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Kukangendai are the innovative three-piece Kyoto based experimental rock band formed in 2006 with Junya Noguchi on guitar and vocals, Keisuke Koyano on bass, and Hideaki Yamada on drums. Since 2016 the band have set up shop in their studio and venue space, Soto, which houses an incredibly well tuned and powerful sound system that has become a well known destination for touring musicians. In March of 2025, Marionette was celebrating a belated 10 years of activity with label showcases across Japan in collaboration with Dotei Records, and Soto was inevitably one of the stops as many label alumni have set foot in the venue over the years. This is where I got to experience Kukangendai perform for the very first time and knew right then we were destined to work together.

Kukangendai embody an undeniable sense of timing and precision through collage-like repetition of minimalist phrases that manifest as a single unified rhythm. Their latest offering for Marionette, titled Baquet Wheel, is a purely acoustic endeavor, remarkably recorded live using Taku Unami's special binaural microphone. The trio seamlessly twist polyrhythms and melodies rooted in jazz, krautrock, blues, and Tuareg producing a timeless sound that preserves the primitive and memory evoking narratives buried deep within the music. Over the course of five tracks, the visceral nature of Kukangendai’s dynamic evolves from playful riffs that are seemingly familiar yet strikingly original, making it impossible to discern exactly when this material was conceived.

Kukangendai have maintained a prolific yet relatively low profile for the last two decades, with a handful of self-released editions on their own labels (Soto and Leftbrain) as well as a collaborative album with pioneering electronic music composer Ryuichi Sakamoto in 2018, then venturing outside Japan in 2019 to release their first widely distributed album on Ideologic Organ, a label curated by Sunn O)))’s Stephen O'Malley. Other collaborative projects to date include an album produced with rap group Moe and ghosts, live performances with Keiji Haino and with poet Gozo Yoshimasu, productions with the Chiten theater company, and most recently a remix album of their works featuring Carl Stone and Madteo.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

Originally released via the Leipzig-based underground label Minor in 2017 the two tracks on this super limited 7" vinyl release see the Japanese producer providing a glimpse into the deeper, more intriciate and surely more intimate side of his work throughout his now 25 years spanning career. Both tracks on this release are based on fragile, fluttering, sparse yet playful rhythmatic signatures evoking memories of late 90s / early 2000s Electronica x IDM releases and backed by most beautiful, icy and glistening atmospheres reminiscent of autumnal morning dew or calm iridescent glacial reflections caused by a rising sun in absolutely unscathed wilderness.


Never officially distributed before and only known and recognized by a few well informed selectors out there this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.

Limited pressing of 100 single copies on white marbled vinyl.

Veerus & Mattia Saviolo bring their A-game for the brilliant ‘Move Your Body’. The Italian compatriots aren’t new faces to Drumcode. Veerus has earned his stripes via five fantastic EP over an eight-year period, highlighted by ‘Hypnosis’, ‘System’ and ‘Cycle’. Meanwhile Mattia Saviolo is a recent debutant dropping the excellent ‘Parallel Dimension’ on A-Sides Vol.10. When Veerus suggested a collaboration to Mattia, he didn’t mince his words. “Yes, but it has to be a bomb!” Over two days the pair locked in to build an outstanding peak-time production from the ground up. “We started completely from scratch, with no ideas prepared in advance and no project exchanges before meeting. In just two days the track was finished and everything happened very naturally. We both brought our own vision into the process without stepping on each other’s toes, which made the collaboration feel effortless from start to finish,” Veerus shares. ‘Move Your Body’ has a distinct charismatic appeal not commonly found in techno tracks, highlighted by a stomping riff throughout and tension-filled break, before it turns into a pumping cut in the final stanza. A straight-up belter! Accompanying it is a captivating solo track from Mattia, ‘Mindframe’. An absolute gem, file under futuristic techno that sounds like no other.

Vocalist, producer and musical visionary Jimetta Rose announces the release of solo album MettaSun, via our dub label Day Dreamer. Inspired by the interplanetary mythologies of Sun Ra, MettaSun reimagines a selection of the cosmic jazz pioneer"s most iconic recordings through Jimetta"s unique lens - a powerful expression of the female imaginary and a positive vision of radical hope and Black joy amid the chaos of contemporary America.

