House of the Internet News

A reflection on how we hold each other and how we let go, ‘Secular Music Vol 1’ is the first instalment in a triptych of albums by multi-limbed live dance music outfit Girls Of The Internet. Continuing their ongoing policy of “therapy through music”, the album touches all points on the shifting landscape of human connection: belief, doubt, loss, forgiveness. Emphasising human elements of songwriting, performance and production within the lineage of house, disco and electronic music; this first record furthers the band’s flair for manifesting the creative and communal spirit that birthed the scene. Joining the dots that have not been joined for a long time, the collective takes on people of all sexualities, gender expressions and body types. House music was created as an inclusive artform and Girls of the Internet are here to assert we are all invited. The group is completed with a rotating assembly of talented collaborators, including the live band with Nandi and Wynter on vocals and Tommy Peach on bass and trumpet. ‘Secular Music Vol 1’ also features guest appearances from Dani Siciliano, Sió, Pinty, i am an island, and James Alexander Bright - also a regular member of the live band. Girls Of The Internet’s 2024 album ‘When I Was Lost, I Found Myself’ was the follow-up to the acclaimed ‘Girls FM’, one of BBC 6 Music’s Albums of the Year in 2019. Firmly on the radar of key DJs Gilles Peterson, Tom Ravenscroft, Trevor Nelson, Pete Tong, and Lauren Laverne for some time, the band’s songs have more recently found fans in BBC Radio 1’s Sian Eleri and BBC 6 Music’s Nick Grimshaw as well as around the rest of the planet on tastemaker stations Byte FM, FIP, NTS, KALW, KCRW, KEXP and Soho Radio. Girls Of The Internet have performed on home turf at Glastonbury, The Warehouse Project’s Homobloc, Drumsheds, Printworks, Latitude, Lost Village festival, and a residency this summer at London’s Colour Factory. With Ibiza shows at Pikes and Glitterbox at #1 Club in the World Hï; this July saw Tom take on their first US dates with DJ sets in New York, LA and San Francisco. The live band are currently in the middle of an extended live tour that runs through to December. ‘Secular Music Vol 1’ is set for release on 14th November 2025 on Girls Of The Internet's own recently launched House Of the Internet label.

gojnea76 wires punk energy into club language. clunky, tense and alive in all the right places.

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

Hidde Van Wee hails from the Netherlands and is an emerging house talent who does it all from electro to minimal, always with a future-facing outlook. After outings on PIV and Heavy House Society, he lands here on Ebullience with four stylish and fresh house sounds. 'Seduction' is sleek and synoptic with cosmic pads and space-tech energy, 'Use Me' layers heartfelt chords onto crispy and softer-edged drums with a balmy mix of bass and pads. The flip brings the bouncy tech of 'Another Day,' and 'Dig This' shuts down with some moody bass but radiant synth smears that hark back to early Gs like Danny Howells.

The third release on Midnight Fashion Chill gracefully continues the label’s elegant, soul-soothing direction, this time through the warm voice of Jaidene Veda. The original Across The World stands as a true gem: a silky, gently flowing composition where soft, understated drums and delicate piano lines create an intimate, contemplative atmosphere. The From P60 rework tightens things up a little, adding a touch more groove while preserving the track’s airiness and emotional subtlety.

The next on is Kai Alcé’s remix. The Atlanta based producer injects the track with his signature classic-house energy: deeper basslines, dancefloor-ready rhythms, and an overall sophistication that makes the remix both driving and refined. This is the version guaranteed to move the crowd — vibrant, stylish, and tailormade for late-night club moments. The three faces of Across The World show just how far a well-crafted vocal track can be stretched. Midnight Fashion Chill’s latest release manages to be both relaxing and dance-inducing — exactly the kind of balance that makes this series worth following.

Back at it — Soul N Palms droppin' fresh soulful re-edits for the real ones who know the vibe. Built for late-night sessions, block party vibes, and crate-diggin’ heads alike.

