Suche:slo burn

,Amusing the Amazing" ist eine EP mit vier Songs von der amerikanischen Stoner-Rock-Band Slo Burn, die ursprünglich 1997 von Malicious Vinyl rausgebracht wurde. Die Band wurde von Sänger John Garcia, früher bei Kyuss, angeführt und bestand aus Gitarrist Chris Hale, Bassist Damon Garrison und Schlagzeuger Brady Houghton. Die EP wurde von Slo Burn und Chris Goss zusammen produziert. Die EP wird gerade neu gemastert und zum ersten Mal auf 12-Zoll-Vinyl gepresst, mit Audio auf der einen Seite und einer speziellen Gravur auf der anderen.

Hild unites US sound sculptor zake and UK-based rhubiqs in a transatlantic collaboration steeped in plenty of their signature patience and emotional gravity. Across four slow-burning movements, deep drones, hushed piano lines and glacial textures unfold with cinematic allure as vastness and intimacy coexist. Rooted in both artists' post-rock backgrounds, this record feels less composed than discovered, as if each passage emerges organically from silence. There is plenty of fragile beauty in the stillness and looming sense of loss, so this is the sort of record that has a profound effect despite its knowing restraint.

Continuing Blueprint's 30th anniversary celebrations, James Ruskin welcomes the return of Oliver Ho, whose relationship with the label is deep-rooted.

Oliver Ho has spent the last 30 years devoting his life to creating some of the most intense and compelling electronic music out there. Debuting his signature raw sound in 1996 on Blueprint Records, he cemented himself in the underground of the '90s UK techno scene. With a plethora of aliases, he has navigated his way through many different genres. From the frenetic tribal sounds of his own Meta imprint, the off the wall house music made as Birdland and Raudive, the grinding industrial of Broken English Club and the heavily textured ambient of his Slow White Fall and Zov Zov projects. While pushing and pulling at the fringes of electronic music, at the very centre has always been the beating heart of hypnotic techno, an art form that is both brutal and bewitching; techno as ritual magic. Oliver's live shows and DJ sets showcase this expression of music as shamanic experience, metallic and relentless, pure and direct.

An integral figure in shaping Blueprint's early sound, Oliver Ho returned in 2016 for their 20th anniversary with the "Burning Heretics EP", which was followed by a remastered reissue of 1999's "Awakening The Sentient". So it's fitting that he's now back for this latest milestone with a new EP, "Our Secret Religion" dropping in May.

SCHWARM (Martinou Remix)
Martinou reshapes SCHWARM into fluid sound currents and a glowing, hypnotic arpeggio. Intimate yet euphoric, it's a slow-burning dream. He and Harald Björk first connected through Myspace in 2008. Martinou has since released on Nous'klaer and Mule Musiq, among others.

SCHWARM (Sniper Mode Remix)
Gregor Tresher revives Sniper Mode with sharp 808 electro - minimal, deep, precise. After meeting Björk via Cocoon, the link continued through Break New Soil.

ALUCO (Revisited)
Björk reworks his Cocoon Recordings release into a deeper, more spacious trance journey. A staple in his live sets and championed by Ida Engberg and John Digweed, it returns stripped, atmospheric and hypnotic.

ALUCO (AD Remix)
AD is the deeper alias of Alexi Delano, a key figure since the SVEK era. His version drifts through nocturnal Stockholm - dubby, cold, immersive.

Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.

A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.

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.

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

For its 30th anniversary, Kruder & Dorfmeister’s DJ-Kicks is available for the first time in mixed form on 3LP, remastered by Bernie Grundman and packaged in a special box set including original imagery. Kruder & Dorfmeister's rendition of the series created an era defining moment, which tied together a glowing array of musical registers. The Viennese downtempo royalty blended a fusion of slowed down moments across many genres with rolling Drum and Bass from the likes of Aquasky, the melting acid lines of deep Hardfloor and the 90s boom bap sampling, smoked out atmospherics of Thievery Corporation amongst many more.

These masters of mood channeled the sound of a moment with their DJ-Kicks, which still retains a certified cinematic sheen, the patina of the real – curation and mixing at its most playful and refined. It remains to this day one of the most recognizable DJ-Kicks and mixes of all time. Containing two certified cuts from K&D themselves; the wooze is strong on “High Noon” with Dorfmeister's intoxicating jazz flute licks and a trembling harmonica atop a mirage of breaks. Their DJ-Kicks original and legendary tune “Black Baby” closes the mix providing a piece of grandeur, riding off into the distance deep to the vanishing point.