This release closes the current run of much‑needed raids on the Digi Dub archives. Label boss Berwick emerged from the DIY ferment of Camberwell's squat era , blending reggae and rave influences into a stream of boundary‑pushing music and events under a tangle of ever‑shifting aliases. Nodding to the Far East stylings of Augustus Pablo, South‑Eastern Style finds Berwick, working under his Mudskipper alias, refracting Pablo’s melodic meditations through a mutoid bass filter, delivering six cuts of idiosyncratic, genre- agnostic electronics.

Some of Berwick’s Mudskipper material was partially exhumed for digital release in 2021, but the alias was only one of several he deployed during Digi Dub’s most fertile years and during the 90s Mudskipper material was released sparingly. It feels fitting, then, that this project finally gets its due in the form of a full vinyl release.

Beware Dub is the only track here to have seen daylight before, with a version originally appearing on the 1996 four‑track EP 4 Golems. It makes a fine opener: an agile bassline rolling through tunnels of processed skank, rocking in a haze of centrifugal breakbeat. Ambrosial Dub mounts an imperious, guitar‑laced groove onto a solid steppers march, while Pillars Dub drives another vigorous, sub‑heavy bassline forward in the mix alongside a mechanised rhythm track, shards of noirish piano and bursts of twinkling synth.

The second side opens with the cosmic skank of Stand It Dub, followed by the mutated one‑drop drift of Where There’s Dub, suspended in a canopy of gentle keys. Wasted Dub closes the EP in fine style, Berwick applying widescreen dubwise pressure: a robust low end topped with the distinctive twin twangs of jaw harp and slide guitar, coming on like Jah Shaka meeting Ry Cooder.

Ascension on Wax returns with its sixth release, welcoming back label co-founder Lavan for Soul Baby EP Inc. K15 Remix. A four-track, 25-minute journey through deep, soulful and jazz-influenced house music.
Rooted in the warmth and musicality that have become central to the Ascension on Wax sound, Soul Baby is an honest, straight-up house record made for the soul. Across three original productions, Lavan explores rolling grooves, hypnotic harmony and atmospheric synth work, balancing classic house sensibilities with a distinctly UK influence.
Completing the EP, K15 takes on "Zoning" with a stunning rework that introduces UK broken-beat rhythms and additional Rhodes keys. His signature futuristic deepness brings a fresh rhythmic dimension to the track while retaining the soul and spaciousness of the original.
The Soul Baby EP feels equally at home in a DJ bag or spinning on a living-room turntable. Timeless, soulful house music with a strong sense of identity.

Texan beatmaker Flobama continues his Astrophonica journey with the four-track EP ‘Soundboy’s Return’, exploring fuzzy Jungle/Hip-Hop crossovers with the help of the now-iconic Amigo software. The results so far have been full of character and depth, marking the emergence of a distinct artistic identity. Now more than ever, a unique sonic palette feels essential—and Flobama has one in bucketloads. From the first pad, chord or whiff of a breakbeat, his sound is instantly recognisable: a fresh, modern take on a classic formula.

TECH043 brings A.B.E.L. and Eluna Vex together through a shared sense of rhythm and purpose.

Both authors have already developed a clear and confident approach, even if wider recognition has yet to catch up. Their music is ready to reach beyond the circles that already know their work.

Across both sides of the record, firm drums, driving percussion and deep atmosphere keep the motion steady. Each track has its own shape and detail, while the shared weight and mood allow the four tracks to be heard as one complete work. DJs get four reliable cuts that can build tension, hold the groove or move a set forward without a break in tone.

The difference between the artists is clear, but never disruptive. Eluna Vex and A.B.E.L. bring separate ideas to the record, yet their tracks feel closely related in character, depth and attitude. This balance gives TECH043 range without losing focus: two artists and one consistent physical drive.

A1. “Unsafe Road” opens the record by setting its rules: full pressure, forward drive and several lines developing at once. It tests the listener’s attention, offering a choice between following the whole structure or focusing on one thread within it.