'I could go on and on about the insane virtuosity, about the rare analog wind synth that almost no one in the world plays anymore, about the most unique intervallic melodies and harmonies, but it's all secondary to the simple beauty that Justin Walter is able to conjure up with his solo music.' Colin Stetson

Michigan trumpeter Justin Walter's solo work centers on evocative, intuitive explorations of the EVI (Electronic Valve Instrument), a rare wind-controlled analog synthesizer from the 1970's.

Its unique, smeared tonality allows for an expressive range of glassy, jazz-like textures, which Walter loops and layers with hushed electronics and twilit trumpet, painting opaque landscapes of resonant beauty.

Walter's 2013 debut, Lullabies & Nightmares, included a handful of collaborations with percussionist Quin Kirchner but Unseen Forces finds him fully solo, refining the project to its essence: shape-shifting watercolors of pastel haze, lit by the soft synthetic glow of electric breath. It's a sound both modern and timeless, fusing emotion and technology, gauze and melody, force and fragility.

From Justin Walter: Unseen Forces is a collection of recordings that document the use of improvisation as a means to create sounds that can either function on their own or serve as the foundation of, or source material for, additional improvisation. There was a definite process used to create this music but at no point was any music ever written or composed.
When putting this music together I was often aware of feelings related to density, spacing,
silence, and the sense of time pulling back on itself, like trying to stretch a scene and pull on it in ways that distort it ever so slightly. This is a record of melodies, alone and in complex relation. This music is a reflection of both feeling, and thought, as much construction as composition. The recordings of the EVI, as well as the sequencing done using samples of those recordings, are mostly the result of exploring melody through intuition. Harmonically simple, but with a complex pallet of texture.

Knumears sind sich bewusst, dass keine Band in einem Vakuum existiert. Sie sind die Verkörperung einer klanglichen Tradition, die über Jahrzehnte hinweg geprägt und geformt wurde und nur von denen weitergeführt werden kann, die sie wirklich schätzen. Ob man es nun Screamo, Skramz, Post-Hardcore oder anders bezeichnet - es ist ein Sound, der die wechselnden musikalischen Strömungen der Jahre überdauert hat und nun eine ganz neue Generation von Underground-Musikern beeinflusst. Das Debütalbum von Knumears, ,Directions", ist gleichermaßen Liebesbrief und Kartografieprojekt, das die tiefgreifende Geschichte einer komplexen Szene erforscht und gleichzeitig einen spannenden Entwurf für eine neue Szene schafft. Knumears sind nicht nur eine Gruppe leidenschaftlicher Musiker, sondern auch Freunde, deren Bindungen ebenso wichtig sind wie die Musik, die sie gemeinsam machen. Seit 2021 schreiben, touren und spielen die Knumears (Bassist Dante Garcia II, Schlagzeuger Frankie Lopez und Sänger/ Gitarrist Matthew Cole) ununterbrochen. Sie haben sich von ausverkauften lokalen Shows mit jubelnden, kletternden, schreienden und tanzenden Jugendlichen zu nationalen Tourneen entwickelt und stoßen im ganzen Land auf die gleiche begeisterte Resonanz. Doch abseits des Tourchaos fand die Gruppe gleichermaßen Wachstum in ihrem Privatleben, stärkte alte Bindungen zu den Daheimgebliebenen, entdeckte neue Verbindungen und kultivierte ihre eigenen Welten. ,Wir alle haben uns irgendwie selbst gefunden und neue Beziehungen aller Art geknüpft", sagt Cole und reflektiert über die Entstehung des Albums. ,Für jeden von uns gab es viele Veränderungen." Zunächst waren all diese persönlichen Umbrüche nicht gerade förderlich für das Schreiben eines neuen Albums. Die Band sollte mit dem legendären Produzenten/Toningenieur Jack Shirley (Deafheaven, Loma Prieta, Touche Amore) aufnehmen, aber der Prozess der Band fühlte sich etwas stagnierend an, bis es plötzlich nicht mehr so war: , Wir hatten alle große Schwierigkeiten, kreativ zu sein", erklärt Cole. ,Wir hatten alle in anderen Projekten ein Ventil gefunden, während wir versuchten, dieses Album zu schreiben. Aber ein paar Wochen vor unserer Zeit mit Jack setzten wir uns zusammen und schrieben im Grunde genommen das gesamte Album. Wir probten dreimal pro Woche, wahrscheinlich anderthalb Monate lang, und es floss praktisch aus uns heraus." Das Ergebnis ist ein Album, das außergewöhnlich eindringlich klingt - selbst für ein viszerales Genre wie Screamo. Knumears bedienen sich eines Sounds, der hyper-unmittelbar und dennoch notorisch schwer zu definieren ist: Er entwickelte sich aus dem Urschlamm des Hardcore der späten 80er Jahre und verdiente sich den Zusatz ,Post" im wahrsten Sinne des Wortes, bevor er sich in den 90er Jahren mit Bands wie Heroin, Pg. 99 und Orchid zu etwas noch Emotionalerem und musikalisch Chaotischerem entwickelte. Der Sound entwickelte sich weiter mit einem weiteren Boom in den späten 2000er/frühen 2010er Jahren, als Loma Prieta, Touche Amore und andere die Musik zu etwas Direkterem und manchmal sogar auf ihre eigene bissige Art Eingängigem verdichteten. Jetzt stehen Knumears und ihre Zeitgenossen an der Spitze der modernen Screamo-Landschaft.

