Suche:2 elements

shubostar, originally from south korea and currently based in germany, began releasing her own works in 2018. she quickly attracted attention with releases on prins thomas’s label internasjonal.

this work, her debut release on mule musiq, presents a new disco sound that updates elements of cosmic, italo disco, and new wave for a contemporary context.

a1, “abbiamo,” is an electric disco piece reminiscent of the french disco classic magic fly by space.

a2, “gambi,” can be described as a cosmic disco track akin to a disco version of klaus schulze that might be played by dj daniel baldelli.

b1, “starlight arcade,” offers a more dub-oriented, club-friendly new wave disco sound.

b2, “tip top” appears to draw influence from artists such as jah wobble, combining uk new wave with ebm elements into a proto-house style track.

her refined production style, which stands apart from typical disco-oriented artists, may be attributed to a distinct sensibility.

this release marks the emergence of a notable new artist.

VA – Memories. Untold is a delicate and emotionally rich compilation from TAMIZDAT, capturing the subtle beauty of deep and tech house with a gentle, melancholic twist. Thoughtfully curated for sunset sessions and introspective moments, this four-track vinyl release drifts between ambient textures, melodic phrasing, and dubby undertones—crafted for open-air environments and graceful transitions.

A1. Joshua Pendergrass – The Leopard (Frederick Ansgar Remix) opens the record with an ambient-infused deep house piece—warm, slow-moving, and deeply involving. It invites the listener into a calm, curious, and emotionally attentive state.
A2. Dubsud – Memories (BarBQ Remix) follows with a more upbeat, melodic character. Playful yet refined, it offers a bright continuation of the journey, carrying momentum without losing its emotional depth.
On the flip, B1. Heward, Kirill Matveev – Your Gentle Breath emerges like a breeze—floaty, nuanced, and ideal for that golden-hour moment. It’s an elegant piece full of space, subtlety, and feeling.
B2. Nj Helder – Gazi closes the release with dubby warmth and light breakbeat elements, a soothing yet rhythmically engaging finale—like the last light fading over a distant horizon.

Featuring label mastermind Kirill Matveev, MixCult regulars Heward, Joshua Pendergrass, BarBQ, and Dubsud, the record is further elevated by South African talent Nj Helder, whose presence brings a soulful character to its closing chapter.
Memories. Untold is evocative, chilled, and designed for those who seek emotional connection through sound—a graceful companion for deep listening and open skies.
TAMIZDAT is a division of MixCult Records

The Spoiled is an Italian post-punk project led by Giovanni Santolla, blending electronic beats, distorted synths, and reverb-soaked guitars into a dark, romantic, and nostalgic sound.

In 2024, the project self-released the debut EP Time distributed by Manic Depression, followed in 2025 by the full-length Living Ghosts via Swiss Dark Nights—an album that firmly established The Spoiled within the contemporary post-punk scene. Following the album’s release, Giovanni collaborated with international acts including This Eternal Decay, Darkways, Corlyx, Chaos International, and Hinfort, while maintaining a dense touring schedule across Europe and sharing the stage with artists such as Traitrs, Hinfort, Darkways, and Ductape.

The new album When It Rains, set for release on Avant! Records on April 17, 2026, expands The Spoiled’s artistic vision with a focus on intense, romantic soundscapes that delve deeply into human intimacy and interpersonal relationships. Embracing a warmer and more personal sonic direction, the record blends elements of indie rock and electrogaze music that enrich and revitalize the dark, melancholic palette that has defined the project’s earlier works.

Still playing homage to the forefathers of the genre such as Clan of Xymox, The Sound and Pink Turns Blue, When It Rains opens the path of The Spoiled to new soundscapes, exploring broader emotional territories while preserving the atmospheric depth and introspective tone that have become its signature.

FFO: Twin Tribes, Clan of Xymox, She Past Away, Mareux, The Soft Moon, Pink Turns Blue.

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Rigetto is a natural reflex of expulsion, and it is from this concept that the label is inspired.

Founded by DJ and producer CUT, aka Luca D'Elia Fiorenzano, Rigetto is a personal and direct space where sound becomes a silent way of exposing oneself. More than a defined genre, it is an attitude: a techno free from rigid structures, influenced by human movement, interaction, and the surrounding sonic matter, where elements of techno, ambient, and natural soundscapes meet and transform.