A2. “Getting Away” works like a spell that pulls the dancefloor together. It follows one clear narrative and a direct sequence of events, building towards a climax where every element lands as one shared impulse.

B1. “Test And Run” opens a more exploratory side of the record. It moves through changing forms and gradually reveals its language, without showing the full picture at once. Structurally complete on its own, the track invites the listener into less predictable territory.

B2. “Subconscious” is built on balance, giving equal weight to every part of the sound without allowing one element to take control. It makes no loud statement, but closes the record with a complete and carefully held form.

At this point, the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago are as legendary as any of his work. And sure enough, there's still some being unearthed today.

The fourth entry in a 7" single series is taken from one of Jones' customary completely unlabelled DATs, which he sent to labels seemingly as fast as he finished them.

A new series of singles collecting one of Bryn Jones’ innumerable DAT tapes that would show up at the labels he worked with sans any identifying marks.

Side A layers multiple voices (a background, faraway wail that either is or is akin to a muezzin, and a flatly declaimed two-word phrase that periodically halts proceedings) over his classic, slightly brick-walled hand percussion for a strangely meditative experience, as Jones phases elements in and out, more or less prominently in the mix. Side B however, open in a surprisingly dreamy place for Muslimgauze, with a looped ascending synth pad and beautiful sampled singing only gradually acquiring percussive accompaniment. As with the other side, Jones is content to let these elements interact and swap spaces in the mix for the duration, trusting in the sturdiness of his chosen components to carry the listener through.

r.hitect opens a new chapter with a refined vinyl release that signals both evolution and intention. Exploring subtle textures, intricate rhythms, and a deeper, more introspective sound, this record marks a shift toward a more personal sonic identity.

The release also introduces Croquis, a new label concept focused on capturing music in its purest form — raw, spontaneous, and essential. More than just a label, Croquis is a space for stripped-back expression and meaningful sound.

This vinyl sets the tone for what’s to come: minimal, emotional, and deeply authentic.

Early DJ Support: Moxie, Grant Dell, and Saoirse

HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.

HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.

Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.

‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.

‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.

Living Weapon returns with Death In The Family, a full-length that confronts mortality, meaninglessness, and the aftermath of existence. The release broken down over 23 minutes toward an unresolved end — life examined at its start and its finish, with the universe indifferent to either. Recorded, produced, and engineered by Jeremy Martin over fall 2025 into spring 2026 — the band's first time tracking a full album internally. Mixing handled by Taylor Young of The Pit Recording Studio and Mastering by Nick Townsend. The album is introduced with "The Leaving Process” laying out the album's core idea: life as connection, not permanence — matter created and destroyed, briefly aware of itself in between.

"Oden’s Hunt Green" Marbled Vinyl
New LP from oneline drawing with full band

Komponist und Pianist Alexis Ffrench veröffentlicht sein neues Album "24". Es ist eine musikalische Reise, die den Zuhörer sanft vom Morgengrauen bis zum Abend begleitet. Es vereint 24 von Ffrench komponierte Originalstücke für Klavier, Streicher und dezente Percussion. Jedes Stück spiegelt die alltäglichen Momente wider, die unser Leben prägen. Das Album hat einen simplen und zugleich unerwarteten Entstehungspunkt: Bei einem Spaziergang durch London bemerkte Alexis ein Schild vor einer Kirche. Darauf wurde eingeladen "guten Kaffee für gute Zwecke" zu genießen. Die Wärme dieser Idee, die Alltäglichkeit, das Gefühl eines kleinen täglichen Rituals, das zu etwas Bedeutungsvollem wird - blieb ihm im Gedächtnis und wurde zur Inspiration für "Coffee Song". Alexis stellte sich die Frage: "Was wäre, wenn wir für jede Aktivität im Laufe des Tages ein bestimmtes Musikstück hätten?" Musik, die uns dabei hilft, jedem Moment bewusst zu begegnen und ihn wirklich zu erleben. Musik, als Weg zu einem achtsameren Leben. Alexis Ffrench ist ein Künstler mit einer besonderen Fähigkeit, Musik für die Seele zu schaffen. Seine Erfolge sprechen dabei für sich: Er hat über eine Milliarde Streams und ist damit einer der meist-gestreamten Pianisten weltweit. Im Laufe seiner Karriere hat Ffrench sich immer wieder eine Frage gestellt: "Was brauchen meine HörerInnen von mir?" Mit "24" ist die Antwort darauf ebenso einfach wie tiefgründig: Musik, nach der man leben kann.