Knumears sind sich bewusst, dass keine Band in einem Vakuum existiert. Sie sind die Verkörperung einer klanglichen Tradition, die über Jahrzehnte hinweg geprägt und geformt wurde und nur von denen weitergeführt werden kann, die sie wirklich schätzen. Ob man es nun Screamo, Skramz, Post-Hardcore oder anders bezeichnet - es ist ein Sound, der die wechselnden musikalischen Strömungen der Jahre überdauert hat und nun eine ganz neue Generation von Underground-Musikern beeinflusst. Das Debütalbum von Knumears, ,Directions", ist gleichermaßen Liebesbrief und Kartografieprojekt, das die tiefgreifende Geschichte einer komplexen Szene erforscht und gleichzeitig einen spannenden Entwurf für eine neue Szene schafft. Knumears sind nicht nur eine Gruppe leidenschaftlicher Musiker, sondern auch Freunde, deren Bindungen ebenso wichtig sind wie die Musik, die sie gemeinsam machen. Seit 2021 schreiben, touren und spielen die Knumears (Bassist Dante Garcia II, Schlagzeuger Frankie Lopez und Sänger/ Gitarrist Matthew Cole) ununterbrochen. Sie haben sich von ausverkauften lokalen Shows mit jubelnden, kletternden, schreienden und tanzenden Jugendlichen zu nationalen Tourneen entwickelt und stoßen im ganzen Land auf die gleiche begeisterte Resonanz. Doch abseits des Tourchaos fand die Gruppe gleichermaßen Wachstum in ihrem Privatleben, stärkte alte Bindungen zu den Daheimgebliebenen, entdeckte neue Verbindungen und kultivierte ihre eigenen Welten. ,Wir alle haben uns irgendwie selbst gefunden und neue Beziehungen aller Art geknüpft", sagt Cole und reflektiert über die Entstehung des Albums. ,Für jeden von uns gab es viele Veränderungen." Zunächst waren all diese persönlichen Umbrüche nicht gerade förderlich für das Schreiben eines neuen Albums. Die Band sollte mit dem legendären Produzenten/Toningenieur Jack Shirley (Deafheaven, Loma Prieta, Touche Amore) aufnehmen, aber der Prozess der Band fühlte sich etwas stagnierend an, bis es plötzlich nicht mehr so war: , Wir hatten alle große Schwierigkeiten, kreativ zu sein", erklärt Cole. ,Wir hatten alle in anderen Projekten ein Ventil gefunden, während wir versuchten, dieses Album zu schreiben. Aber ein paar Wochen vor unserer Zeit mit Jack setzten wir uns zusammen und schrieben im Grunde genommen das gesamte Album. Wir probten dreimal pro Woche, wahrscheinlich anderthalb Monate lang, und es floss praktisch aus uns heraus." Das Ergebnis ist ein Album, das außergewöhnlich eindringlich klingt - selbst für ein viszerales Genre wie Screamo. Knumears bedienen sich eines Sounds, der hyper-unmittelbar und dennoch notorisch schwer zu definieren ist: Er entwickelte sich aus dem Urschlamm des Hardcore der späten 80er Jahre und verdiente sich den Zusatz ,Post" im wahrsten Sinne des Wortes, bevor er sich in den 90er Jahren mit Bands wie Heroin, Pg. 99 und Orchid zu etwas noch Emotionalerem und musikalisch Chaotischerem entwickelte. Der Sound entwickelte sich weiter mit einem weiteren Boom in den späten 2000er/frühen 2010er Jahren, als Loma Prieta, Touche Amore und andere die Musik zu etwas Direkterem und manchmal sogar auf ihre eigene bissige Art Eingängigem verdichteten. Jetzt stehen Knumears und ihre Zeitgenossen an der Spitze der modernen Screamo-Landschaft.