The first release, Rigetto 01, represents the starting point of this path: a first statement of intent that introduces the label's sonic identity, made of essential rhythms, subtle tensions, and immersive atmospheres where sound becomes a physical and perceptual experience.

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

2024 Repress

Sublunar proudly presents "Pareidolia II," the latest EP by Sciahri, marking the next chapter in an evolving sonic journey following its first installment. This four-track release explores a spectrum of techno landscapes, offering a blend of pulsating rhythms, hypnotic sequences, and emotive soundscapes.

On the A-side, "One Letter" captivates with its infectious groove and fluid bassline, while "Homid" invites listeners on a minimalist journey, where hypnotic synth sequences create an enthralling atmosphere that captivates from start to finish.

Flipping to the B-side, "10k In One Year" enthralls with its sharp stabs and captivating rhythms, while "No Tears" delves into deeper, more introspective territories, combining classic elements with modern sensibilities.
"Pareidolia II" invites listeners to immerse themselves in a diverse array of techno experiences, each track offering a unique perspective on the genre. It's a testament to Sciahri's artistry and Sublunar's commitment to pushing sonic boundaries.

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!

West Hill Music is a new sub-label from Periodica Records dedicated exclusively to productions curated by Mystic Jungle and conceived at West Hill Studio in Napoli, a longstanding creative hub active for more than a decade.
The project aims to reclaim and reimagine the language of mid-1980s music, drawing from both American and European New Wave through a personal filter that freely and instinctively blends elements of Italo Disco, Rock and Funk. The two tracks, moving within a dance-not-dance dimension, stand as a manifesto of this sonic synthesis and a further step in defining the aesthetic vision of the producer. On "Chasing Light", the collaboration with Igor Sekulovic continues, with the guitarist also appearing here as co-writer of the track, weaving together tense guitars, driving disco-rock bass-lines and slapback reggae-style vocals. "Under Pressure", on the other side, unfolds as a late-night electronic suite: minimal, aseptic and hypnotically repetitive.

Mark Reeve starts 2026 in prime form with ‘Body Drops’, a quick-fire follow-up to his recent A-Sides contribution ‘My Mind’.The veteran artist has an inimitable touch in the studio going back over 15 years and can always be relied upon to deliver high-impact techno creations. Tracks such as ‘Run Back’, ‘Distance’ and his collaboration with Adam Beyer ‘Nine of You’ make thrilling reference points.‘Body Drops’ found its way onto Drumcode via Bart Skils. “Bart and I have a very good musical understanding and we really respect eachother. So, when he said I think this would fit to Drumcode, I was like ok let me send it. Adam came back to me with a massive yes, and it went from there.”He continues: “I can see that a new peak-time sound is evolving. Very modern and groovy sounding, which is exactly what I like. I guess all the other tracks on Drumcode that have come out recently got me very inspired.”The track is a gem. Driven by an otherworldly stomping riff, it immediately strikes you with its unique sonic character. Huge without being banging, watch this fit a variety of high-impact moments.‘Feed My Fire’ is a rolling big-bodied track that sees elements of prog,techno, psy and silky chords combine for a chugging dancefloor cut.“This is a personal favourite of mine simply because it’s so groovy andfits more intimate sessions. But I also tested it in front of bigger crowds and it really does the job.

When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip.

Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot.

black.round.twelve returns with Dancing Tiger EP, a new vinyl release from Tagir exploring the deeper edges of Minimal House and Tech House. Rooted in the label’s vinyl-only ethos and focused curation, the record leans into long-form grooves, subtle detail and controlled movement.

The title track “Dancing Tiger” is a slow-burning minimal piece stretching across twelve minutes. Oboe-like tones and modular textures sit alongside processed vocal fragments and acoustic percussion, anchored by a steady low-end that develops with patience.
“Break It Love” moves into a more direct framework, combining vocal loops with an elastic bassline and a steady 4/4 pulse, while modular elements add texture and forward motion.
On “Off Smoke”, the structure becomes more abstract, with a repeated vocal phrase stretched, pitched and fragmented across a pumping groove. Subtle variations and underlying swing create a controlled but fluid sense of movement.