2026 Repress

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

„The Age Of Everything“ ist Johnny Marrs fünftes Studioalbum. Geschrieben in London, live auf Tour an
der Ostküste Nordamerikas weiterentwickelt und in Manchester aufgenommen, fängt das Album die Energie
und die Spannungen der Stadt ein. Es ist scharf, schnell und dynamisch – voller Ideen und Möglichkeiten.
„Dies ist das Album, das am stärksten befreiend gewirkt hat. Der Titel kam mir schon früh in den
Sinn und entwickelte sich zu einer Idee, der ich mich nicht entziehen konnte. Er schien genau das Gefühl
auf den Punkt zu bringen, das meiner Meinung nach viele Menschen haben. Er umfasst alles, ist aber nicht
zwangsläufig eine negative Aussage. Die Technologie löst in unserer Kultur ein Gefühl der Überforderung
aus, doch betrachtet man die Dinge aus einem anderen Blickwinkel, eröffnet sich auch ein Gefühl von
Möglichkeiten.“ – Johnny Marr

Hippotraktor, the progressive metal band from Belgium, combining the best of prog, groove and post-metal return with new album! Wmerging from Mechelen, Belgium, to the joy of ear-splitters and deep-feelers of post rock, Hippotraktor release their third studio album Annihilist. "A good blend between the vibes of Meridian and the technicality of Stasis." (Verheyden), that exhibits once again the band's ability to balance crushing physicality with emotional nuance, whilst pushing further into highly cultivated experimentation. For Hippotraktor, immense sonic weight coexists with remarkable clarity and depth, and through the many shifting passages and moments Annihilist becomes a journey of awe, dissolution, melancholia and rampaging power. At the heart of this album is a sense of collective inspiration. Verheyden's compositional vision provides the framework for music that is both intricate and instinctive, yet Hippotraktor's identity is forged through the dialogue between all five musicians. Although often associated with progressive metal, post-metal and sludge, Hippotraktor resist classification. Their music draws freely from multiple traditions while remaining unmistakably their own, blending rhythmic complexity, cinematic atmosphere and deeply human expression into a sound that feels both expansive and immediate. As an album Annihilist is not only gripping in every moment and turn, but their balance of the intimate and titanic feels deceptively effortless; a testament to their galvanised abilities. FOR FANS OF Psychonaut Mershuggah Dvne Vola The Ocean Hypno5e Sikasa Blackshape

Hippotraktor, the progressive metal band from Belgium, combining the best of prog, groove and post-metal return with new album! Wmerging from Mechelen, Belgium, to the joy of ear-splitters and deep-feelers of post rock, Hippotraktor release their third studio album Annihilist. "A good blend between the vibes of Meridian and the technicality of Stasis." (Verheyden), that exhibits once again the band's ability to balance crushing physicality with emotional nuance, whilst pushing further into highly cultivated experimentation. For Hippotraktor, immense sonic weight coexists with remarkable clarity and depth, and through the many shifting passages and moments Annihilist becomes a journey of awe, dissolution, melancholia and rampaging power. At the heart of this album is a sense of collective inspiration. Verheyden's compositional vision provides the framework for music that is both intricate and instinctive, yet Hippotraktor's identity is forged through the dialogue between all five musicians. Although often associated with progressive metal, post-metal and sludge, Hippotraktor resist classification. Their music draws freely from multiple traditions while remaining unmistakably their own, blending rhythmic complexity, cinematic atmosphere and deeply human expression into a sound that feels both expansive and immediate. As an album Annihilist is not only gripping in every moment and turn, but their balance of the intimate and titanic feels deceptively effortless; a testament to their galvanised abilities. FOR FANS OF Psychonaut Mershuggah Dvne Vola The Ocean Hypno5e Sikasa Blackshape

