R&S Records News

Aphex Twin’s ‘Xylem Tube’ EP arrived in the summer of 1992 on R&S Records, coming hot off the heels of his landmark ‘Digeridoo’ release, and an audacious follow up from the then 21-year-old Richard D. James. Out of print for nearly two decades, this long-awaited vinyl reissue restores one of the pivotal early works in his catalogue.

Where ‘Digeridoo’ pushed the endurance of the rave floor to its limits, the ‘Xylem Tube’ EP stretched the Aphex Twin sound into new dimensions with ‘Polynomial-C’ becoming an enduring classic with its spiralling arpeggios, shattering breakbeats and alien melodics. Tracks like ‘Phlange Phace’ and ‘Tamphex (Hedphuq Mix)’ pushed distortion, humour and rhythm into uncharted territory, while ‘Dodeccaheedron’ acts as a bold signifier of James’ radical ideas of how dance music can sound, with its ominous and brooding synth work over a cacophony of eerie, broken beats.

Three decades later, the EP stands not only as a key chapter in the Aphex canon, but also as a statement of intent from an artist set on reshaping electronic music’s DNA. Now faithfully reissued on vinyl for the first time since a 2006 pressing, this edition returns one of the most in-demand Aphex R&S titles to circulation after nearly twenty years out of print.

“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.”

‘Didgeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire.

“I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.”

Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.”

‘Didgeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

‘Digeridoo’ (Expanded Edition) by Aphex Twin is available on R&S Records from 31st May 2024.

THE SOUND OF SUMMER

Brand new tracks made from the Havana Sessions, recorded by Brian d'Souza aka Auntie Flo in downtown Havana around 2015.

'Havana City' is a joyous, summer anthem in the making, featuring Andrew Ashong on vocals and a host of Cuban musicians. Think Nuyorican Soul's classic 'I Am the Black Gold Of The Sun' with a Tony Allen-inspired drum beat, luscious string arrangements, triumphant horns and addictive keys - all given the space they deserve and fully justifying the 11.5 minutes run time.

The 2026 version of 'Die Bailando' re-invents the original minimal electro beat to a latin rhumba-influenced groover. Grammy-nominated singer Eric Alejandro aka Cimafunk's vocals are a huge highlight, now fused with new guitars from Ziggy Funk and drums from Ibibio Sound Machine's Jose Joyette.

Completing the package is a remastered version of 'Mother Theresa' - which has close to 2 million plays on Spotify but was never released on vinyl. Drift away to the sounds of the Malecon...

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be
paid to environmental charities.

Auntie Flo delivers two extended versions of Costa Rica based singer-songwriter Doe Paoro. If you liked Auntie Flo's 'Green City', check these...

Doe Paoro approached Brian d’Souza aka Auntie Flo to do a remix for her album 'Living Through Collapse' last year. He loved the parts she sent so much he asked her if he could do two remixes, press onto vinyl and release via A State Of Flo.

We're doing a limited run of 300 copies only, orange vinyl - so buy today if you don't want to miss out.

The tracks... Teach Us Of Endings - a classic balearic groove, gloriously uplifting disco-style strings and complete with Green City-style drum rolls and a killer Ziggy Funk bass line ... just waiting for those strings to come in...bliss

Maya - exotic, deep, hypnotic. Centred around a Ziggy Funk groove with analogue washes and Middle Eastern sounding instrumentation.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Support from Colleen ‘Cosmo’ Murphy, Luke Una, Dar Disku, Paula Tape, Sean Johnston, Gabriels, Batida etc

Following the release of Blue Lava on Houseum Records, B From E returns with Apocalypsex, an EP that dives deeper into darker and more club-oriented territory. Released on Ellipse Records, the sub-label dedicated to rawer and more experimental expressions, this new chapter explores tension, hypnosis and late-night energy, while preserving the melodic sensibility that defines the Danish producer’s sound.

We begin with the A1 “X-perience”, a track firmly rooted in 90s trance aesthetics, blending acid lines, sharp trance-style synths and vocal elements into a direct, club-focused structure with a progressive, hypnotic drive.

The A2 “Dream Mania” shifts towards a more melodic and expansive direction. Less centered on pure club impact, it unfolds as a sun-soaked journey, led by evolving melodies and a smooth, flowing progression.