With Dancing Tiger EP, Tagir delivers a groove-led record that aligns closely with black.round.twelve’s approach, balancing functionality with detail and maintaining a clear focus on the dancefloor.

Diffuse Reality presents OTMANN - Faith in Strangers. A 12-inch vinyl and digital release built on powerful, dynamic Techno. Immersive sounds that pull you in from the very first beat, driven by a solid, heavy kick and a progressive, robust bassline. Each track builds a unique tension and energy throughout the EP. The vinyl also features a remix by Fiedel, delivering a powerful and driving reinterpretation with his unmistakable raw touch. Closing the release, Norman Nodge brings fresh drums and atmospheric depth to his version, creating a different kind of journey filled with textures and percussive elements. Enjoy this unique fusion, crafted for the most intense hours of the night.

Loftsoul a.k.a. DJ Uchikawa revisits and remixes three tracks from the Loftsoul Recordings catalogue for 2026.

Dear Friend featuring Lisa Millett was the first release on the label in 2010 and instantly became a highly collectable classic. Uchikawa refreshes the track with his customary deep and soulful yet driving energy, maintaining all the musical elements that define his unique fusion of the organic with the electronic.
Wait For You featuring Carla Prather gets retouched with a deep rolling groove and riding hammond organ melody creating a smooth bed for Carla’s haunting vocal.
Uchikawa’s cover version of the Grover Washington classic Mr Magic first appeared under his Rhythm Of Elements guise in 2008. It features the great pianist Makoto Kuriya laying down a sublime solo over the infectious groove and Hideki Ikeuchi killing it on guitar. The 2026 Remix comes with a full-on laid-back jazz double-bass line as the background for the exquisite solo performances.

Based out of Brighton, UK, Murmurations have been steadily carving their path as an essential label for distinctive dancefloor moods. The fourth record on the imprint is the launch of a new series titled 'Flock', focusing on bringing different artists together who share similar visions and tastes. Volume one features Evasive frontman Rob Pearson with Paul Donton and label founder Leo Christopher on the A-side. On the flip, you have rising Manchester talent Huw Shipps and Bubble resident The Adventures Of Dogman. This amalgamation of producers has materialised into a record that focuses on nostalgic tech house textures, infused with modern elements and deep, dub tones.

First up is Rob Pearson & Paul Donton's excursion, 'Ideas Abstract'. Slinky drums pave the way, as pensive vocals circulate around the distinct and perky drive of the track. The aptly named 'Underground' from Murmurations boss Leo Christopher teases a more mysterious energy, with pulsating bass in combination with tight drum arrangements. The emerging producer Huw Shipps kicks off the B-side with a playful outing; quirky elements splash in and out throughout the track. Finishing off the release is dancefloor heater 'Cruising Around On A Pair Of Naughty Pennies', chunky and driven as it moves, ready to do the damage, keeping the club locked in.

The Murmurations curation thus far has seen each release shine bright, with timeless music for the club, no-nonsense, heads-down action, and long may that continue.

Off the back of an epic 3 part triple album “Sidequests”, Session Victim kept the collaborators in tow with “The Disconnect” EP, featuring the talents of Kenneth Scott, Rossano Snel, and Quarion across 5 tracks. It’s the Empire Strikes Back of Rhythm Section EPs – following up from widely acclaimed and best seller “Basic Instinct”. Balancing funk elements of breakbeats, bass guitar, rhodes and mellow synths with finessed modern production, the duo have assembled another masterclass in precise yet characterful house music.

The record begins with “Hey, Activate!”, oozing funk, ambient pads, a groove bassline and optimal arpeggiated synth noodling sets the tone for the whole EP. “Dream Theory” is quite it’s namesake, with a distant sax solo, tremolo sine motifs and a sumptuous lick combining piano and the Session Victim trademark bass guitar.

B-side opener “Flotsam” comes through with smooth breaks and incidental style sampling harking back to the vibes of Herbert, with slow filtered chord groove referencing the vibes of early French Touch masterminds Cassius.

Progressing into more relaxed territory, still ideal for dancefloor moments: “Open Minds” is indebted to old soul jams with bongos, muted guitars and rhodes followed by “Loom”, using similar elements with a vibe akin to early Bonobo.