LUMINA marks a new chapter in C"mon Tigre"s evolution, where electronic music moves from the background to the core of the band"s sound. Across thirteen interconnected tracks, synthesizers, arpeggiators and club-inspired rhythms merge seamlessly with acoustic instruments such as oud, cello,vibraphone and percussion, creating an immersive, continuous listening experience. Rather than opposing tradition and innovation, LUMINA embraces their constant coexistence. The album explores how technology is reshaping not only the way music is created, but also how we experience sound, time and physical presence. Inspired by the rave as a space of collective ritual and temporary freedom, it treats repetition and rhythm as tools for communion rather than escapism, turning listening into a deeply physical experience. The music was first developed and tested live at Robot Festival (Bologna) and JazzMi (Milan) in late 2025. Those performances became a laboratory where the interaction between the music and the audienceultimately shaped the final record.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

Duality makes his debut on Up Ya Archives with a single rooted in the foundations of 90s jungle but shaped distinctly by contemporary sound design, epitomising his unique take on modern junglism. Intricate breakbeats and classic jungle textures are anchored by weighty 808s that guide the flow of the track, while influences from footwork, hardcore and drum & bass sets the track firmly into the space of progressive junglism. When asked on the single, Duality said

“R U Mine is the lead single from my latest project, Brainstorm. It balances luscious pads and playful synth lines with relentless drum breaks and 808s. Topped with ethereal vocals, this is one to open a set with or close out the night”.

A rising star in Bristol’s underground dance scene, Duality is staking a claim within the new wave of jungle.

“‘Brainstorm’ is exactly what the name suggests. A glimpse into the ideas that occur in my brain as a producer. Each track is a different element of my jungle inspirations, from raregroove sample-based production to 4x4 rave stabs. Ready and waiting for the dancefloor!”

Aside from his own productions, he also runs Bristol-based record label and events crew Intaception, which has hosted parties across the UK with iconic figures including Source Direct, Tim Reaper, Double O, and many more. Moving fluidly across production, promotion and musical direction, Duality continues to push the sound and culture of contemporary junglism forward.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

Baxter Dury’s eighth album, 'Allbarone', seemed to be done and dusted after release last autumn, yet super-producer Paul Epworth (Adele, U2) decided it was a good idea to work on extensions of five of tracks from the album. Not just extensions - full on electro-disco mixes that take tracks apart from the edges and reorder them into relentless dance floor tools built to perfectly soundtrack the small hours.

Each track finds a groove and takes its journey right through the middle of the original track, to create classic 12" extended remixes, adding a whole load of echoing dub over flickering percussion tracks, madly addictive basslines and gloriously languid disco rhythm tracks. From 'Kubla Khan’s hefty low-end groove to 'Alpha Dog’s deconstructed nightclub dub via 'Schadenfreude’s Eurodisco bass and fizzing hi-hat pulse, Paul Epworth’s phenomenal new mixes lift Baxter’s tracks up to another level.

YARN welcomes René Audiard for its tenth release with "Makes Me Feel", a four-track EP from one of underground electronic music’s most singular voices.

Across years of dub techno, minimal and leftfield electronic experimentation, René has developed an approach to stripped-down music that feels anything but limited. Where minimalism can often become an exercise in taking things away, his work finds possibility in what remains. "Makes Me Feel" is a particularly fitting example: immersive, at times strange, but always full of feeling.

‘Lovin’ opens the EP in familiar Audiard territory: murky low-end, locomotive groove, reduced rhythmic compositions and an understated framework swimming in a pool of detail. 'Possession' lets in more light. Vocal echoes, persistent rhythms and occasional string phrases give it a cinematic quality, while a groove that seems to circle endlessly takes on an almost shamanistic pull. The EP’s 11-minute behemoth, 'Flesh', fills most of the release’s B-side while making a convincing case for patience and sophistication. There are echoes of minimal’s golden age here, but Audiard never mistakes repetition for standing still. Tiny rhythmic fragments sit alongside expansive orchestral gestures, with samples working at every scale of the arrangement. Warmth and cinematic drama run through the track, but it's the playful programming underneath that keeps it moving. 'Night' closes the record on a different note, recalling Audiard’s work with Ali Çakır in Düve. Percussive samples, accordion and Middle Eastern guitar phrases bring a more acoustic character to his reduced 808-infused broken beats, making for a playful, occasionally melancholic ending with a distinctly microtonal feel.