Re-issue of two limited release tracks from Larry Heard's Love Arrival album sessions. Great edit by J.A.N. (aka Moodymann/KDJ) and the last missing piece from the sessions: Time Machine, a bass driven soulfull stomper that'll transport you to an early 90's dancefloor...

With Until Night Comes, Larry June and Cardo reconnect to deliver a nocturnal cruise through laid-back luxury and introspection. The album feels like a slow ride through the city just after sunset—windows down, sky fading from gold to indigo, and a calm confidence guiding every turn. It’s Larry at his most self-assured and reflective, balancing the cool ease he’s known for with sharper focus and deeper pockets of honesty. Cardo’s production is smooth and expansive—built on warm basslines, polished synths, and sample chops that stretch like the dusk. Together, they create a cohesive soundtrack for night owls, hustlers, and anyone chasing peace in motion. The album continues to refine their seasoned partnership, evolving into something even more purposeful. No wasted energy, just clean living, big vision, and a reminder that progress doesn’t stop when the sun goes down. Features include E-40, Black C, Don Toliver, Payroll Giovanni, HBK, Wiz Khalifa & Richie Rich. Good Job, Larry.

Luz Retina Edits - One shot, exemplary reworks from Tiago...

A clean sweep of undeniably funky 1985 industrial, Balearic-Goth anthems, reimagined for enhanced, 21st century dystopian escapism.

VERY limited !

White Vinyl

Maceo Plex’s seminal debut album ‘Life Index’ is released on Vinyl for the first time ever, as a Record Store Day exclusive on white vinyl

Maceo Plex is the Crosstown Rebels production moniker for renowned Techno producers Maetrik (Eric Estornel). ‘Life Index’ is a collection of truly outstanding tracks, which have a more accomplished and musical feel than your average house album. From the deep and rich G-Funk-soaked house of ‘Gravy Train’, and the string driven odyssey of ‘Sleazy E’, and Detroit influenced ‘Dexter’s Flight’ this is a sumptuous album full of real gems!

Con todo el freestyle que el funk puede tener Igor Gil conocido como Mailu nos entrega su debut álbum en 12” “Martian Princess Arrives”
Nada nos hace más felices en Sofa Tunes que descubrir nuevos artistas al gran público, aunque Mailu ya es de la casa hace muchos años. Las primeras impresiones sobre la tierra de esta ordinaria princesa marciana están recogidas en clave de funk electrónico en un maravillosos 12” cuyo artworks corre a cargo de la ilustradora Elena Vera. Una plástica más propia de Herbie Hancock, Clavinet o Rhodes, Slap Bass son los ingredientes que Mailu este maravilloso teclista ha utilizado para poner banda sonora a este aterrizaje marciano.
Esta colección de 10 tracks nos trasladan al lounge bar más bizarro de la galaxia. 10 temas con abruptos finales extraidos de los cálidos lives del artista navarro.
1er Single: Que asco “Original Mix”

Repress!