This EP is testament to Session Victim’s mastery of housemusic, being their 40th EP and standing firm in a crowded scene. Their consistent application of production precision is carried by an emotional heart of gold that you can hear in every record they make. Not to be missed.

The next release in M-Plant's Perpetual Masters series is Robert Hood's "Invincible" EP, freshly remastered for 2026 by Thomas Heckmann.

Originally released in 2001, "Invincible" stands as another defining example of his stripped-back, approach to Techno while still radiating tough funk and groove. Released during a period when Hood was refining the minimalist aesthetic he helped pioneer, the record balances mechanical precision with emotional intensity. The tracks unfold through subtle shifts in percussion, looping synth patterns and driving basslines, to create a meditative momentum that sounds just as fresh today. "Invincible" draws its power from restraint, demonstrating Hood's belief that minimal elements can produce maximum impact on the dance floor.

Each track will be released digitally in May, followed by the full vinyl EP in July.

XKatedral Anthology Series II (An Anthology Of Slowly Evolving Timbral Music), featuring exclusive music from Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, and Maria W Horn.

"XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.

The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019.

Closing side A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked version of a piece originally commissioned by Semibreve in 2020.

Side B contains the work ‘Hands Melt In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.

Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional practice usually combines acoustic and electronic source material and in this piece he molds the sound of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth.

The second piece on side B, Inertia, is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.

Closing Anthology II is Maria W Horn's work ‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics."

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

We here at TSTD are longtime fans of UK producer/musician/Label maker MATT HUGHES. For a few years he is delivering tasteful, deep, dubbed reworks for Too Slow To Disco, some in Edit form, but also his 2 official remixes for Goodvibes Sound on The Sunset Manifesto 2.
Both new TSTD Edits on this 7 inch are slow disco masterworks, he is giving the originals his trademark deep, warm versions. Who is the guy….?
Matt Hughes is a music producer from the north of England. A purveyor of all things funk, soul, disco, jazz and house! Most recent releases have been with Outcross Records, Bubblegum Pop, Editorial and Too Slow To Disco. A large number of Matt's works have been released under the MAM project with Miguel Campbell remixing the likesof the Climbers, Deadmau5 and Flight Facilities, as well as putting out releases via Wolf+Lamb, Future Classic, Hot Creations, Outcross Records, BPitch Control and Editorial Records to name a few.
Among his most notable collaborations are works with Derrick McKenzie, drummer of Jamiroquai; Drop Out Orchestra, Art Of Tones, amongst others. Each of these collaborations has allowed him to explore new musical dimensions, enriching his characteristic sound with diverse and fresh influences.

With a musical style deeply rooted in disco, funk and jazz, Monsieur Van Pratt combines classical elements with contemporary touches, creating a sound experience that is both nostalgic and innovative. His work not only stands out for its technical quality, but also for its ability to connect emotionally with the listener, making him a central figure in the evolution of modern dance sound.

With acute focus on dance floor hypnotism and percussive pressure, SIDEB003 offers German collaboration IGLO and Paul Hauck's debut vinyl release. A third project for this duo, 'Stable Fusion' plays to the producers strengths as biting sound design unfolds through reliable groove.

'Stable Fusion' - and, in turn, its title track - presents as an uncompromising dance floor record, complete with pressing arrangements and powerful tension shifts. The infectious nature of club music comes largely from the power and insistence of its minimal elements and IGLO & Paul Hauck put chisel to stone to showcase just that. To add soul to skill, 'Neustadt' claims the A2 with added color and a silver lining in the its mood. Festive chord stabs stutter along with percussion riding up and down the spectrum, maintaining energy without losing impact. Flipping sides, 'Initiator' returns to minimalism and spaced out sequences. Dub chords boom through a low lying swing, complete with unfolding ambient textures. The track is focused and its intentions aren't shy, the slow creep to the EP's conclusion 'Celestis' is met with intrigue. Warbly synth work warms up a pulsating core, creating a more tonal sound system experience than any of its predecessors. Here, ferocity hides behind humility, and 'Celestis' is a crowd pusher with deceptive arrangement to close out 'Stable Fusion' with confirmation of quality and effect.