What makes René Audiard’s music so rewarding is how readily you recognize his hand in it. There is a particular grain to the sounds, a way of placing details within a groove, and a willingness to follow an idea wherever it leads. Across “Makes Me Feel”, those instincts give four quite different tracks a shared identity. Even when working within familiar forms, Audiard makes them sound entirely his own. It’s the holy grail of music production: a personal sound signature. And a thoughtful addition to YARN’s growing repertoire of reduced, sophisticated dancefloor music.

Tooloop Records celebrates its tenth release with "Orbis EP", a four-tracker from label affiliate Stab9. The record captures a moment of evolution in both Stab9’s sound and the label’s sonic identity, reflecting a broader vision of the Tooloop universe through expanded arrangements, deeper exploration and a more immersive presentation.

Opening the EP, ‘Source’ establishes its atmosphere through a constantly evolving arrangement, moving through several distinct phases while maintaining a sense of fluid progression. Carefully shifting textures, unexpected bass changes and subtle variations in dynamics reveal new details with each turn. Title track ‘Orbis’ shifts the EP towards warmer tones, built around classic house-inspired sounds, melancholic pads and polyrhythmic bass movement. Its rolling low-end and intricate percussion subtly tilt the track towards techno territory, reflecting the circular motion suggested by the track’s title. ‘Beastro’ gradually ascends through a restrained growling bassline and fractured hi-hats, dropping into an engine-cut moment in the middle of the track - a brief suspension before the groove returns, pulling the track back into motion. ‘True Story’ unfolds through a walking bassline, intricate hi-hats and smeared percussion, creating a sense of movement through a world of morphing textures and atmospheres. Its restrained melody embraces the idea of “less is more”, closing the EP with the bittersweet beauty of mono no aware.

With "Orbis EP", Stab9 presents a deeply personal approach to electronic music, where detailed studio craftsmanship meets the physical energy of the dancefloor - the label completing one full turn, and opening the next.

New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists

Y-3, the pioneering sports-fashion collaboration between adidas and Yohji Yamamoto, has for three decades dwelled calmly within the ''tensions of existence''. In conceiving the brand's long-awaited return to runway format at Paris Fashion Week, these codes laid the groundwork leading up to the Spring/Summer 2025 season. Whilst the focus for runway is traditionally placed on garments, models, styling, environment, and the pageantry in between, it was crucial that music play an integral role in the conversation. Three seasons later, sound has informed creative direction from the very earliest phases of ideation. Commissioning all-original compositions has become a natural part of this ideology. The return to runway has invited the opportunity to define a new sonic palette for the brand, and beyond that, to usher in a new era of sound for Y-3 that echoes across music & culture. Following this ethos, and with a mandate to support obscure talent, Montreal duo Solitary Dancer have emerged as the first collaborators in shaping the intimate brand architecture of noise & feeling. With a body of work now spanning over a trilogy of seasons, the genre-defying Y-3000 imprint provides an outlet to disseminate & recontexualize the original compositions beyond the traditional runway. The label embodies Y-3's enduring commitment to explore innovation within opposing cultural forces. The works, originally released on Y-3000 as a series of white labels, are now being featured as a 6x 12'' vinyl compilation. Designed by Trevor Jackson and limited to just 99 examples, the recordings will also be made available both digitally and on streaming services for the very first time.

Recorded in a remote mountain cabin,'Liguna' gradually found its form. What began as an open ended collaboration between Tarjei Nygard and Are M. Foss unfolded through recording sessions, splitting firewood and changing seasons. Ideas arrived from many directions: a guitar phrase, a synthesizer line, a change in season, the mood of the forest itself. The result is nine tracks connected less by genre than by atmosphere and a shared sense of place. Debut album by Norwegian duo Liguna. Its members have previously released music on Full Pupp, Eskimo Recordings and ESP Institute.

“Neither from here nor from there” is often used to describe migrant identities in territorial terms. In the case of Siete Catorce, it works better temporally: his music has always been so far ahead of its moment that it ultimately carved out a space of its own within both Latin American and global electronic music.