When the mix dropped in 1996, the slo-beat pioneers were among the hottest producers in the dance universe. Even though they only produced two unreleased maxis, names like Count Basie, Bomb The Bass, Alex Reece or United Future Organization had some of their tracks remixed by these exceptional producers. Rumour has it during the work for DJ-Kicks and their debut album they refused doing remixes for U2, Grace Jones, Elvis Costello and the Fantastic Four! ‘DJ-Kicks: Kruder & Dorfmeister’ took its place in the pantheon a long while back, effortless in its ability to traverse sounds, styles and tempos while retaining a selection which remains timelessly recognisable as: Kruder & Dorfmeister.

Limitierte Auflage von Alex Gs Original-Soundtrack zu ,I Saw the TV Glow", gepresst auf blauem Glow-Vinyl, mit holografischem Cover und einem ,Mr. Melancholy"-Aufkleber. Der von Alex G komponierte Soundtrack zu ,I Saw The TV Glow" (Original Motion Picture Score) wurde am 16. Mai 2024 von A24 Music veröffentlicht und umfasst 20 atmosphärische und eindringliche Titel. Das Album hat eine Spieldauer von 41 Minuten und enthält Titel wie ,Opening Theme from The Pink Opaque" und ,Downed Power Line", die die unheimliche Klangwelt für Jane Schoenbruns Film untermalen. Dieses Projekt ist Alex Gs zweiter Film-Score nach seiner Arbeit an ,We're All Going to the World's Fair". Der Alex G Original Score von "I Saw The TV Glow" unterscheidet sich vom Soundtrack-Album des Films, auf dem Künstler wie Caroline Polachek, Phoebe Bridgers und Sloppy Jane zu hören sind.

Butch returns to Rekids with the ‘Official Bump Call’ EP. Riva Starr steps up with a Warehouse remix.

German DJ/producer Butch returns to Rekids with the ‘Official Bump Call’ EP 22nd May 2026. It marks his first release on the label since 2011’s ‘Raw Beats’ two-tracker, followed by a 2018 appearance remixing Basement Jaxx’s ‘Good Luck’. This time, Snatch! Records boss Riva Starr joins for a remix fresh off the back of his ‘Shine A Light’ EP on Radio Slave’s main imprint.

“‘Bump Call’ and 'Foxtrot Uniform' are messages from old-school players to new-school fools. At a time, when everything revolves around health, discipline, and maximising output – more shows, more structure, more money – this EP is a reminder of where it all came from. From a scene that wasn’t optimised, but lived. From DJs who didn’t just perform – they partied. Yes, times have changed. Even I’m on that fitness wave now, living cleaner and more focused. But this record isn’t about that. It’s a nod to the chaos, the excess, and the raw energy that defined an era. A reminder that it wasn’t always about performance – sometimes it was just about crossing lines” - Butch

Butch’s Official Bump Call' plays with live, loose, and funky drum breaks that ride a swollen bassline. Toms and congas pepper the groove as steamy vocals inject the soul. It's a dusty, heartfelt House sound that balances vintage samples with his signature production prowess, making for a sure-fire summer heater. Riva Starr is an equally influential producer who heads up the Snatch! label and has been turning out essential House sounds for many years. His remix beefs up the drums while keeping the slow-burning vocal heat front and center, creating a devastatingly deep yet driving sound.
'Foxtrot Uniform' is another tasteful jumble of soul, funk, and gospel motifs with a lived-in house groove that's instinctive and real. Emotions bubble up but never boil over as the tension builds, culminating in an utter dance-floor release when the diva's vocal erupts. It's a masterclass in control and release.

Butch has a vast discography spanning labels such as Life And Death, Running Back, Defected, Innervisions, Diynamic, Starr’s Snatch!, and many more, while traversing myriad subgenres. He does it all, from intricate minimal with Ricardo Villalobos to Eastern-inspired psychedelia and pounding, prime-time Techno.

Founded in 2006, Radio Slave’s Rekids expanded with the techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as sole A&R, Rekids continues to champion emerging and established artists alike, remaining a trusted home for house and related sounds, with recent releases from DJ Minx, Echonomist, Tal Fussman, and more."