On the B-side, “Apocalypsex” dives into deeper territory. The title track builds a sustained state of trance through repetition and gradual tension, combining floating atmospheres with an intense, forward-moving groove.

The EP closes with “In Orbit”, a more break-driven and spacious piece where airy pads and open textures take the lead, offering a lighter, atmospheric conclusion.

Scious Records presents another fantastic split ep.
This time by the Legend Baby Ford & Franky Greiner.
Higly recommended!

On edit imprint Disco Mind's 10th release, they hand over the reins to iconic Italian DJ, producer and remixer Beppe Loda, once resident DJ at influential rural club Typhoon during the 1980s. It's that period - where he embraced the disco-rock and Afro-cosmic sounds being played by contemporary Daniele Baldelli - that inspired the four scalpel jobs on show. 'Mr Rocket' is a chugging chunk of oddball early 80s cosmic rock headiness, while 'Tu Sei' sees Loda rework what sounds like a synth-laden fusion of space rock and intergalactic jazz-funk. On side B, he does a great job on spiralling, big hair-sporting disco-rock number 'Falling', before showcasing more spacey synths and chugging rock riffs on 'Marzio'.

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962),(1) a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME´s Independent Chart in March 1994 and reached number 50 in the UK official album chart.

The track Novelty Waves was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial".

One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of "Startoucher," for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of "Mir" into the low, brooding intro to "The Shield." Not everything is so shadowy, though, Patashnik is primarily a relax and chill listening experience, but not without its gentle high points. "Novelty Waves," which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on "SETI Project" is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation.

Bonafique return to Crosstown Rebels with ‘Terapia’, featuring Yuvèe and a standout remix from Josh Baker.

Out on 5th June 2026, the duo delivers a hypnotic release remixed by one of the most in-demand names in modern house music. Following their debut appearance on the label’s ‘SPIRITS VII’ compilation in 2025, Bonafique return to Damian Lazarus’ Crosstown Rebels imprint with a fully realised statement in the form of their ‘Terapia’ EP. With an instinct-driven studio process and emotionally charged sound, the duo continues to refine a style rooted in hypnotic groove, stripped-back club energy, and warped, psychedelic textures - perfectly exemplified across both solo and collaborative offerings here.

Lead cut ‘Profill’, crafted alongside previous collaborator and close friend Yuvèe, travels through tightly coiled rhythmic tension and driving low-end pressure, balancing intensity with restraint in a way that feels raw yet deliberate. Yuvèe’s background informs the track’s direction, bringing a sense of musical discipline that bridges composition and club functionality, adding an understated yet vital layer to Bonafi que’s vision.

On remix duties, You&Me boss Josh Baker makes a notable Crosstown Rebels debut, stepping in as one of the most in-demand figures in contemporary house music. His reinterpretation reshapes the original into a sharp peak-time weapon, injecting spiralling melodies and controlled pressure while retaining its hypnotic core. Closing the release, title track ‘Terapia’ offers Bonafique’s solo excursion of the EP and strips things back into deeper territory, unfolding through atmospheric layers and evolving rhythmic detail to off er a more introspective counterpart to the energy of ‘Profill’.

London based imprint SHIBUI follows up with a second 12" on the label, with a four track EP from Brennan.

SHIW002 features Tech-House cuts with an unmistakeable old school feel, an essential for every DJ's record bag.

Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.

Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.

These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....




D a4 | DEVIL'S THRONE - Junior Delgado

Bushwacka’s first release for Radio Slave’s Rekids, the ‘Heaven On Earth’ EP, is out on October 11th 2024 and sees the UK House and Breakbeat innovator deliver two tracks complete with versions.

Title track ‘Heaven On Earth’ is a slice of low-slung House in which a drawling spoken-word vocal about love for music dominates. It’s a track with the sort of cast-iron, funky groove that has permeated Bushwacka’s music since day one. The ‘Instadub’ dubs out the vocals and takes ‘Heaven On Earth’ in a heady direction.

On the flip, Version One and Version Two of ‘Roger That’ see Bushwacka drop finely tuned funk-infused Deep House, with the former treading an earthy heads-down path while the latter ups the melody, chord and vocal sample prominence, creating a restrained euphoria throughout.