Born in Mexicali and shaped between the Bay Area and northern Mexico, his musical identity emerged through hip hop, dubstep, and the independent borderland scenes. After several years in Mexico City — without a clear place inside the local circuit — he created his own space through his music, developing a distinctive DJ/live set and a singular vision of contemporary Mexican electronic music, becoming a key figure within the city’s most forward-thinking underground.

In 2026, he releases El Valle, his first album in nearly three years. The record moves through different currents of electronic music — ambient, techno, cumbia, and tribal — filtered through a unique rhythmic language marked by syncopation, unpredictable breaks, and a constant tension between restraint and energy.

The album opens with “Mexicali,” alongside Andre Pereda, a tribal track stripped down to its percussive essence, evoking the genre through an ambient and synthetic approach. From there, “Aragón” and “El Rancho” progressively increase the tempo and intensity, combining cadenced phrases with minimalist tribal beats and unexpected turns.

In the second half of the album, now moving through territories of 140 BPM and beyond, tracks like “Montecarlo 1” and “Tierra Roja” drift between futuristic bass music and large-scale techno structures. This is followed by the 8-minute epic “East LA,” where Siete Catorce expands the energy of syncopated techno before releasing it into a pre-Hispanic tribal journey with flute and all the drums required for the occasion.

The closing section arrives with “Tlatelolco,” accelerating into an epic cumbia infused with trance references, and “Los Pinos,” a direct and forceful finale sustained by some of the album’s most precise sound design.

More than genres, Siete Catorce’s work is defined by meticulous sound design and an exceptional rhythmic sensibility — qualities that have established him as one of the most respected drum programmers of his generation.

*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.

Palms Trax returns to production with his first release since 2019. The first single off his upcoming 2 track EP 'Soft Trance, Hard Gossip' is a journey through bold basslines, ear tingling acid lines and hopeful synth lines. It feels measured in its temperament for a listen on the bus home whilst punchy enough to earn its place across festival and club sets this summer. The title track Keys To A Printed Garden captures him at his best, moving deeper into a lush, melodic setting that stretches beyond the dancefloor while never fully leaving it behind. The track is built around warm deep house grooves, hazy nu groove textures and subtle IDM notes. The record unravels with a dreamlike smoothness. Swirling synth work, jazz-inspired saxophone lines and soft lo-fi textures give the record an immersive, almost weightless quality, while moments of glitch and ambient drift push it into more experimental territory. Even at its most reflective, steady percussion and rolling grooves maintain a subtle club-rooted pulse, balancing emotional depth, introspection and atmosphere with movement, rhythm and understated precision.

Following the successful return of Cyberfunk Records, Frequency Damage EP showcases four brand-new productions from DJ Quest, blending over 25 years of breakbeat experience with modern production techniques.
From old-school funk influences and rolling basslines to heavy club grooves and precision-engineered drums, the EP demonstrates the versatility that has made DJ Quest one of the pioneers of the Bassline Breaks movement.
Each track brings its own identity while remaining unmistakably Cyberfunk—music written for DJs, built for powerful sound systems and inspired by the underground dancefloors that shaped the label's legacy.

2026 Repress

The voraciously prolific Brit producer Four Tet returns to his untypeable-but-highly-listenable windings alias for this surprise new album on his own Text label. Remaining as a vinyl-only LP for now, and currently limited to 2000 copies, it was announced just a week or so ahead of the release. No track titles or details and a bucket load of vibes and strange ideas. Opening softly with gentle eastern instrumentation, he gradually pulls us deeper and deeper into his unique universe with every bendy frequency and strange accent. By the time we're three tracks in, we're bopping away to big bodied dubstep/garage mutations laced with chimes and all kinds of textures that only Keiran Hebden would choose to use. The B-side bares a similar varied, opened-hearted soul as we move from bumping club grooves to slo-mo ethereal shuffles that wouldn't sound out of place in a cathedral. Textbook Text. Grab this if you can, it won't hang around

Waking Dreams returns with “Fantasies,” a four-track excursion by Aline Umber and AGELESS that explores the hypnotic facets of deep house. Featuring the label’s most sought-after ID, the title track finally receives its official release, unfolding as a meditative yet driving cut built on understated percussion and an airtight groove. Lush chords douse the track’s atmosphere, while dubby synth stabs and a spoken-word vocal cut through the arrangement, deepening its hypnotic pull and transfixing the listener. Dan Ghenacia takes things deeper with his electro-tinged rework, expanding on the original’s addictive groove with angular drumwork, adding further club functionality and sharpening it into a darker, more introspective counterpoint. Two additional originals round out the collaborative EP with brighter, kinetic energy.