The italian trio Mamosato composed of Paolo Macri, Cristian Sarde and Emanuele Montalto, come back to squeeze a new lemon.

Marcello Giordani is back in the spotlight with his new E.P. Dynamic, released on the new label Tutti Pazzi. The E.P. features four tracks that faithfully reflect his sonic vision, ranging from Italo to Electro/Disco — elevated to the next level while always staying true to his identity. FM Attack, Dynamic, and Italo Genesis authentically recreate the early '80s Italo Disco sound, particularly around 1983, while Gliding caters to more refined tastes with Cosmic and Cinematic tones, also nodding to fans of Library music.

Yup, more Jungle, D 'n B and breakbeats on GAMM...yay!

The MIR guys from Stockholm have been spreading rapid beats and dark b-lines since 2006 and are well established on the D'n B/Jungle scene for their productions, DJ sets and club nights.

For their GAMM debut, we get an eclectic cocktail of dark basement sounds and high-speed rhythms.
Starting off with a dancehall/jungle ting (War Edit), continuing with a classic hip hop/jungle mash up (Passin' Me By Edit), a deep breakbeat / Detroit version of a classic Kenny Larkin jam (Q Edit), and finishing off the EP with another hip hop / d&b roller.

All killers, no chillers!

Objectiv returns to Flexout with a single that blurs the boundaries between rollers and jump-up. A goofy sonic palette executed in a sophisticated manor, the tracks are fun, groovy and cold. A combination that you don't hear often and it makes this single as unique as the incredible artwork and gnarly vinyl that accompanies it.”The Goons” is a collab with Russian artist Untrue and has been gaining support from the biggest artists in Drum & Bass including Serum, BOU and Hedex

Oleg Makovskiy – Inward Currents EP LOK Black
LOK Black welcomes Oleg Makovskiy with Inward Currents EP, a deep exploration of refined minimal grooves and subtle rhythmic tension. Makovskiy crafts a fluid sonic journey through intricate percussion, warm textures, and hypnotic drive—perfect for late-night selectors and deep-space dancers alike.

Spanish producer Alex Font steps in on remix duties, reimagining The Soul with his signature swing and immersive groove, delivering a timeless reinterpretation that completes this elegant package.

A sophisticated addition to the LOK Black catalogue—essential for fans of stripped-back, soulful minimalism.

* In 1993, Andy C & Ant Miles set out about creating a fourth release for the newly established Ram Records, now just a year old. With Hardcore still prominent in the clubs around the world, The Touch features rollercoaster bass swoops against energetic breaks flowing around the main sung vocal "c'mon and touch me".

An early sign of the precision arrangements that became synonymous of Ram's early sound that followed over for many years. Whilst going through the remaining samples in the sampler that had not been used on the A side, the pair suddenly went on a tangent with one of the drum breaks.

Experimenting with the new time stretch function in the Akai sampler, they soon had a shuffle groove layered and moving. With Ant Miles' sculpted and edited arpeggio bell line sample, a new overall sound and vibe was beginning to emerge out of their studio Atari ST computer.

Utilising an original organic analogue string pad, the haunting sinister vibe became complete. With the vocal from the BBC QED documentary 'Glimpses of Death' - "I felt, like I was in a long dark tunnel" all that remained was one of the most memorable pounding bass lines to sit underneath it all.

The result was an instant impact on the scene, heralded as one of the first anthems of the Jungle genre. Multi award winning and the track that cemented Andy & Ant and their label Ram Records within the scene.