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

Giom's Supremus Records has been dropping digital heat for more than a decade and now, in collaboration with us, they are making their vinyl debut with the Giom Classics series featuring tried and tested gems that have been fully remastered. 'The Message' is first up and back in 2015 when it originally dropped quickly became a favourite of the don Bill Brewster. It's patient, low-slung and slow burning with an irresistibly hypnotic effect. 'People' then gets more party with chopped vocals and disco samples all bristling with energy and big drums carrying it onwards and upwards. 'Last Dance' closes out with more warm, soul-infused and patient house depths with musical chords and another well-chosen and expertly deployed vocal that adds just the right amount of fire to amp up the energy.

2025 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

2026 REPRESS + DOWNLOAD

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

Full Dose welcome DJ Firehouse to the fold with a four-track suite that drifts deep into fogged-out space. Rooted in the lineage of late-2000s innovators, this is a record that leans into atmosphere as much as it does low-end pressure.

“Hamilton Hill” sets the tone with metallic percussion and submerged chords, locking into a hypnotic groove that feels equal parts system music and head music. “Gardening” follows with a blurred palette, combining rippling textures, tape hiss and a hypnotic vocal loop to pull you further inward. On “Starpol 666”, Firehouse eases off the pressure with a more abstract, interlude-like piece, where drifting mid-range pads and liquid movement hint at a more experimental edge. Closing track “Cross Fader” stretches things out into a dubbed, slow-burning finale. Breathy ambient layers give way to dembow-leaning drums, with thunderous hits and long-tailed echoes building a quiet but undeniable tension.

A highly sought-after compilation drawn from the legendary Sade reinterpretations — presented in its original white label form. Nearly unobtainable today. Inside: a carefully curated spectrum of lush, emotive reinterpretations, drifting from atmospheric slow burners to elegant club-ready house cuts. Built for deep diggers, discerning collectors, underground DJs, and journalists tuned into the culture, this record captures a rare intersection of mood, craft, and dancefloor sensibility. Extremely limited pressing — once gone, gone for good.

Slope114 are Dmitri SFC & Elise Gargalikis, a duo that makes their house music live from home in San Francisco. That lends it a rare musicality and melodic lushness that sit their work right up there with deep house forefathers. This outing starts with the slouchy goodness and endearing bass of 'Dystopian Blues', complete with aloof vocals that exude cool. The dub is even more pillow and smooth than the Mark Ambrose mix that brings a little more roughness to the drums but still locks into a hypnotic vibe. 'Emu 2' is a gentle rhythm with dusty pads and candle-lit chords for when slow-burn subtlety is prized over immediacy. Classy stuff.

ICONYC steps into new territory with Traffk, a spellbinding EP from UVITA, Twiins, and Motip White. Built around two deeply immersive compositions, Traffik operates as a threshold rather than a destination — a carefully measured passage into unfamiliar territory where tension is curated, expectations are subverted, and every detail feels deliberately withheld until the right moment.

At the center lies the title track, “Traffik,” a commanding convergence of three distinct creative voices distilled into a singular, unsettling vision. Suspended between austere minimalism and intricate design, the piece unfolds with a forceful rhythmic backbone that plunges into subterranean depths. Twisting brass motifs flicker and bend like fractured light across polished surfaces, creating an atmosphere that is both tactile and elusive. As the groove locks into a hypnotic oscillation, a spectral vocal presence emerges, injecting a sense of weight and foreboding before the track fractures inward, collapsing into a violent release that ejects us from its vortex with uncompromising intensity.

On our B-side, UVITA and Twiins reconvene for “Lucy Tried For It,” a continuation that trades overt drama for a slow-burning psychological pull. Anchored by a prowling low-frequency current and a relentless percussive drive, the track draws us deeper through carefully placed sonic detonations that expand its spatial dimension. Gradually, malfunctioning mechanical textures and distant, almost feral cries seep into the framework, setting the stage for an introspective spoken-word moment that nudges the piece further into the subconscious. As fragmented melodic elements begin to surface, “Lucy Tried For It” reaches a moment of suspended reflection before surging forward once more, closing the EP on an emotionally charged and resolute note.

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

A new voice enters the orbit. MBM carves three slow-burning studies in tension and release – merging patterns with fragile harmonics, melancholia, and restraint. Everything feels carefully placed yet emotionally exposed. Moments of pressure give way to space, steel meets softness, rhythm turns inward. No peaks. No breaks. Just pulse, texture, and tone – in constant negotiation. Music for the body, drawn from the depths. Soultones hits hard. Feel it.

