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Aes and Armless Kid, parisians based artists, share the wax together and give us a way to the raves. Four breaks and electro tracks to dance till the dawn.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

Get The Hose is the fabled, long awaited debut release from Montreal duo Plumbing, featuring Martyn Bootyspoon aka Jason Voltaire (Fractal Fantasy/LuckyMe/Fool’s Gold Records) and Stephen Ramsay of Young Galaxy (Paper Bag Records/Smalltown Supersound).

Born in 2018 as a live, analog hardware-based studio project, the duo worked quietly on the periphery of the left-field electro scene, only venturing out to do occasional, legendary winter warehouse DJ sets and a still-vaunted live set at MUTEK in 2021, which was so visceral that it knocked every person present into their seats simultaneously.

As cheeky and playful as it is gritty, relentless and overdriven, Plumbing’s new EP showcases their love of the raw and grimy, bare-bulbed basement aesthetic of underground dance music, where Paranoid London, Drexciya, MMM and Blawan meet to steal your drink and ignite the dancefloor.

It’s getting hot in here, it’s time to Get The Hose…

Le Futur c’est la drogue, which should here be translated as The Future Is the Drug, is not to be read as a promise, but as a statement of fact. The present is no longer an experience, but pure consumption. Life itself has taken the form of a dependency.

With this sixth album, Christophe Clébard goes straight to the point, driven by a free and repetitive form of writing, stripped of any syntactic rigidity. Words strike like balls against a wall, revealing darker zones of his mind where guilt, fear, and existential anxiety coexist.

The sound composition, equally minimal, sustains a dense and obsessive mental space, a vortex in which trance appears as the only escape. Driving drum machines, relentlessly hammered electronic loops, and a battered synthesizer, his music unfolds within a physical, strangely hypnotic synth-punk aesthetic that hits viscerally.

The Future Is the Drug is his sixth album.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

High-quality FERRO cassette tapes, printed on 160g premium paper.

Release info
For the second release in the series, I invited Diffused Signal from Australia. His track can be categorised more as an extension of my original track rather than a remix. With new rhythmic elements and textures that blend smoothly with the main idea, creating a more dynamic atmosphere.
The result is a fusion of deep techno and breakbeat, with an organic aesthetic that gives the release its unique character.

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.

Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.
Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.

This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.

As a torchbearer of gritty lyricism and unapologetic authenticity, Conway The Machine takes the helm to introduce the world to the burgeoning talents that make up the Drumwork roster, a powerhouse assembly of artists ready to reshape the landscape of rap music.

At the forefront of the album stands Conway The Machine, delivering blistering verses and commanding attention with his trademark grit and authenticity. But "Drumwork Collective" is more than just a solo endeavor; it's a collaborative effort featuring guest appearances by Rome Streetz, Benny The Butcher, 38 Spesh, and others. Each artist brings their unique perspective to the table, adding layers of depth and complexity to the project.

Behind the boards, producers like Beat Butcha, Graymatter, Trizzy Williams, and more craft a sonic landscape that's as gritty as it is innovative. From soulful samples to hard-hitting drums, the production on this compilation sets the stage for the lyrical onslaught that follows, blending traditional boom-bap aesthetics with a modern edge. Together, these elements form a cohesive tapestry that captures the essence of hip-hop's underground renaissance, proving that the beat truly does strike back.

Complimenting his singular debut LP, 2025’s ‘Light Months Will Fly Over Us’, singer-songwriter and producer Addy Weitzman sees his thoughtful artrock and new wave aesthetic expanded by The Time & Space Machine for a limited three-track 12".

The long-running alias of British DJ, archivist and acid pioneer Richard Norris, this trio of remixes from The Time & Space Machine’s central processing unit finds Norris in a jubilant raving mode, his trademark psychedelia contributing to Slacker at its best and baggiest. The initial mix captures Weitzman’s songwriting in full, including his portentous vocal hook – “No man is a prophet in his own land” – a proverb first found in the gospels, blessed with the innovative Norris’s application of hypnotic groove, fat low-end and a ton of percussion.