Bushwacka, aka Matthew Benjamin or Matthew B/Just Be/Makesome Breaksome and countless other aliases, has been a pivotal part of the electronic music scene for over 30 years. While his wildly successful project with Layo Paskin as Layo & Bushwacka! is his most prominent, this former London School Symphony Orchestra percussionist’s roots go much deeper. A pioneer of the nascent Rave and Acid House scenes who went on to be one of the progenitors of Tech House and UK Breakbeat scenes, Bushwacka’s influence is huge but far from static, with releases on the likes of Classic, Aus and NuGroove in the past few years alone.

Cerrone has been a musical icon beyond Disco for 5 decades. He keeps inspiring the greatest names of electronic music and improving his way of playing & creating music. With “Disco Symphony” Cerrone revisits in a symphonic way 21 of his greatest hits performed with the Symphony Orchestra of Cannes (+50 musicians) directed by the legendary Randy Kerber , also featuring Cerrone himself on the drums & an additional bass-guitars-keyboards band playing with the orchestra. Merging the power of electronic music , the groove of Disco and the lyrism and unique touch of a symphony orchestra , in respect of the club Culture Cerrone was born in and with . This performance recorded live will be played in Paris at La Philharmonie de Paris on February 21st 2025, day of release.

The story of Change goes back to the 1980 and our introduction to Luther Vandross on their hits “Searching” and “The Glow Of Love”. Next there was the amazing James Robinson with them on “The Very Best In You” and “Miracles” before they joined forces with writers/producers Jimmy Jam & Terry Lewis for “Change Of Heart”, “You Are My Melody” and so many more. You know this already! But here in 2019 Expansion are thrilled to bring you two tracks from their new album with extraordinary remixes by Joey Negro and Opolopo. What could go wrong? Both tracks are astonishing, brilliant on the dance floor and presented here on vinyl exclusively for the first time.

Charlotte de Witte takes charge of her KNTXT label's 15th release with the new Universal Consciousness EP. It comes after Amazingblaze - Venture EP and features four more powerful and psychedelic techno cuts.

Charlotte is soon to be playing her biggest ever KNTXT party in mid April. It shall take place in her hometown of Ghent and see her play a historic 10 hour set to a vast crowd of people who shall go on an all night long journey. Also in April, Charlotte returns to London’s iconic Printworks for the first time in five years, this time with her KNTXT concept and once again is set to raise the roof. While staying busy on the road, she continues to curate the Apple Music x KNTXT page while cooking up ever fresh sounds in the studio. This latest EP is another subtle evolution in her signature style.

Says Charlotte of the EP, "following up on my latest Asura EP in September, I decided to delve a bit deeper in the world of psychedelia. All the tracks of the EP are psy inspired, some more than others. I’ve been playing these tracks for a while now in the clubs. It’s been a real pleasure to see the crowd’s reaction and see the amount of track ID requests online. This one is from me to you, I hope you enjoy my Universal Consciousness EP!"

Opener 'Satori' is dark and heavy. The chunky, raw drums hit hard and flat as the squelchy acid synths pan about the mix. An enchanting middle eastern vocal wail brings an extra trance-inducing element that is sure to lock in the hearts and minds of the crowd. The super 'Kali' is a slick and high speed piece that shows the love relation between psy trance and techno. The video game style synths peel off the groove next to alien sound effects, and the subtly evolving acid line burrows deep into your brain.

Then comes the dynamic, bouncy and acid laced-title cut ‘Universal Consciousness’. It's a fulsome tune with rubbery kicks and visceral 303 loops that will melt the mind as dancers fall into its hypnotic and tripped out spell. Last of all is 'Ahimsa' with its bright, lashing acid synths and hammering kick drums. It's the perfect mix of physical groove and psyched-out synth work, and is perfect for both sweaty basements and vast main rooms alike. When the mystical flutes come in, it takes things to another level entirely.

This is another all consuming EP of innovative techno from Charlotte de Witte.

" Modularz returns with a new release. the return of the limited project - Dead Architect Series " Portfolio Two
focusing the entire release on Historic Architectural marvels and attempting to release tracks fueled by how they have influenced each of the producers and redistributing the energy through the language of techno.

Volume 1 of 3 vinyls containing all the extended mixes on Claude VonStroke’s 5th original artist album, “Wrong Number.” This first record is deep, patient, and deliberately restrained. Claude VonStroke re-calibrates his career for real people who enjoy music. The big room house machine is out of control and Claude has stopped answering the phone.