Colophon creates electronic music using synthesizers and drum machines from the '80s and '90s that are no longer in production. Everything beeps and crackles, shaping atmospheric soundscapes layered with deep basslines and melancholic pads full of character.

'Dimension Six EP' delivers a six-track journey, moving through techno, acid, slow burners, and ambient. Imperfections are left intact, giving the music a raw, human feel rather than something overly clean, clinical, or artificial. It's the meeting point between old and new technology that makes the process so fascinating and inspiring - the endless places you can go, discovering new sounds within sounds.

Alongside producing music, Colophon also runs 'Loop of Life', a record label where music, fine art, and graphic design converge, releasing limited-edition vinyl with handmade artwork covers.

Reviews
'The excellent, excellent sounds of Colophon' Ben Sims on NTS Radio, London
'My favourite tracks of the moment' ASOK on Rinse FM, London

A reflective mood shapes this new ENSOULED compilation, which leans into thoughtful deep house and rhythmic exploration. Italian producer Kikko Esse sets the tone with 'Nightfall Chroma', a spiritual cut guided by warm chords and the sort of slow burn groove that is like sinking into a lush bath, and is later reworked by Alton Miller, whose Detroit-rooted style adds some lovely swing. On the reverse, Cee ElAssaad and Masaki Morii deliver 'Tribe', a more prickly percussive cut underscored by dub effects and spoken word. Hugo LX closes the 12" with a deeper club reinterpretation that keeps you locked.

We are very happy to present you Alton Miller on his first HOUSEWAX release!
After fantastic records on our RAWAX MOTORCITY EDITION we felt, it's time for
this record which will be ready right on time for the Summer Bliss season!

We’re thrilled to present Volume 2 of ‘30 Years Of Freerange’. Six more, brand-new and exclusive tracks from a variety of label regulars including Fouk, Aroop Roy, Coflo, Fred Everything, Matt Masters & Radic The Myth

Three decades in, Freerange doesn’t look back - it expands. 30 Years Of Freerange - 30 tracks from 30 artists across Five EPs. A slow-burn rollout culminating in a beautiful boxset meticulously assembled to outlast trends, algorithms, and short attention spans. A handpicked cross-section of the Freerange continuum from artists who’ve shaped the sound alongside up and coming voices pushing it somewhere new.

French label Latency presents ‘Estradas (Versions)’ - a dynamic reimagining of the acclaimed collaboration between drummer-composer Valentina Magaletti and Afro-Portuguese producer Nídia. Following Estradas’ recognition as one of 2024’s Best Albums by Pitchfork, The Wire, Resident Advisor, Artforum, Bandcamp, and more, ‘Estradas (Versions)’ invites a diverse lineup of producers and DJs to deconstruct and reimagine the raw percussive language initially crafted by Magaletti and Nídia. Where the original Estradas channeled their distinct rhythmic sensibili- ties into a bold sonic statement, this collection pushes those ideas further - opening the material to radical transformation across tempo, genre, and mood.

One of the leading baile funk innovators from Belo Horizonte, Dj Anderson do Paraíso opens the release by transforming “Andiamo” into a slow-burning, hallucinatory drift. Mexico-based Rosa Pistola and Freebot follow with “Rapido,” infusing it with syncopated, raw heat drawn from the pulse of underground Latin dancefloors. Lebanese-Australian producer Dj Plead pares “Sicilia” down to its core, distilling its essence into stripped-back, polyrhythmic ten- sion. On “Mata,” Brazilian DJ and producer BADSISTA delivers a fierce, bass-heavy version driven by slicing synths and unrelenting club pressure. Multidisciplinary artist FAUZIA sharpens the rhythmic intricacy of “Nasty” with her signature blend of speed and emotion.

London-born DJ, producer, and label founder Sherelle - known for her high-octane 160bpm mix of footwork and jungle - injects “Estradas” with blistering breakbeat energy, reframing its urgency through a razor-sharp UK lens. Chinese musician and sound artist Yu Su offers a fluid, atmospheric reinterpretation of the same track, softening its edges while preserving its momentum. Scottish composer and producer Fergus Jones pulls “No Promises” into hypnotic new rhythmic terrain. Dominican producer and multidisciplinary artist Kelman Duran stretches “Ta A Bater Ya” into a shadowy, reverberant space, while Lebanese composer and multi-instrumentalist Charif Megarbane and its Cosmic Analog Ensemble reimagines it with layered, cinematic textures echoing vintage library music and psych-jazz soundtracks.