Words by Noah Hocker

Armenian house, jazz and broken beat fusionist Henna Onna lands on wax for the first time here courtesy of Deeppa Records. Opener 'Shibuya Oiran' uses syncopated drum patterns and modal synth lines that pull from Eastern tonal references within a club framework. Kuniyuki Takahashi's fine remix extends the track with live-feel percussion and sustained chord progressions. 'Enoshima' then focuses on a steady groove with filtered melodic elements while Satoshi Fumi's remix increases rhythmic density with smartly layered drums and bass sequencing. These are sophisticated sounds for serious heads.

2026 Repress

relies heavily on techno and dub elements. Releasing their first two albums on Creation Records sublabel Infonet, the group has also released albums on Blanco y Negro, Foundation Sound Works and Music Man Records. The group recorded three sessions for John Peel's BBC Radio 1 show.The trio also recorded under the names Thunderground, New Adult, Sons of the Subway, and Space DJz.

Punctuality presents its ninth release, Night Time, a potent four-tracker from Irish born, Berlin based producer New Members. Positioned on the spriitzzier end of the label’s canon, the record is a refined exercise in restraint, channeling classic, deep leaning house through a starry eyed, nocturnal lens.

The arrangements are unrushed and uncrowded, with each track built from a small selection of elements deployed for maximum impact. Evoking the deep cuts of early Balance and Global Underground mixes, the EP deftly weaves golden era progressive influences with neoteric production aesthetics. The result is polished, punctual tech house for late nights that stretch seamlessly into the morning light.

Title track Night Time carries a closing track sensibility: cute, catchy vocals glide over bubbling synths, blossoming pad washes, and jazzy chord stabs, recalling the finest Canadian Riviera house releases of the late 2010s: Total eyes closed on the dancefloor energy. Whisper In the Dark comes in trackier and toolier, with a rolling bassline resplendent with attitude and key changes, while trance and euro referencing stabs add a subtle touch of euphoria to the late night feel of the track.

Wishing Well maintains the afterhours feel with subtle atmospherics, gentle pads, and dubbed out acid wiggles, while chopped vocals and a pulsing low end push the groove forward. Hovering between genres, the result is a sleek, highly playable track for savvy selectors. The EP rounds off with Jealousy, a moodier affair with a dub techno feel that maintains the restraint New Members demonstrates throughout the release. Echoed whispers, delayed stabs, and a barely audible sub meld with delicate pad work and beguiling FX to striking effect. The piece as a whole is a luscious meditation on the hours after dark before light arrives.

As the EP suggests, this is once again not to be slept on. More A grade material from Punctuality HQ.

Roland Leesker Remixes Inner City Classic ‘Pennies From Heaven’
Definitive Recordings presents a powerful new remix by Roland Leesker of ‘Pennies From Heaven’, the timeless house classic by Inner City, originally released in 1992.
Founded by Kevin Saunderson, one of the legendary Belleville Three and a key architect of Detroit techno, Inner City shaped the sound of electronic music with global hits like ‘Big Fun’ and ‘Good Life’. With over six million records sold and decades of influence, their catalogue remains a cornerstone of dance music culture.
On his remix, Roland Leesker transforms ‘Pennies From Heaven’ into a driving, floor-focused house weapon. Built around a heavy, straight TR-909 groove, the track gradually introduces elements from the original in a layered, loop-based arrangement.
The remix reaches its peak in a powerful breakdown, where the full main theme and vocals unfold, creating a classic hands-inthe-air moment before dropping back into the stomping groove. The result is a modern interpretation that stays true to the spirit of the original while delivering maximum impact on today’s dancefloors.
Roland Leesker, a long-standing figure in house music, has been active since the late 80s, with roots in Frankfurt’s club scene and later key roles in New York, Berlin, and the global music industry. From his early days at Delirium Records to his work with Get Physical Music and beyond, Leesker has consistently contributed to shaping electronic music culture.
This remix brings past and present together, offering a respectful reimagining of a classic for today’s house music dancefloors. The vinyl release is completed by an additional Acapella Tool on the B-side, offering DJs a stripped-back version focused on the iconic vocal elements of the track — perfect for creative mixing and extended club moments.

Following the success of Under Tangled Silence last year which peaked at number one in the Dance Albums charts and peaked at 9 on the Albums Chart staying in for 21 weeks, DjRUM returns to Houndstooth with a 15 minute continuous EP pressed to side A and a custom etched picture disk on Side B.