“I’m sorry you have reached the wrong number. Claude is no longer available…

Freerange Records proudly presents SUN, the brand-new album from Crackazat - a radiant, genre-spanning statement and the long-awaited follow-up to his critically acclaimed 2021 LP Evergreen. SUN is Crackazat’s fourth album and his most expansive work to date: a rich blend of jazz, house, hip-hop, soul, and funk that fully steps into his own lane as a musician, bandleader, collaborator, song writer, and producer. Early radio support from 6 Music (Craig Charles), NTS and Jazz FM. Press/online support from Notion, Electronic Groove, Atwood, Earmilk & Magnetic Magazine.

CRYME lands on Oddysee with 5 club tools designed for maximum dance floor functionality. Titled “7th Element”, the Berlin-based producer finds himself in form with a collection of deep and dubby dance floor grooves, rhythmic programming and sexy vocal-infused house. The record also features a sophisticated slice of steamy, house-laced techno in collaboration with Ben Reymann. Another step in the SEVEN’s co-founder steadily growing repertoire that shows continues upwards progression.

Alt Dub boss Federsen once again joins forces with cv313 and Echospace Detroit to deliver a second instalment in their ‘Altering Dimension’ series, once again merging hazy textural sonics with delicate dub leaning aesthetics.

Detroit’s dub techno lineage continues to evolve as cv313, Stephen Hitchell of Echospace, teams up with Federsen for Altering Dimensions Part Two, another collaborative EP set to land on Federsen’s Alt Dub imprint.

A defining figure in the genre, cv313 has long shaped its language through seminal works like Seconds to Forever and the Dimensional Space LP, fusing enveloping atmospheres with tactile rhythmic structures. Alongside him here,

Federsen whose music can also be found on Echospace Detroit as well as Grayscale, Synchrophone, Lempuyang and Avant Roots, has carved out a distinct voice rooted in precision and analogue-rich depth. Altering Dimensions Part Two again captures the intersection of these two perspectives, linking Detroit’s enduring sonic heritage with a refined, forward-facing approach to dub techno.

‘First Dimension’ opens the release, laying down heavy doses of sub bass, bubbling percussion and ever evolving, murky dub echoes amidst a crisp, stripped-down rhythm section.

‘Second Dimension’ follows and leans into vacillating atmospherics, a swaying bottom end groove and hypnotic, subtle evolution that’s synonymous with the cv313 sound.

‘Third Dimension’ kicks off the b-side next, further embracing this introspective and immersive style as textural elements shift and mutate atop intricately modulating percussive hits, bubbling synth tones and weighty low-end percussion.

‘Fourth Dimension’ then concludes the release, reducing things down to bare bones of hypntic dub, embracing a beatless construction the composition relies on spatial depth, nuanced delays and an underlying tension that decays

Dam Swindle nail 2026 as the year of House music’s glorious return with their new “Call me” EP.
2026 is the year of House music. Festivals, clubs, bars and living rooms have been craving for more warmth and soul in electronic music and you know we’re here for it.

It’s only been a few months since we celebrated the 100th release on Heist with our ‘House of House’ compilation; a 19-track embodiment of everything we love about house music where label heads Dam Swindle teamed up with Detroit legend DJ Minx on their track ‘Back to the old school’. Now, landing just in time for summer, the Amsterdam duo deliver a new EP filled with dancefloor energy across 5 original cuts and vocals courtesy of British-Bengali rapper Surya Sen.

The title track ‘Call me’ is a stabby and string-heavy peak time jam, where chopped female vocals and offbeat cowbells deliver a simply irresistible groove. ‘5 to 9’ features the vocals of London rapper Surya Sen whose deep voice add an instant vibe to Dam Swindle’s deep and Detroit’esque production. This track sits somewhere between gritty dark rooms and sweaty dancefloors.
Definitely not the stuff for your 9 to 5, but with plenty of funk for your after-work pleasures. The track comes in 2 versions; the vocal mix and a longer club-dub with some cleverly chopped vocals that comes in handy for the DJ sets.

The B1 is saved for ‘I like it’. A track full of old school Swindle swing, Rhodes chords, a dash of electronics and soulful vocals chops for good measure. The EP closer is ‘A house track’; a song dedicated to the old school New York house sound and an affirmation that great house music doesn’t have to be complicated. It just needs to groove.

This one has been road-tested all year and is now ready for your listening and playing pleasure. As always, share the music and play it loud!
Yours,
Heist HQ.