These artists treat Estradas as raw material - reframing its structures and reactivating its rhythmic possibilities through entirely new prisms. What emerges is not a conventional remix album, but a vibrant constellation of versions : a response to Estradas’ percussive provoca- tions, and an extension of its spirit of exploration - all while keeping its pulse alive.

Constant Black is one of the many, many labels that Burnski heads up. It's where he focuses on stripped-back minimal and tech house with a moody undercurrent. Kerouac is a mainstay in his orbit and here takes one side of a new 12" that opens with 'This Method,' a rigid thumper with an eerie edge. 'Produce To The Max' has a dark bassline and ghoulish vocal sounds, while 'Talking About' is a more light and bumpy percussive number. Mees Mattern takes care of the flip with the dusty, garage-y loops of 'Sloppy Tekniic,' rubbery bass minimalism of 'Reeses Pieces' and grittier '404 Not Found. Six fresh tools for rewiring a dancefloor.

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

A concentrated four track showcase extending the warm glow of last summer’s album “Cruise Control” into the spring of 2026. Satin Jackets lines up a heavyweight cast and delivers an EP that moves effortlessly between sunlit elegance and late night force.
A1) Satin Jackets & Kimchii – “Bring On Up Our Love” (Flashbaxx Remix)
Flashbaxx transforms the Satin Jackets and Kimchii track into a driving disco house floor weapon with bright chords and classic dancefloor swagger. Guaranteed to get everyone grooving.
A2) Satin Jackets & Erobique & Thunder – “You Get Me So High”
A radiant meeting of Satin Jackets, Erobique and Thunder that sails between disco, Westcoast soul and soft focus glamour. Built around the 2025 vocal, the trio turn it into a warm and irresistibly smooth homage to timeless Yacht Rock.
B1) Satin Jackets & Nazzereene – “Know Me” (Johannes Albert Remix)
The Berlin producer dives deep into Chicago house aesthetics and delivers a crisp, rolling late night tool that lights up any club at peak time.
B2) Satin Jackets feat. Seint Monet – “Control” (Ceci Remix)
Ceci closes the EP with a dreamy, slow burning rework that wraps Seint Monet’s vocal in hazy pads and gentle after hours warmth.
Extra Mile EP is the kind of twelve inch you do not pass on. A tight, potent combination of artists who elevate each other with ease.

Adeen Records is next to give weight to the rising profile of Paolo Aniello aka New Digital Fidelity, an accomplished house producer who heads up his own Scopic label which this release is in collaboration with. Raised in Bari and now based in London, Aniello shows this love of Midwestern classics with a release that is slow burning and soulful rather than extroverted in its grooves. The A-side cruiser '4 Hours Away From Southside' sets a smooth tone with gentle chords awakening your soul then '9 Hours Landing' has a jumbled percussive element and heavy, almost beatdown kicks. 'Lake Shore Drive' glides into candlelit late-night territory with dusty drums and frayed analogue edges that get reworked by Ge-Ology into something more busy and futuristic.

Signaling their long-anticipated debut on ICONYC, the label welcomes acclaimed Italian duo Glowal with their Future Faces EP. Uncompromising in its intent, this two-track capsule extends the duo’s emotional vocabulary, threading new ideas through their unmistakable sonic lens for a release that underscores the expressive precision at the heart of their craft.

Casting their gaze forward on “Future Faces”, Fabio Giannelli and Alessandro Gasperini open proceedings with a fractured rhythmic chassis driven by a throbbing low-end pulse that warps with each passing beat. Heavy percussive strikes carve their path into the night before a disarming female vocal emerges from the shadows, injecting a sense of yearning and fragile wonder into the piece. A sudden brake—like tires skidding across rain-slick asphalt—ushers in laser-etched synth lines that cry out with an anthemic resolve, while iridescent sequences bubble to the surface, sealing a striking first statement on the label.

Turning the corner, Glowal unveil the esoteric “Desert Soul,” a slow-burning reverie that expands on the EP’s emotional terrain. Patiently unfolding over fragmented rhythms and a meandering bassline, neon traces guide us toward a robotic vocal presence that introduces a subtle human-machine tension. Stripped to a minimal core yet rich in sentiment, “Desert Soul” resonates with quiet introspection—an understated meditation on self-discovery that lingers well beyond its final echo.