Underpinned by spoken folktales stretching from Indonesia to Poland, a new collaborative EP from Warszawa/Berlin-based Jerzy Mączyński and London-based Flora Yin-Wong arrives via Accidental Meetings. Demons rising from the wind, unknown beings lurking in the forest — the record conjures a landscape built from heady layers of saxophone and the tormented strings of zither, harp and kemence.

Recorded across two intense studio sessions, the EP also features idiosyncratic contributions from London-based guest vocalists and musicians Aga Ujma and Laila Sakini.

Flora Yin-Wong is a London-born experimental sound artist and writer of Chinese and Malaysian heritage, known for weaving field recordings and traditional instruments. Her album Holy Palm (Modern Love) and book Liturgy (PAN) cemented her as a singular voice in experimental music today.

Jerzy Mączyński is a Polish saxophonist, producer and composer whose jazz training feeds into genre-melting work spanning kosmische, prog, industrial techno and minimalism. One of his collaborations being a record of free jazz and rhythmic cubism with Chicago's Hieroglyphic Being.

Curses' dark, romantic take on electronic music is often linked to EBM, new beat, synth-pop, and the offshoots in between - but, as the artist states, it's feelings, not genres, that motivate his music. Especially the underground and its niche sounds, brimming with collective energy, drive and passion, make for a major impetus. It's no coincidence that he's drawn to the era when man turned to the machine, as a collaborative force, and a new kind of liveliness, timelessness, emerged. In Curses' practice, this synergy translates into an enticing mix of synthesisers and voices, electronic drums and guitars. Nostalgia operates as an influence rather than a motive, though: despite its affinities with the past, his music is stridently contemporary and idiosyncratic. On the "Perfect High" EP, this approach is rendered in a resolutely dancefloor-oriented selection. It's rich in detail and constantly evolving; each time a new element appears, it's treated with such delight and care that you could imagine the track to flit off and turn it into the main theme. This doesn't happen, however, as the sense of cohesion and momentum is paramount: there's a relentless forward drive that keeps engagement tight from start to finish. The detuned, chorus-heavy leads of title track "Perfect High" and the clockwork-tinged percussion of "Weapon Of Time" jell with lustrous hooks. The ominous choirs on "Dare To Dream" and the proto rolling-and-scratching squelches of "Killer Instinct" similarly fall into place. Bravado never stands in the way of flow. Everything is kept in check by gated R-50 rhythms, and in the vocal department, Curses finds the sweet spot between his own voice and a slew of off-kilter samples. On closer "Blasted" NYC royalty Andi joins for a slab of synth-driven groove. It's shiny and sensuous, like patent leather - a perfect distillation of club music channeled through pop aesthetics, and thus a right coda for ALT028.

After a years-long hiatus, Criminal Practice returns with a redefined sound philosophy. CRIME005: Less Excuses EP is the result of transformative recent years that have sharpened the label’s distinct identity and core musical values.

Delivering four cuts of non-trivial tech house, this record is built strictly for the dancefloor. A versatile yet highly original release, tailored for passionate diggers and selectors pushing the modern electronic sound.

The second VA release from Méchante Recording continues with a new identity, bringing together a refined selection of artists across different generations. At its core, a reissued and repress of a 1994 track by Jay Tripwire creates a timeless bridge between past and present.

Alongside this piece, UK producers Quidders and Ferg deliver fresh and captivating productions, as well as Arion, a prodigious talent from Lyon, who charms us with each of his tracks and brings depth and character.

This Various Artists blends dub tech house and progressive minimal, offering hypnotic, groove-driven tracks designed for both listening and the dancefloor, while affirming the evolving sonic identity of Méchante Recording.