Dan Ghenacia's influence on the European underground over the last 25-plus years cannot be overstated. He has run vital labels, hosted essential parties, laid down definitive DJ sets, and produced seminal sounds both solo and as part of the tastemaking Apollonia trio with friends Shonky and Dyed Soundorom. His understanding of house music across the ages and continents is second to none, and he brings all that experience to this fantastic new solo EP.

The bumpy and infectious 'Rouge Ou Noir' opens with looped and funky guitar riffs and neon synths winding their way through dusty, dynamic drums. Cooing vocal stabs ramp up the steaminess of this most tasteful party starter. The superb 'Chilly' has a bustling blend of louche rhythms and rugged synth arps that dart about the mix. They hurry along beneath swirling vocal sounds up top with hints of Metro Area magic and tripped-out colours, all making it a characterful groove. Last but not least, 'Chilly' gets dubbed out and becomes a more low-slung sound with a fleshy bassline popping up the choppy, playful and synth-infused rhythm.

Butter Side Up’s 15th release comes from a familiar face. DANCE PROTOCOL (FKA Midge Thompson), responsible for the label’s second release some 7 years ago, returns to the label with The Shop Floor EP, another chapter in a relationship that stretches back to the party’s earliest years.

A self professed audio nerd, Midge has been operating quietly but consistently for well over a decade in Leeds and more recently London, honing an intentional studio-craft which draws inspiration from quite literally anything he can get his hands on, from 12-bit samplers and vintage synths to YouTube interviews and iPhone field recordings.

If his productions have earned their place through character and an unmistakable sense of groove, The Shop Floor EP is a culmination, presenting perhaps his strongest work to date.

Across four tracks, subtle textures and repeated vocal samples are stretched and twisted over broken beat rhythms and heavy sub-bass. A fine balance of UK-rave tropes and European minimal sensibilities that glide patiently, building and dissipating tension. From the driving, acid-tinged The Shop Floor to the bouncy, breaksy Riding Up Front and deeper Perry Lane, there’s a breadth of moods across the EP, which peaks with the celestial The Back Bench, surely one of the BSU’s most sunrise coded tunes, an softly inviting ‘Give Me Some More’ vocal refrain accompanied with woozy chords, pads and a chunky slap baseline.

DCTL Members is a unit formed by Masafumi Onishi, aka TELLY, the label owner of Troop Music Works, and DJ DUCT, who is renowned for his turntable skills that span a wide range of genres, from Hip Hop and Rare Groove Funk to Detroit Techno and Deep House. For this upcoming EP, they feature Shu Suzuki, a multi-instrumentalist who lends his versatile talents to the project.
This time, by blending musical instruments with the raw warmth of analogue gear and rough, sampler-and-rhythm-machine-driven sequences, the sound has evolved into something even more energetic and full of DIY spirit.

2026 Repress

Deetron is a venerated veteran who has been crafting sublime house and techno for three decades on a range of influential labels. 2025 brought another busy year for him, with another standout EP on Ilian Tape followed by his latest album which landed via Running Back in October. Back in 2024, he dropped his 'Translate Rhythms' EP on Mutual Rytm's X series and now takes charge of the second release on SHDW's new sub-label Mutual Rytm Raw - following the first 12" 'You And Me', which was a true summer anthem courtesy of KiNK & Raredub.

In its original form, the bright, expressive 'Flow' is a fulsome techno cut that pairs a driving rhythm with sophisticated synths. It sparkles with cosmic energy, while a textured, screwy lead winds through the mix and euphoric female vocals burst out to big emotional reactions. The 'Chord Dub' is a tight, bouncy rework with vamping chords lighting up the drums with real warmth and soul, while the 'Breakbeat Mix' fizzes with rich, old school energy. The dusty breakbeats demand physical reactions, while the pads bring a grand sense of scale and the vocals tug at the heart. All three are classy, effective and offer yet more timeless sounds.

Label owner of Mauna and rising star Delazar gives us a personal and versatile EP that we are so proud to present to you. A side is for the club, strong baselines and punch kicks. B side is for the soul and for unforgettable times. Check it yourself and use it as you wish.

