other than Stockholm based "Deep" pioneer Evigt Mörker. Expertly withdrawn, edited and added, he's created a groovy, yet atmospheric, DJ-tool for the ages. Expect to notice it in a wide array of DJ-sets in the near future.

In the late ’90s, Trance Induction, the project of Tjeerd Verbeek, established a truly unique sound by fusing acid house, ambient, techno, world music, breakbeats, and industrial new wave. Now, three carefully selected tracks from his extensive catalog are being remastered and released on vinyl.
The A1 track, “Join The Circus Of Dr. Lao 2,” has been a long-time favorite of label owner Tomoki Tamura, frequently featured in his DJ sets over the years. A2 delivers a deep, bouncy groove laced with trippy acid sounds that take the floor on a hypnotic journey. On
the B-side, you’ll fi nd the original version of “Join The Circus Of Dr. Lao” — appearing on vinyl for the first time ever.
Step into a sound world only Verbeek can create. This is a release not to be missed.

2026 Repress

Al Kent needs no introduction when it comes to being one the most prolific kings of disco in the UK. He reimagines hidden treasure and takes inspiration from the glory days of 70’s dancefloor nuggets to create modern day classics. Come Back Home (Again) is probably his most popular track to date and here he re-works it with his Disco Love Orchestra updating this disco gem for a new generation. A Philly style musical sound-bed with hooks galore topped by one of the most rousing, soulful male vocals you’ll hear in a long time.

For its fourth chapter, Dinghy presents Aron’s latest dancefloor-focused explorations, joined by none other than Dan Andrei on remix duty, delivering a deep, psychedelic twist on the B-side.


Early support comes from Rhadoo, Priku, Mountain People, and more.

This vinyl-only release is limited to 300 copies, pressed on 180g wax.

Mastered by Mike Grinser at Manmade Mastering, Berlin.


Artwork by Jesse Wensing.

M.C.’s/How Many Miles? is the follow-up solo single and arrival proper of MC D. With DJ Fusion once again handling production and scratch duties, this extended player is no less uncompromising than its predecessor. Benefitting a full release with the now iconic Mendoza green labels, it cemented the young MC in the annals of UK rap history. MC D (aka Darren James) cut one more record for Mendoza as part of his Silent Eclipse project before moving on to future collaborations with the likes of The Principle (Caveman), Deckwrecka, Rodney P and Skinnyman. M.C.’s/How Many Miles? is ranked amongst Mark McDonald’s Top 100 UK rap records in the essential Megablast book published in 2024.

The third release on Pan Records comes from BRS (British Rhythm Services), a UK deep house production collective active since 2000. They first appeared on the Parisian label Cyclo Records and quickly followed up with releases on Imperial Dub (San Francisco) and Leeds-based 20/20 Vision.

Throughout the 2000s, BRS — originally formed by Ben Vacara, Robert Evans and Mr. Mulatto — built a strong reputation for quality deep house. In 2001 they launched their own imprint, Friends & Families, while their music also appeared on major labels and compilations including Café del Mar, Ministry of Sound, Paper Recordings, Peng, Late Night Tales and React.

Over the years the project evolved, with core members Ben Vacara (also known as Frank Situation) and Mr. Mulatto continuing at the forefront, joined by musicians such as Dom Thompson, Phil “Dr. Keys” Campbell and James Payne. In 2019, BRS saw a new wave of reissues and fresh material on Cyclo, Wolf Music, Pressed For Time and their own label, Situationism.

Still active as producers and DJs, BRS have now been shaping UK deep house for over 25 years.

We are alive and well — thank you for asking. As the seasons begin to fade, we had no choice but to release this record by the mysterious Stockholm – ish duo (?) Ation Rop and Iceman MK. Expect everything you might find on other tanzmusik – platten — minus, well, everything. This one is actually fun, warm, close to the heart, and dare we say: very, very, very good. If you have an open and sincere interest in life, art, literature, and poetry, this might be something for you. Otherwise, please look elsewhere — these ar en’ t the droids you’re looking for!