The B-side sees Norris stripping things back in two directions: the Shango Dub draws focus on the higher vibrations found in the track’s beautifully intertwined percussive and synth elements, while the Riddim Mix reduces the frequencies further still, with a phased, slightly fried drum workout primed to spin heads as the night gets deeper and darker.

Walter G & Jay Caruso deliver a warm, groove-led Soulful Disco version of “From East To West”, built for DJ’s who appreciate real disco dynamics. Rolling basslines, bright piano chords and lush strings wrap around an emotive vocal, creating a timeless club-ready moment that bridges classic 70s soul-disco with modern dancefloor aesthetics. Ben Liebrand delivers a classic 12-inch reconstruction rather than a modern nu-disco vibe. It leans into Ben Liebrand’s signature extended format philosophy, letting the groove breathe. His is a rhythm-first reconstruction with crisp percussion, dynamic low-end and long instrumental sections. The vocal sits naturally within the groove, while the arrangement allows DJs space to build, ride and transition with ease. Less modern sheen, more heritage authority, a purist disco tool with timeless floor appeal.

Roberto Zanetti, better known as Savage or Robyx, is without a doubt a fully realized artist. When he stepped into the world of dance electronics in 1983, success came instantly. Not only across Italy, but far beyond its borders. Alongside his own chart-defining run as Savage, Zanetti was simultaneously shaping the scene from behind the desk, developing talent and refining a signature sound that would define an era. By the late ’80s, Robyx was already an established powerhouse producer. Around that time, he wrote three tunes for Maurizio Felici, performing under the alias Wilson Ferguson. These tracks carried all the hallmarks of Zanetti’s late-’80s aesthetic: lush melodies, smooth, flowing arrangements and high-energy grooves built for the dancefloor. In Europe, where house music was rapidly taking over, this sound faced tougher competition, but in Japan, where Eurobeat was exploding into the mainstream, these productions were untouchable. Felici’s rich, throaty vocal delivery gave the tracks an unmistakable emotional weight and identity.

Responding to long-standing requests from fans, Vintage Pleasure Boutique now revisits the most melancholic and emotionally charged of these three recordings: “I’m Singing Again”, a bittersweet tale of lost love told through the language of Italo disco. It’s a perfect fusion of Savage’s late-’80s sonic elegance and a truly distinctive vocal performance.

For this new release, the story is pushed one step further with a fresh remix, slightly faster in BPM and clearly nodding to Robyx’s classic Eurobeat instincts, a version built to move bodies while keeping the original’s emotional core intact.

JeGong, known for their immersive, rhythm-driven explorations of Krautrock and experimental sound design, now take an exhilarating leap into brighter, nostalgically stranger territory. `Gomi Kuzu Can` is an electrifying journey through Kraut, Post- and Experimental Rock, delivered with the analog warmth of the '70s. Across eleven meticulously crafted tracks, JeGong embrace their roots while fearlessly expanding into neon-lit, beat-driven worlds where kinetic rhythms meet playful sonic futurism. It is music built for movement, contemplation, and the ecstatic strangeness of possibility. Their approach borrows the endurance and patience of minimalism, but they subvert minimalism's austerity with grit, distortion, and physicality. The result is music that feels alive in motion: constantly shifting, tightening, unfurling, and mutating even when its core pulse remains unbroken. "We wanted to create a `70s sound as the recording foundation - a sonic aesthetic that sets a mood through warm tape saturation. Like a kind of memory box where you can store recollections, for example from childhood, when you would spend hours by yourself watching TV and listening to the radio, often both at the same time." (JeGong) `Gomi Kuzu Can`, is hand-built, lovingly assembled from circuitry, intuition, and raw creative impulse. This tactile quality is precisely what makes the album's danceability so impactful. In blending organic rhythm with retro-electronic brightness, they've created a sound that is both familiar and refreshingly new. In the end, JeGong's sound is less a genre and more a landscape: rugged, hypnotic, austere, and strangely spiritual. It is music built on the bones of rhythm and the electricity of repetition, crafted with the precision of engineers and the instincts of explorers. FOR FANS OF Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn The single colour edition comes as Glass Clear vinyl!