Sole Aspect returns with the second part of its Sole Discretion series and this one goes deeper into the club while expanding on the textured, late-night energy of its predecessor. Dubbyman opens with widescreen deep house on 'Always In & Out' which wraps Aki Dawson's hypnotic Chi-town vocals in slow-burning warmth. The Windy City's Specter follows with a warm, weighty beatdown rooted in the US Mid West before Boo Williams turns up the heat with rolling basslines and his signature rhythmic deftness, backed with a subtle cosmic glow. Taelue closes the set with 'Interplanetary' which is a raw, futuristic cut that drifts into spacey territory and, along with the other cuts, is a sharp reminder that Chicago house's future is in good hands.

Our next 7” release welcomes young and talented key player Stefano Nardon from Vicenza, Italy.
The record features two jazz-infused broken beat compositions, performed and recorded live, capturing an intimate and organic session feel.
On the A side, “Mangrovia” unfolds as a warm, floating piece built around Fender Rhodes textures, subtle harmonies and a slow-burning groove. A deep and immersive cut, balancing between jazz lounge aesthetics and cinematic mood.
The B side, “Underwater”, was created in collaboration with drummer Stefano Cosi (Padova). His live drum contribution adds movement and depth, giving the track a more dynamic pulse while maintaining the introspective character of the release.

Transient Response is a storytelling of moods in motion, from city to city, situation to situation from China-born, London-based artist Guohan. Side A opens with ‘Don’t Forget Your Hiss’, a funky dusty groove built around the repeated phrase ‘带走我的’ gradually unfolding into ‘带走我和你的故事’ meaning ‘bring along the stories of yours and mine’. ‘First Light’ follows as a percussive MPC-driven slow burner, capturing a swirling summer day in the studio.
Side B starts with ‘Seeds of Tomorrow’, a mellow drive through thoughts with a broken groove constructed with drum machine, djembe and shaker. Growing synths and bassline from the analogue devices keep your head nodding and feet moving. Backed with a remix from Xiamen-based artist Knopha.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

Todh Teri returns with a brand new record, and this time the spotlight falls on Hari Heart. The Return of Hari Heart marks the eighth release on Masala Movement Records and launches a fresh vinyl-only series that brings the mythical characters of Deep In India back to life in a bold new form. Todh Teri further expands his conceptual universe by focusing on deeper sonics & music explorations. Hari Heart guides the release with a delicious blend of nostalgia, analog warmth and a club-ready intentions - built for curious DJs (and listeners alike).

On the A side you will find Smriti (Remembrance) - a reimagined classic flipped into a peak-time driver - disco spirit, acid bite, and pure dancefloor release. Limited, loud, and made to move bodies. On the flipside we have ??a (Debt) - a deep, dubby slow-burn built around an evergreen melody which grows patiently - finally rewarding you with a sweet earworm.

The final tune on the record is Prem (Love) - a reinterpretation of a ’70s indie rock n roll gem. Unmistakably retrospective (if you know your history). Play it a bit longer into the dead wax, and you will catch a hidden acid sequence locked groove.

Art by Soju Aduckathil with creative direction from Masala Movement’s Manoj Kurian. This is the label’s eighth release, a vinyl-only exclusive, with more coming in 2026.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

Vertigo is proud to announce their debut physical release Necessity from Perth/Boorloo electronic duo Ezines, available March 20th. Necessity is a sleazy, pressure-driven club record, built on a balance of short, immediate ideas and long-term structural development. Across four original tracks and a remix — Dissolve, Necessity, Pacer, Ekspres, and Necessity (Liquid Earth Heaven ’N’ Hell Dub) — Ezines balance instant impact with slow-burn momentum, allowing tracks to hit fast before stretching into longer, more patient forms. The EP thrives on tension, repetition, and release, shaped equally by instinct, live performance, and hands-on studio refinement.

A fresh breeze of color, groove, and charm marks the first outing of OKAY OKAY, a new label from Germany that celebrates playful, soulful, and dance-ready sounds beyond genre borders.
With Marmelade Dew EP, Gelée serves up a vibrant debut full of disco shimmer, Italo-house warmth, and a sweet dose of pop sensitivity. It’s a record that feels both nostalgic and daring, sun-kissed melodies meet tight rhythm work and carefree emotional drive.
From early-morning club sets to slow-burn afterhours, Marmelade Dew EP is an invitation to smile, move, and surrender to simple pleasure. A lovingly crafted 12″ for those who like their house music playful, tactile, and just a little bit sticky.