Developer Archive returns with its 13th chapter and as you'd expect, the EP is made up of four groove based techno bangers tailor-made for floor-filling. The moods differ on each track and it's mostly exotic grooves, looped riffs, haunting modular electronics, and occasional mind-altering synth lines. Huge TIP

Developer returns with a 4 track Sampler off his full length EP
More Funky driving techno cutz focused on the club and the warehouse. Relentless and un compromised machine made electronics . A sure gem already supported but techno heavyweights this is one for the long term

After a string of solo eps Modularz returns with a wave of various artists releases pushing established and emerging producers laying down strong tracks made for the warehouse or the club. These releases are really getting the pick of the litter when it comes to techno. play these loud and often.

DIM KELLY is back on All Day I Dream, with his latest gradious sonic effort, the Mangrove EP. The release follows his debut full length ADID release, 2021’s Nocturna Animal, and reinvigorates the awe behind his savvy take on organic, melodic house.

2026 Repress of the extremely sort after DJ Assassin "A Face in The Crowd" 12” on Cross Section Records. A total classic House track from 1998, that sounds even fresher today. The vocal is minimal, yet haunting and the bassline just rev's like a an engine, proper House music at it's finest. Supported for years by: Craig Richards, Villalobos, Mike Huckaby, DJ Sneak to name a few.

Limited Edition

UFOs are nothing if not predictable and so it proves as this particular one is back in our orbit after more than two years away. The cult label signs up Mexico's DJ Natas to pilot a new mission to the edges of our solar system and hard-hitting cosmic industrial space tech is his vehicle of choice. 'The Titan Of Terror' is a busy sound laced up with wiry synths and acid prickles and it hits hard. 'F The Pain' rides stomping metallic drums and has eerie pads shimmering in the background while 'Stay Deep' is more sparse and dark with textured acid and spoken word musings, making it a more mental trip then 'Abracadabra' closes with a hint of psychedelic magic.

On 27 March, fabric Originals presents Shō, a five track EP of introspective, transcendent electronics from Japanese techno icon DJ Nobu. Inspired by the Buddhist Brahmavihāras - joy, compassion, loving-kindness and equanimity - Shō unfolds as a meditative, emotional journey rooted in Nobu’s experiences of Tokyo, mindfulness and inner clarity. From kinetic renewal to serene minimalism, the EP channels presence, acceptance and the simple truth that breathing itself is living.

Each track on ‘Shō’ marks a step in an emotional and spiritual journey, channelling the foundational virtues of the Brahmavihāras, which are the four ‘Sublime States’ of Buddhist practice: ‘Muditā’ (joy), ‘Karuṇā’ (compassion), ‘Mettā’ (loving-kindness), and ‘Upekkhā’ (equanimity). Together these principles form a path towards an open, boundless heart, which is mirrored in the EP’s unfolding sonic narrative.

“In recent years I became overly sensitive to my surroundings and society, finding myself strongly affected by every daily occurrence. It was during this time that I discovered meditation. And beyond that lay Buddhism. Through this, my sensibilities became able to express themselves more naturally. I decided to portray my feelings, and the scenery in Tokyo, conveying what I was experiencing in real-time, as music.

The EP title ‘Shō’ denotes views, thoughts, and actions aligned with Buddhist truth, and encapsulates my striving for presence, clarity, and acceptance. It also represents the conscious, mindful understanding that simply breathing is living.” DJ Nobu

represssed !

Monstrous mid-tempo Disco groovings on this one, giving the Avergae White Band a run for their money.... Doc Severinsen, the renowned Jazz hornsman dropping some tight ass Funk on this rare as hens teeth Epic white label promo. This is a fully legit reissue borne out of an Above Board / Sony music collaboration, repressed from the official sources. The original 1976 promo 12" had the same track on both sides as promos often did back then so we've decided to include a special version on the flip, a lovingly tweaked re-edit from the cult leader himself - DJ Harvey. Harv's edit has been around for a minute, but this version backing the OG 76 Disco mix makes this 12" a bonafide 'must grab' for all Disco enthusiasts! Do not snooze. This one's a winner!

Very impressively Eden Burns lands at „Big Beat Manifesto Vol. XII“. This is two BBM releases per year, spread across the past 6 years. Besides casually slipping in an Album „Eden Burns And the Make Believers“ (2025) and various other side projects. The prophet of the Big Beat is restless in the most positive way one can think off. We are all blessed to have him in our lives. What would Music World be without him? We do not want to know. More good news: he’s coming to tour Europe to promote this record. Summer in the city, on the beach, in the countryside on a dance floor near you.
Bless.