“We know what jazz is when we hear standards or music that is close to the same source, to a recognized pattern. But what is jazz? Here, a starting point. "Blow" showcases an accumulated CITIZEN:KANE techno vocabulary but it quickly tones down the sensation by introducing frequent breaks in the rhythm, as in "Peiote". But even there we are able to "feel" techno by recalling Wolfgang Voigt's M:I:5 and its parallel yet contrasting rhythmic grids. Elsewhere, manifestations of opposite forces: the beat keeps a body firm on the floor, eminently physical but not commanding; and melodies, cosmic threads, suggest ascension as well as a drive towards the within, creating space for feelings and/or rationalization. "The Fence" or "Montreal" stand as good examples. One less evident aspect of beauty in this record is the apparent coldness of the music, almost rigid and devoid of passion, and thus we declare it more true. As the mind performs a synthesis of what was learned after a class, last track "Family" (expressively) gathers impressions of what went before, adding poetry to the moment. "Blow" may be a reference to the most familiar instruments used in jazz but it can also figuratively mean an explosion, an aesthetic liberation, even with (our) knowledge that for now, and theoretically, the artist chose to concentrate on this thing called jazz.”

ALBUM Obongjayar's forthcoming sophomore ‘Paradise Now’, is an ambitiously fresh global prospect, with roots grounded in his own wide-ranging world of influences. It’s everything from pop to punk, dance to Afrobeat, funk to folk, refracted through a thrilling new perspective. “I wanted an album that I could listen to from start to finish on a night out.” But he still considers it something of a Trojan Horse. Recorded between London and LA with UK alt-rap mainstay Kwes Darko ( Pa Salieu, John Glacier) and Grammy-winning production trio Beach Noise (Kendrick Lamar, Baby Keem, Bakar), the record is as emotionally complex and broad as Obongjayar has ever been, even within its contagious candy coating.

OBI and insert includedstellal

After a pause since the pandemic, Sol Asylum returns to vinyl with the launch of SA-LTD, our limited white label series. To mark the occasion, we bring back one of our longest-standing artists, Pressure Point, who delivers a split EP that perfectly bridges his sonic worlds.


On one side, Pressure Point explores UK bass-heavy, acid-tinged sounds, while on the other, his alias D:fferent Place serves up modern, groove-driven house, highlighting an artist unafraid to push his own boundaries. We’re back at last, and couldn’t be more thrilled for it to be with the extraordinary talent, Pressure Point.

VA – BLIS002 is a four-track sonic journey into the heart of mood-driven dub techno, curated by BLACKINSTOCK with a focus on emotional depth, spatial exploration, and stripped-back intensity. Featuring contributions from Noosa Sound System, Mac Rattana, and Chain Selector, this EP weaves together atmospheric yet rhythmically commanding cuts—perfect for immersive listening and nuanced set-building.

A1. Noosa Sound System – Trope (Build 2) opens the record with melancholic elegance, where dub textures are sculpted with warmth and restraint, setting the tone for inward reflection. A2. Noosa Sound System – Allways Rains follows with a shadowy, slow-burning progression—equal parts heavy and hypnotic, layered with raw emotional weight that feels both intimate and expansive.

Flipping to the B-side, B1. Mac Rattana – Om introduces a more buoyant, acid-tinged energy. Its pulsing low end and fluid motion give it a meditative yet tactile quality—inviting movement while maintaining a contemplative core. Closing the EP, B2. Chain Selector – Techno Dub delivers a deep, cavernous excursion—dark, refined, and uncompromising in atmosphere. With its textured delays and mounting pressure, it stands as a statement piece for those who crave depth over flash.

At once bouncy, raw, and emotionally resonant, BLIS002 is crafted for listeners who embrace dub techno as a language of feeling and form. Deep, suspenseful, and sonically purposeful—this is a release designed not only for the club, but also for the introspective spaces between.