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

RNT co-founder JKriv joins forces with keyboard virtuoso Jason Lindner to drop the Real Ones EP, a clubby and musical 3-track excursion that includes a deep and polished remix from rising star Retromigration. Needing little introduction, JKriv is a driving force behind RNT, architect of edits, original productions, and the aesthetic direction of the label. Jason Lindner has a storied musical history that includes leading the in-house big band of legendary jazz club Small’s in the early 2000s through to performing on David Bowie’s final album Blackstar, and much more. The duo have been honing a musical alliance for the past few years through their work together in the A Joyful Noise band and hybrid-live sets on hometown Brooklyn Razor-N-Tape events, developing an inctricate musical interplay and incendiary energy that is captured perfectly here. Across these 3 melodic house tracks, lush layers of synths interlock and build toward big anthemic moments, with hard-hitting drums driving the energy forward. Retromigration steps up to deliver a gorgeously slick remix to round out this exceedingly musical and eminently playable 12".

Elevation, released in 1974 on Impulse! Records, finds saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across two live performances and a studio session, Elevation features a dynamic ensemble including Joe Bonner on piano, Calvin Hill on bass, and Michael Carvin on drums.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’s ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation comes towards the end of Sanders’ tenure on Impulse!— a cohesive and spiritually resonant statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’ ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation marks the culmination of his Impulse! discography — a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

a A1. Elevation 18:26
b A2. Greeting To Saud (Brother McCoy Tyner) 4:15
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1 | Elevation [18 26]
[b] A2 | Greeting To Saud (Brother McCoy Tyner) [4 15]
[c] B1 | Ore-Se-Rere (Nigerian Juju HiLife) [6 20]
[d] B2 | The Gathering [14 09]
[e] B3 | Spiritual Blessing [6 20]

ICONYC continues its curatorial stride with "Unfold", a four-track offering from Cologne-based trio Diode Eins.

Including a collaboration with the inimitable Paul Brenning, "Unfold" tears down walls in favor of raw expression in a state-of-the-art EP that finds Julien Hecker, Jerome Tiaden, and Jannis Klimpel presenting a studied yet emotive exploration of post-club aesthetics, balancing rhythmic heft with experimental nuance.

In 2025, Off The Grid celebrated 10 years of existence, throwing several events throughout the world.

It's now time to put a seal on these celebrations with a curation of music, gathering old and new faces orbiting the OTG galaxy, divided into two compilations.

For Part 1, deeper and deeper we go, focusing on delicate aesthetics and dubby grooves, trippy sounds and dreamy atmospheres. A soundtrack for early mornings and initial stages of the night.

Off The Grid was born around this sound and this is a tribute to it.

Part 2 will be announced in Spring.

Stay tuned!

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Mastering & Lacquer Cut by Marco Pellegrino at Analogcut Mastering Studio Berlin
Graphic Design by Guillaume De Ubeda
Pressed at Mother Tongue in Verona

Beat Machine Records is proud to drop the sixteenth chapter of its iconic Swinging Flavors series, starring Newcastle’s own Nectax — a breakbeat alchemist pushing jungle and D&B into jagged, unpredictable territory — backed with a remix from forward-thinking bass manipulator Fracture.

Cool Runnings is exactly that: a hypnotic, mid-nineties-tinged jungle cut stripped back and dubbed out, but sharpened with modern production techniques that give every snare and sub-bass a punchy, alive quality. Razor-sharp breaks collide with rolling basslines, weaving a track that’s at once nostalgic and fully of-the-moment.

The B-side flips the energy with Fracture’s remix, injecting fractured percussion, jagged fills, and high-octane bass tweaks. It’s a modern take that preserves the original’s laidback groove while kicking it into full-blown club chaos. Together, the two tracks form a high-voltage 7” that bridges classic jungle aesthetics with contemporary sonic experimentation. “Cool Runnings is my take on a laidback mid-nineties tipped Jungle track. Stripped back, dubbed out, but with a subtle focus on modern production techniques to tie it all together,” says the artist.

Following recent Swinging Flavors contributors like Ac1d Vicious, DJ Sofa, and Ornette Hawkins, Nectax marks the next evolution for the series: tense, textured, and unafraid to push the floor into new territory.
The release continues Beat Machine Records’ mission to highlight forward-thinking club music rooted in underground culture, with a sharp focus on physical formats and hybrid rhythms.

Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK viny. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

With ADT026, Adroit Recordings deliver a focused, high-impact techno 12" built for late-night floors and proper sound systems. Remco Beekwilder leads the release with a driving, groove-forward aesthetic, tight percussion, raw pressure and hypnotic movement, while Tarkno, Toni Dextor and Unconformist add complementary perspectives that expand the EP’s range without losing its functional, club-ready edge.
Pressed on orange transparent vinyl, Skindeep EP is a straight-to-the-point tool for DJs: energetic, lean, and designed for momentum from start to finish.

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.

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

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.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

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

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

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

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

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

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.

Błoto has never cared much for dominant aesthetics. Instead, the band has consistently chosen paths less travelled, unexplored territories and uncharted routes where experimentation is not so much a conscious decision as a natural state of being. After years of a rather hermetic approach to recording their albums, the time for change has come. A trip to Bucharest and the opportunity to collaborate with the community of musicians associated with the underground label Future Nuggets, led by Ion D, resulted in many hours of recordings, which will be presented by Astigmatic Records in a series of releases across 2026. It opens with a 7-inch vinyl titled Zmiany / Schimbări, recorded in collaboration with Ion D and Plevna.

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

Ashley Tindall, AKA Skeptical, returns in peak form with Blimp EP — the fourth release on his Rubi Records imprint — delivering four meticulously crafted cuts of uncompromising drum & bass.

Opening with the title track, Blimp sets the tone with a deep, steppy wobbler that nods subtly to the title track from his second Rubi Records release, Capsize EP. All the signature Skeptical hallmarks are here: hypnotic, pared-back metronomic drums and shimmy-inducing, undulating subs that demand movement. Yet this time there's a noticeable shift — warm, underlying melodic pads bring an unexpected emotional depth. It's not dreamy, but it is more introspective than we're used to, showing another layer to his sonic palette.

So Good flips the script entirely. A dark, cinematic growler, it leans into ghosted vocal fragments and a futuristic film-noir aesthetic. Tense, claustrophobic rhythms and sinister textures create an unsettling atmosphere — tailor-made for those lights-out, pressure-heavy dancefloor moments.

Third comes the undeniable monster of the EP, Technology. Trademark "stink-face" Skeppiness is in full effect from the first bar. Disjointed sci-fi stabs and eerie pads collide with clinical, almost militaristic drum programming, all anchored by a devastatingly weighty bassline. Movement isn't optional — this is pure Skeptical, uncompromising and lethal.

Closing the EP is Bad Generation, a sound system–influenced weapon that finds Skeptical operating at his dubwise best. Fusing minimal D&B with heavyweight, roots-inspired rhythms is no easy task, but here it's executed with effortless authority. It's equally suited to shelling down a rave or getting lost in a deep, eyes-closed session.

Four tracks. Four distinct moods. 100% Skeptical.
Blimp EP confirms once again that his sound continues to evolve — sharper, deeper, and more refined with every release.

Support: Ben UFO, Joy Orbison, Gilles Peterson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Lens.

Falling Ethics continues its relentless momentum with FEX029, welcoming dc11 to the roster for the uncompromising 'Stuck In The Overhead EP'. Being true to the label's tradition of exploring the darker, more industrial-leaning corners of techno, this four-tracker serves also as a masterclass in precision, stripped-back aesthetics, mechanical grit and minimalistic sound design. Essential, heavy-duty techno.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