Felix (DjRUM) was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as a composer. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.” But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ, this EP encapsulates his musical upbringing weaving in percussive elements across the stereo field to create a truly mesmerising listening experience.

Four cuts destined to take you on an Adventure In Paradise. No additives, just raw records spliced, diced, and processed through the blender to better feed the dancefloor and DJs alike.

A1 - If you’re asking yourself if something can be chuggy at 128 bpm then you’re in the right place. Disco-stomping belter ploughing its way down the M20 searching for the port, then the south of France and finally Freddie’s bedroom. Don’t forget the stops for a breather.

A2 - Four films?? That’s about as insane as this edit; a swaggering, mop-topped and dubbed-out groover boasting a ph-fat flamenco freakout at its klymaxxx. Would Harvey play it? Dunno, but the bootleg variety definitely already does.

B1 - Shades of Rimini as the pianos set over another rubbery bassline and the Adriatic Sea arpeggiates its ocean spray all over the gaffe. If this ain’t heaven, we’re not sure what is.

B2 - Nothing like a lashing of nutritious Italo-dance slop to carb-o-load the dancefloor at its peak. Just watch as the crowd devours this Ragú of musical flavours, with elements of Disco, New Wave, Acid House and Jazz all thrown in the pot.

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

During a job in Cologne, I stayed in a room with a loft bed that had no electrical outlets at the top. Every night, I would listen to my TB303, which runs on batteries, through headphones to help me fall asleep. I loved the sequences, it was like meditation. The TB-303 bassline is iconic in acid music, so I created the Acid Lullabies to bring these two elements together. In 2017, the label Doom Chakra Tapes released ten of the Acid Lullabies on tape. Last year, I felt the urge to rework the tracks, so I mixed them again and created some new ones. I also
asked friends to contribute their own versions.

I’m very glad that the following artists contributed the Acid Lullabies: 47IN4 (Pudel Produkte, Doom Chakra Tapes), Museum of No Art (Séance Center, Cosima Pitz), N:in and Philipp Otterbach (Music from Memory, Offen Music). Two violinists from Ensemble Resonanz performed my piece 'Afternoon Lights' for Acid Lullaby 6. Alex Solman designed the cover, which captures the essence of the project perfectly. Have fun with the Acid Lullabies!

2026 Repress in generic white sleeve!

It's been quite a wait for new &ME material here on Keinemusik. But these two new cuts, adding to our catalogue number KM046, sure have been worth waiting for. The EP starts with „The Rapture Pt.II“ and as the title already suggests, it coherently takes up where his last original material had left us, in a stirred state of sweet, harmony-kissed affection. Known as a virtuoso of sound-details, &ME lives up to that reputation, implementing fine synth-elements and temperately rattling percussions, all conjoined by shimmering layers and, of course, an ultimately heart-melting Piano improvisation that at some point will play along to the rhythm of its synthetic brother to a finale that will leave no crowd untouched.

"Solaris" on the flipside adds indeed a futuristic note to the arrangement, opening up with a broken beat and propelling claps. A cut that, as much as its predecessor, is relying on flow and organic shifts rather than forced and peaktime formatted gimmickry, adding a synth arpeggio, white noise, vocal chants and
harmonies in a rather subtle way. Nevertheless, it unfolds a compelling strength to heat the dancefloor gradually through its playtime.

Formed in 1969, Soul Media set out with a clear mission to fuse jazz and rock. That approach took a decisive next step with In The Groove, recorded in 1973. Here, the sharpness of jazz is brought to the forefront, rock elements are dissolved and refined to give a cutting edge, and funk is injected to add drive, elasticity, and physical force. The result is a body of music that transcends existing genre labels—jazz-rock, jazz-funk, or fusion—and stands instead as something simply, undeniably cool: strong yet sophisticated.

This album is often described as Soul Media’s response to The Crusaders, a band that saxophonist Jiro Inagaki was paying close attention to at the time. The aim hit its mark. With In The Groove, Soul Media acquired a “refined black feeling”, setting them firmly on the path toward their ultimate destination: Funky Stuff.