After a hiatus of over 2 years Originals are back with a banger! Classic hip hop on side A Organized Konfusion's "Open Your Eyes" from their 1991 debut self titled LP never before on 45 flipped with Herbie Hancock's sample "Chameleon" edited down here from the original 15 minute+ LP version by DJ Matman into a DJ friendly 45 edit - over 215k views on DJ Koco' Instragram!

GAMM is proud to welcome New Zealand born, but these days based in Berlin, Philippa to our camp.
Over the last years, Philippa has been releasing amazing, warm, soulful, and highly distinctive dance music on labels like Slothboogie and Freerange as well as building her DJ roster. For her premier GAMM release,'Cloud Walking EP', Philippa has three amazing tracks that all mix up samples, live musicality, and vocals. If you put Moodymann and Henrik Schwarz in a blender somewhere in the Balearic Islands, you're kinda close. Either way, it's deep, organic, and almost kinda orchestral at some points. If you ask us, we would simply call it dance MUSIC.

Opening the EP is the title track 'Cloud Walking' which is a deep Fender Rhodes affair with vocals inspired by Aretha's Day Dreaming classic. Moving on, on 'Hear Me' Philippa shows off her musical piano skills with a lush and atmospheric deep house jam. On 'Return To The Red Kite' we follow a similar theme but with big warm orchestral strings, spoken words, and live guitars. Again, very Balearic yet very soulful and incredibly pleasant to your ears :)

It’s happening – finally! The second pressing of Das ist das Ja. This time, Play Boy Joe and Celli G Hustle join forces to share a record, each taking one side with their own productions. Born in the SoundCloud bubble under the alias Wrank Fright, DIDV002 marks the fourth EP in a growing
catalogue of collab releases from the duo. The „Hustle and Play EP“ is not a direct collab – it’s two visions of club music meeting on one record. Side A by Celli, Side B by Play Boy Joe. Different flavors, same spirit. You can hear how six-plus years of shared grind shaped their sound – raw, playful, and unapologetically underground.

Risk/Reward is the brainchild of New York based, London-born underground music scene veteran and Archivio Records owner Daniel Dutts.

The label fuses leading contemporary artists, with iconic 90s producers to create a playful yet sophisticated sound, firmly focused on creating dance floor magic!

The first EP showcases rising Philadelphia talents Post Play (Sweater & John Raffaele), whose previous excursion on Small Moves became a much sought after cult classic.

Danger is what’s commonly known by DJs as a “sure thing”, guaranteed to get the most stubborn of crowds moving. A cheeky bass groove, quirky stabs, hip hop breaks and scratched vocals, create a vibe best described as “if DJ Premier made a track for Wiggle in the late 90s”

Go blends vintage Nu Groove style NYC house with progressive and techy elements to create a unique dancefloor monster. warping speed garage style sub bass combines with punchy stabs, lush pads, trippy synth leads and skippy, swinging drums, creating an atmospheric but driving track, that keeps you guessing til the very end.

Bushwacka! channels his Plank-era heyday to create a remix of Danger that delivers multiple “what the f#%k was that?” moments, as he takes you on a breakbeat voyage with crisp percussion, devastating low end, hypnotic ragga vocals and a didgeridoo no less! A reminder of the man’s genius and genre-defining sound.

What I Meant To Tell You merges warm, J Dilla style sampled chords, with punchy 808s, a deep and warm bassline, dreamy pads and enchanting male/female call and response vocals. Perfect for a warm up or deep in the afters.

With heavy support from the likes of Dyed Soundorom, Tini, Harry McCanna and more, the Post Play boys are ready to add another buy on sight record to their growing discography.

Dantz Records launches its catalog with Time & Space, the first vinyl EP by producer Promising/Youngster. An elegant and powerful electro work that explores futuristic soundscapes, oscillating between rhythmic force and atmospheric depth. With this release, the label paves the way for a new era of talent promotion and projection in the electronic scene.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

- 2026 repress -

Mord is from Rotterdam.
Mord is short for Morderstwo.
Mord is a label project by Bas Mooy.
Mord is here.
Mord!