BLACKINSTOCK is a division of MixCult Records

Limited edition

boom boom...three minimalistic techno tools for the floor. No bullsh*t, no cheese.

Bastian Balders Kommand

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

Incredible new production from TERRANCE MCDONALD following up his MIND OVER MATTER reissue. This blend of Chicago House and Detroit Techno is guaranteed to take over dance floors across the Globe. No wild BPMs here just the right vibe, sound, and feeling.

Legendary trax from the DUB MASTER himself, freshly compiled for MOOD GROOVE MUSIC! The bass is heavy, the drums are crispy and the vocals tell a story we all hear differently. Fans of JEREMY SYLVESTER, TODD EDWARDS and SMACK take notice. Full color sleeve, limited pressing.

London's PRESTi lands on Shall Not Fade's Time is Now imprint with four dancefloor weapons that feel like they forked from the hardcore continuum at the point El-B, Horsepower and Artwork's dark garage was becoming proto dubstep.

EP title Track 'As We Move' is everything that is special about that time; bassweight, space and rudeboy swing. On "Big Ting" PRESTi reaches for more classic UKG groove but fuses it with yet more spacious wobbling low end precision. "Baile Pulse" pivots... channeling in grimey pulse basslines and 4/4 baile funk techno this time. "Get Back" is just the fait accompli for a producer clearly enjoying such fertile ground, a peak time speed garage warper ready to cause damage at any function.

Essential dancefloor gear from a producer growing tall and widening the cracks.

Master Tee returns to his own mighty Freeze imprint! Presenting four highly affective and characteristic house cuts that were not available on physical format before.

Dark Entries returns to the steam room with Coatshek’s Sound Bath. For their SoundBaths series, now-defunct poppers brand Double Scorpio commissioned artists to make mixes for an imaginary queer bathhouse. When asked to contribute, San Francisco-based artist Coatshek aka Sheki Cicelsky took the opportunity to create original compositions. The resulting album, Sound Bath, serves as a masterclass in slow and sultry ambient techno. Taking inspiration from Pink Floyd, Manuel Göttsching’s E2-E4, and his friend’s DJ mixes (particularly Nick Moss and Matthew Paul’s for “Por Detroit”), Coatshek landed on 107 bpm as the optimal speed for sauna sex. With just a few synths, his Telecaster, and “lots of delays, reverb, and weed,” he sculpted stunning cuts like the effortlessly grooving “Softest” and the psych-laced “Triple Virgo.” The cover for Sound Bath was designed by Coatshek’s fiancé Nate Sprecher, and features photographs by Luke Kraman taken at The Ever Afters campout. The album also includes an insert featuring the Double Scorpio SoundBaths series artwork by Blake Wright. Equally hypnogogic and sexually supercharged, Sound Bath situates the bathhouse as a liminal dreamspace of unbounded erotic potentiality.

Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed “Spider” by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite.

Throughout the 70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early 80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker’s partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider’s music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider’s compositions for film veer from the expansive, reverb-drenched “Rainforest” to the Miami Vice-esque chugger “Tech.”

While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music will be available on both LP and CD, the latter of which includes a 20-minute version of “Strange Places…Strange Things!” as a bonus track. The album’s cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider’s estate by Michael Ely, Spider’s partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later.

Chicago legend K. Alexi returns to Dark Entries with K.A. Posse’s Strkes Again, an EP of preleased unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn’s personal archive. This record showcases the rawer, more immediate side of Shelby’s sound, with tracks full of overdriven 808’s, careening sirens, and dangerously funky breakbeats. “Imported Taste” brings Shelby’s signature deep pads to the front of wild congo-laced percussion. “Suckas Be Ready” is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking “Muzic Box.” Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh.