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

2026 Repress

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

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

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

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

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

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

DeepLabs opens 2026 with an exciting new release, “Förvandling,” from Tarik Hensen—the collaborative project of two exceptional producers, Martinou & Ben Kaczor.
This release completes a full-circle journey: rooted in Detroit techno, traveling through Malmö, and landing in Basel, where these influences converge into a singular, immersive statement.
Longtime admirer of both artists’ solo works, Luke Hess joins the project with his own interpretation of Förvandling, bringing his distinct Detroit-informed perspective to the release.
Förvandling is the Swedish word for “transformation,” describing the metamorphosis of a caterpillar into a butterfly.
The title reflects the evolution of techno itself—how it shifts and reshapes across cities, communities, and eras while retaining its core spirit.
Varp refers to the vertical warp threads in woven fabric—essential structural lines that hold everything together.
The track mirrors this concept: hypnotic percussion and immersive ambience interlace with melodic tones, unified through Tarik’s live dub mixing approach, creating a rich, fluid tapestry of sound.
Malm translates to raw ore, the unrefined material that, when forged with alloys, becomes durable metal.
True to its name, the track channels a deep, raw warehouse energy—refined into a functional gem through harmonious stabs, textured layers, and driving momentum.
Closing the EP, Luke Hess’s remix of Förvandling draws from elements across the original works while incorporating new audio stems from the DeepLabs studio.
The result is a seamless transformation of Tarik Hensen’s aesthetic into Luke’s unmistakable Detroit sound—an adventurous, atmospheric journey crafted for extended DJ sets and immersive dancefloor moments.
Tarik Hensen and Luke Hess invite you to weave these tracks into your curated selections and allow them to transform the dancefloor in unexpected ways.

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

Massive Attack need no introduction. ‘Boots On The Ground’ marks their return, with their first new music in 10 years and Tom Waits first vocal feature in over a decade. Releasing everywhere apart from Spotify. Physical release features extra spoken word track ‘The Fly’, exclusive to vinyl. Vinyl is created using recycled water bottles with all paper elements using 100% recycled fibres.

Terence Fixmer Reimagines Chris Liebing & Luke Slater's 'Double Split' for CLR. Fixmer's remixes of Liebing/Slater's collaboration from the former's 'Evolver' LP release on 31st July.

Terence Fixmer has delivered two remixes of Chris Liebing and Luke Slater's 'Double Split' track, one of a handful of collaborations on Liebing's first-ever solo LP, 'Evolver', which was released in March this year. Having contributed to the LP as a member of The Alte Stuben Modular Ensemble, a super-group featuring Liebing, Daniel Miller, and Pascal Gabriel, Fixmer is a fitting choice to remix 'Double Split'.

Fixmer has been evolving his sound for more than 25 years. From deep and mind-bending to experimental and soulful, he is a visionary who has been hugely prolific, with many standout LPs and EPs on labels such as Mute Records, Novamute, Ostgut Ton, and Planete Rouge Records.

Fixmer's first 'Double Split' remix is inspired by the energy of the original, but focused on dubbier, hypnotic vibes. Strident drums and clattering percussion are stark by design, but smoky vocals and eerie synths hang in the air, bringing a bleak human futurism over all-consuming bass. Then comes the Melting Mind rework, which is boiled down to a handful of key elements, not least the original's penetrating acid line. It's an immersive, late-night dive that locks you in a state of constant motion and unrelenting pressure. The original from Chris Liebing and Luke Slater, a dark and futuristic roller with automated drums and layers of rusty synths encircled by acidic gurgles, completes the package.

Future Tones is back... this time with Fdez, label co founder. Four dancefloor killer tracks, and starts with Dr Blowfin, Dark and driving techno house tool. Rolling sub-heavy bassline, tight percussive groove and raw analog synth stabs.

The A2 is for Techcontrol, Stripped and hypnotic. Minimal drum programming layered with evolving analog textures and shadowy vocal fragments.

The other side starts with Sarcofago, Heavy low-end pressure with a punchy groove. Italo-tinged atmospheres and dusty analog sequences create a moody peak-time cut with steady progression.

And B2 is for Zigurat, Killer closer. Deep pulsating bass, restrained percussion and haunting vocal elements floating over warm analog pads. Perfect for late-night transitions and controlled energy shifts.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."