Early support by Surgeon, Adam Beyer, Shifted, Speedy J, Black Asteroid, Chris Liebing, Len Faki, Gary Beck, DVS1, Svreca, Perc, Ben Klock, Truss, Dustin Zahn, Paul Mac, Paula Temple, Xhin, Samuli Kemmpi, Tommy Four Seven, Rebekah, Developer,Pfirter, Jonas Kopp and more...

* Metallic percussion contorts and splinters throughout the maximalised Second Freeze', whilst Simple As' courses with a transcendental bare bone rhythmic intensity.

* Randomer follows up releases on Dekmantel, Clone and L.I.E.S, by teaming up with Livity Sound regular Hodge for a collaborative 12" on the reverse Livity Sound label.

2025 Repress

Chapeau Music presents its second vinyl release, this time by Resonances (IT). "Signal" is a record that connects diverse shades of electronic music: from jazzy undertones to industrial techno, from punchy and intricate rhythms to straight and clean grooves. It's a collection of tracks that showcases the vision of the "man behind the Octatrack".

The title track "Signal" develops naturally, immersing the listener in its dynamic layers of piano stabs and synth elements with a fast-paced groove. The subtle distortion of the rhythmic elements injects raw energy without compromising the track's underlying elegance. It reimagines the genre's darker roots, offering a bold and innovative perspective.

Gene Richards Jr's remix of Signal intensifies the journey, delivering a high-impact, hard-groove edge that perfectly complements the EP.

"Please" concludes the A-side with a pulsating rhythm and a cadence that keeps the dancefloor in motion. Its energetic progression completes the A-side with an undeniable dancefloor weapon.

The flip side begins with "Randomizer", an exploration of atmospheric and industrial textures. The track builds around a solid kick drum and spatial synths, with scattered elements orbiting like satellites to create an extraterrestrial experience.

To close, "The Stand" merges classic influences with melodic, Detroit-inspired elements. Wide, reverberated synths fill the space, crafting a fusion of rhythm and melodies to deliver a standout closing track that feels timeless.

2024 Repress
Alberto Pascual, also known as Ribe is a well seasoned veteran in the Spanish scene. An expert synthesist and modular weirdo, his sound palette is amazing. If you have been so fortunate to enjoy his live PA before these turbulent times, you've got the precision and hypnosis he always provides.

This release has a physical side and a digital one, with four and seven tracks respectively, including two Oscar Mulero remixes.

"Palette" opens the release, a lone kick drum squashed in reverb sets the pace on the first bars while abstract details appear randomly and a continuous sequence grows from below. The tension is kept all over the arrangement, not additional percussive elements, just the few principal elements going back and forth.

"Shapes" has a Basic Channel approach soundwise, texturized techno as its best, exploring the dark corners of sound design, and again all relaying on a linear and mental arrangement.

"Ad Infinitum" is remixed by Oscar Mulero in his first remake, transforming the formerly broken and abstract Ad Infinitum is a danceable intelligent weapon.

Original version of "Ad Infinitum" follows, providing the experimental slice of the EP. Broken rhythms, shuffled components and low rated tempos.

Two stone cold Roy Ayers classics get the South Street Disco official reissue treatment, one side the feel-good disco-tinged, jazz funk fire ‘Running Away’ and the other the smooth groove, love letter funk bomb ‘Love Will Bring Us Back Together’. Melting hearts, melting minds, is there a better Valentines gift out there then two slices of joy from Roy?

From hip hop to house, ‘Running Away’ has been a favoured sampling treasure since it came out in 1977. Co-produced alongside Edwin Birdsong and William Allen, joyous vocal harmonies dance around grooving basslines, strutting guitar riffs and Roy’s warm soothing tones. Top it off with some trademark vibes and it’s a one-way ticket to happiness, pure sunshine smiles all round.