Chicago legend K. Alexi returns to Dark Entries with Warehouse Trax, an EP of previously unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began writing songs and honing his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Warehouse Trax follows with six tracks recorded in Chicago between 1991 and 1994. The material here has all the hallmarks of classic K’Alexi. Salsa-inflected rhythms, emotive basslines, and hip-house vibes are displayed on tracks like the high-octane “Jungle Line” or the low-key tearjerker “Protect and Survive.” There are also some unexpected surprises in store. “Aaaah” comes out of the gate swinging with hard-hitting beats and apocalyptic ravey vocal pads evocative of the edgier material on Saber Records or Djax Up Beats, and the surprisingly contemporary-sounding “Klub Dred” delivers half-time dub with stuttering vocal samples. Warehouse Trax comes in a retro-styled sleeve designed by Eloise Shir-Juen Leigh. This is essential material for devotees of classic house sounds.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

Savy Records celebrates its fifth year with Lumo, a new vinyl-only series built around the darker corners of the dance floor. The first edition gathers four artists whose productions move naturally through the night -- from tension and space to drive and release. The record opens with Andy Martin, a Mexican-Jamaican artist whose dub-infused ''Wicked Tune You Know'' nods to UK bass influences, with a percussive undertow and an addictively off-kilter synth line. Finnish favourite Sansibar makes his return to the label with ''Innerwelt,'' a twisted electro cut laced with acid paranoia and washed-out vocals, slightly unsteady but always in motion. On the flip, IDA -- fellow Finnish export and SAVY label founder -- keeps things tight with ''Electrostatic Rest,'' a straight-up electro roller built on clean drums and a classic electro bass, one to lock in the dancefloor groove with. Lewski closes with ''Glakk,'' a machinated, bass-heavy analogue banger, driving up the tempo as it heads up the peak time. Lumo presents a darker, deeper side of Savy: one that nods to the underground, and cut for purpose as a vinyl-only release.

Repress!

Between Faith and Noiz represents the exact point where faith and inner chaos coexist.
It's an introspective journey toward the center of the mind: the space where thought becomes distorted, where sound turns into a reflection of doubt, where faith is tested within one's own noise.

Noiz symbolizes that internal, mental, and emotional noise that distorts reality - the voices, the interference, the overload of stimuli.
Faith, on the other hand, is the thread that keeps direction, the spark that survives when everything vibrates and collapses.

The EP portrays that invisible struggle between believing and falling apart, between the silence that soothes and the noise that purifies.
Each track acts as a stage of that journey: the oath (Faith and Oath), the wound (Ulcerate), the essence (Oxeo), the connection (Captures Spirits), and finally, the release (Noiz).

It's not about finding faith outside, but rebuilding it from within the noise.

Stonie Blue and Stephen Carmona come from house music's true school and combine here for a set of timeless, tough, but emotive jams steeped in Midwest magic. 'Joyful Noise' is a playful tease that rides mid-tempo kicks but is buzzing with little synth details that want you to go faster. 'Embrace The Night' is moody, smoky late-night house swing, 'Max Potential' has analogue drums coated in dust with plenty of room left for the sparse chords to make an impact way beyond their minimal design. 'Stone' ramps up a gear with more dense grooves and 'About Time' is all about pinging kicks and fuzzy pads as conscious spoken words bring the mental heat.

Duality Trax welcomes the newly formed 9 Hours Ahead to the label with their debut release, complete with a remix from progressive royalty Bliss Inc. Landing in early 2026, Smooth Sailing traces a blissed-out sonic journey from the combined minds of San Francisco’s Namastrange and Amsterdam’s Breeze. Their cross-continental connection threads throughout the EP, with subtle nods to the vast ocean that separates them. The title track opens the release with a gentle drift: airy synths, angelic pads, and tribal percussion guiding listeners steadily out to sea. Meridian Space picks up the momentum, driven by a pulsating, everexpanding bassline. Namastrange’s whispered vocals weave between swelling orchestral pads, before the track mutates into a mind-bending acid line - perfect for a heads-down, eyes-closed dancefloor moment.