Flip it to find ‘Love Will Bring Us Back Together’. Straight up seductive business co-produced by Carla Vaughn. It’s silky, it’s smooth, it’s everything you want it to be and more. Clavinet wizardry, buttery Rhodes layers and fiery vocals. Loved up funk at it’s best.

Repress!

Bristol music Godfather Rob Smith (Smith & Mighty) was a major force in the 1st wave Bristol Dubstep scene, not only as a huge musical influence on the likes of Pinch and Peverelist but also as a producer in his own right. This typically dubwise 12' is one of his best from that era, repressed for 2016.

fabric presents salute features music from pioneers and contemporaries alike, including Kerri Chandler, Bodhi, Dorian Concept, Junior Sanchez, Redhead and more, alongside two originals from salute. More than a collection of tracks, it’s a cultural statement: a journey through club culture, personal identity, and global roots. To celebrate the release, salute will headline fabric’s Room 2 on 10th October, joined by a handpicked lineup (TBA), bringing their vision full circle from mix to dancefloor.

Lead single ‘double luxury’ sets the tone for the project, capturing salute’s signature blend of soulful energy, deep groove, and euphoric release. Built on spacious low-end and an undercurrent of euphoria, warped vocals twist through sleek, propulsive drums to form a house cut that channels the emotional intensity and groove at the heart of their sound. Arriving off the back of a huge summer, with standout sets at Coachella, Glastonbury, a North American tour and All Points East, ‘double luxury’ provides a fitting entry into a milestone chapter for one of the most vital voices in club culture.

salute says:

“my contribution to the fabric presents compilation series is my way of contextualising the music i've been writing over the last couple of years. i wanted to include bits of all the things that make up the salute sonic palette: loopy, sample based house music, dense and soulful chords and beautiful synths, slick and groovy drum work. it's an exercise in beautiful house and techno music, or my definition of it anyway.”

Launched in 2019, fabric presents has become one of electronic music’s most respected mix platforms, with contributions from Andrew Weatherall, Laurent Garnier, The Martinez Brothers, SHERELLE, Bonobo, Overmono, Confidence Man, The Streets, and more. Rooted in the legacy of fabric’s monthly CD mixes, the series now embraces a wider range of releases across digital, CD, and vinyl, each paired with a performance at the iconic London venue. With fabric presents: salute, they take their place in this lineage, joining the dots between underground heritage and the future of club culture.

Vienna-born salute has become more than a producer: they are a cultural innovator representing a club scene that is diverse, queer, and community-driven. Since emerging as one of the UK’s most exciting electronic voices, they have built a reputation for balancing raw emotion with dancefloor ecstasy, weaving grime, UK garage, electro, French house, jazz, gospel, R&B and hip hop into a singular, unmistakable vision.

Their music channels as much emotional resonance as physical release, tracks that turn longing into euphoria, intimacy into collective celebration. This ability has not only won over audiences worldwide but also earned praise from heavyweights including Four Tet, DJ Seinfeld, Floating Points, Skrillex, Fred again.., Annie Mac and Benji B. Their now-legendary Melbourne Boiler Room set, one of the platform’s most-watched, further cemented salute’s reputation as a defining force in the global underground.

The release of their 2024 debut album True Magic on Ninja Tune solidified salute as one of dance music’s most vital voices, its success confirming what the underground had long known. With fabric presents, they mark another milestone, bringing their curatorial vision and boundary-pushing sound to one of electronic music’s most iconic platforms.

Error404 is release its second EP.

The Last Romantic is a blend of 80s vibes, featuring memorable sounds and catchy basslines.

For this release, we feature three original tracks from Sancturu, an Argentinian artist releasing his first EP in physical format. It also includes a collaboration on the A1 track with vocalist Lourene and a powerful rework by Light Blue File, a close friend of the Error404 team and reowned producer.

SIRS kicks things into fifth gear for the latest SIRS CUTS EP with four more, full power, fist pumpers form the disco stratosphere that join the dots between Italo disco, synth pop and AOR-leaning Balearic loveliness.