The B-side turns up theenergy with Transatlantic Dreams, a dancefloor-minded cut that nods to the golden era of San Francisco progressive and the Hardkiss legacy. Lush piano melodies, breakbeat interludes, rave stabs, and glimmering gated vocals collide in a warm, nostalgic swirl. Closing the EP, Bliss Inc. delivers a psy-tinged reinterpretation of Meridian Space - a dark, brooding acid workout that pulls the original into deeper, murkier waters.

"Recorded in Naples historic recording studio Auditorium Novecento ‘notes from the air’ is the second Ciro Vitiello full-lenght album, that turns around the ambiguous figure of the seagull, a coastal apparition both ridiculous and divine, foolish and sacred, graceful in flight yet uneasy on land, something that knows more than it shows, carrying both wonder and threat in its gaze.

The album breathes through that tension, the desire to fly and the fear of falling, the suspicion of having already crashed somewhere unseen.
Wind, creaking ropes, invisible currents: these become signals from another uncoding state, reminders that air can be both home and haunting. The record lingers in suspension. Each track feels like a fragment carried by wind, a message blurred, a memory misplaced, something approaching meaning but never arriving.

The record drifts between orchestral gestures and dream-pop/post-rock shadows, guided by Ciro Vitiello’s fascination with shoegaze textures and cinematic atmospheres, and features contributions by Heith, Renato Grieco, Stefano Costanzo, Caraluce and Daniel Kinzelman. Vocal features include Martyna Basta, Heith and Antonina Nowacka, alongside Ciro’s own voice."

We’re proud to unveil the very first vinyl release on Worst Date Records—a milestone we’ve been eager to share with you.
This debut pressing features four original tracks by our founder, Anas M, each one connected through a narrative thread that unfolds across the record. It’s a story told in sound, crafted with intention from start to finish.
This is just the beginning, and we hope to bring you many more releases as our journey continues.

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

After the last release ‘Innocence’ with Nathan Cable gaining support from John Digweed on his renowned Apple Music Compiled & Mix Series, we bring forth one of the remixers for his own single release ‘Snake Altar’.

Richie Blacker Northern Ireland’s progressive house & breaks prodigy who’s seen releases on Sasha’s Last Night On Earth, Scream’s Of Unsound Mind, Franky Wah’s Shen, Armada, Anjuna Deep and so many more including his own imprint Mess Express. We were super excited to sign the original breaks mix of ‘Snake Altar’, an amazing ethereal & euphoric progressive breaks track with its haunting ethnic vocals we just knew who could step up as the originator (this time) to remix the third Break-The-Future project.

Ray Keith delivered his signature sound system Jungle / Drum & Bass sound to which we think you’ll absolutely love, just oozing in class. The way it flows from euphoric to his heavy hitting signature darkness to deep jungle roots and back is exactly what we wanted from the big man himself and absolutely buzzing to have Ray on the label for our third release.

To finalise the package Richie Blacker delivered a 4x4 mix, now the lead track and to close off the release a beatless mix & acapella giving you some serious tools to work with… THIS IS ESSENTIAL!

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

The first chapter of a new series exploring identity, temporality and the many dialects of contemporary techno. Four tracks, four distinct approaches, yet bound by a shared pursuit of tension, texture and transcendence.

Chronicles Diary introduces its identity with WAYF VOL1, the first entry in a series asking when, not where, this music belongs. The answer comes in four club pieces that favour impact over ornament, tracing tension, texture and a sense of forward movement.

Boyd Schidt & Uvall's "Bullet Train" is tensile 4/4, serrated hats and a tunnelling bassline pulling the room into a tight zone. Commissar Lag's "Battle Rites" ups the pressure, all offline bass and percussive rhythm. MMSS pares things back on "Aion_01," a looping, hypnotic figure that blurs time without dropping energy. Time Traveller (UK) closes with "Stud," glitched and driving, a roughcast groove that breathes between the hits. Four perspectives, one intent: functional, underground Techno that works.