Cinthie’s Collective Cuts sub-label of her 803 Crystal Grooves label welcomes the UK’s Black Eyes onto its roster this March with his ‘Hydrocity Reflex’ EP, comprised of four original soul drenched House Jams.
Cinthie’s 803 Crystal Grooves Collective Cuts welcomes Black Eyes with a fresh four-track EP that distils the Manchester-born, Berlin-based artist’s signature aesthetic into its purest form. Fusing deep, trippy and soulful house with a raw, Detroit-leaning sensibility, Black Eyes channels the influence of House music’s roots into rolling rhythms and fluid textures alongside shaped by his enduring love of water. Now firmly embedded in Berlin’s underground while carrying the grit of his northern roots, he delivers a release that feels both immersive and driving a natural fit for 803 Crystal Grooves’ dance floor focused sonic vision.
Opening the EP is ‘Can You Dig That Depth’, an emotive slice of House driven by saturated keys, soulful vocal lines, heavily swung drums and a buoyant bassline. ‘Pressure Malfunction’ follows, stripping things back to organic percussion, sweeping filtered funk loops and intricately processed spoken-word chants. The B-side begins with ‘Loyalty To Tha Deep’, living up to its name as it embraces classic Deep House sensibilities through choppy, airy chord progressions, hypnotic breathy vocals, fluttering melodies and slow-slung, crunchy drums. ‘Funky Oxygen’ then brings the release to a close, channelling the spirit of Motor City House with a refined blend of cut-up samples, shuffled percussion, jazzy keys and a snaking bass groove.

Bosconi Records proudly introduces Neon Cyberwave, the first solo EP on the label by Italian electronic visionary Miguel Herrnandez, marking a milestone in the evolution of an artist who has consistently bridged Detroit-rooted aesthetics with the experimental pulse of the European underground.

Based in the Val d’Elsa region between Florence and Siena, Miguel has forged a unique sonic identity shaped by his devotion to vinyl, his deep connection to the techno capital the “Motor City”, and his passion for deeply rooted yet still futuristic electronic culture.

His productions and DJ sets—built on a seamless fusion of raw electro, deep house attitudes, new beat flavors, and timeless grooves—have appeared on respected labels such as Bosconi, Rawax, and Norm Talley’s Upstairs Asylum. With Neon Cyberwave, he now delivers his most complete and personal statement to date.

The EP opens with “Neon Cyberwave”, a powerful acid-driven stomper built around a rolling 303 bassline, warm melodies, and an emotional breakout moment that captures both the effectiveness and the sensitivity of Miguel’s approach. It flows naturally into “Italo FM”, a track infused with Italo disco spirit—choir-like harmonies, a punchy bassline, and a groovy, ecstatic progression that turns into a genuine dancefloor trigger.

The journey deepens on the flip, where “VHS Direct Drive” introduces a dystopian atmosphere characterized by constantly shifting, unusually toned bass movements—unpredictable yet catchy, fresh yet rooted in classic electro DNA. This is followed by “Electric Soul Stranger”, where Miguel navigates Drexciyan undercurrents and subtle Gigolo-era references, balancing between straight rhythmic propulsion and broken-beat twists to create a cold, mental, transportive electro experience.

The record closes with the epic “Punky Shift”, a dramatic and powerful finale echoing the spirit of artists like The Hacker. Dramatic strings, an intense acid bassline, and a massive groove come together to shape a timeless closing track—one designed for peak emotional moments, sunrise sets, and long-lasting memories.

With Neon Cyberwave, Miguel Herrnandez has crafted a work that feels fresh yet nostalgic, classic yet forward-facing, and deeply personal. It stands as a versatile DJ weapon, a tribute to electro’s past and future, and a defining chapter in the artistic evolution of one of Tuscany’s most intriguing electronic voices.

Oinimod Records proudly presents its first-ever vinyl release, Gravity EP, a statement of intent rooted in deep grooves, timeless house aesthetics, and club-driven energy.

Written and produced by Duccio Lopresto, Gravity EP delivers two original cuts that explore different shades of House music, complemented by a powerful remix from Gearmaster, one of Estonia's most respected House talents.

“Gravity” opens the EP with a deep and groovy House journey inspired by the classic Detroit House legacy. A strong rhythmic foundation drives hypnotic acid lines and rich, expressive synths, creating a track that is both raw and elegant, built for the dancefloor yet deeply musical.

“Mirage” reveals a more dreamy and introspective atmosphere. This Deep House track flows with a timeless rhythm, warm grooves, and relaxing yet melodic elements, offering a soulful and immersive listening experience that transcends trends.

Closing the EP, Gearmaster delivers a pure Club House banger remix of Gravity, reinterpreting the original material with precision and power. Tight rhythms, infectious groove, and a modern club sensibility turn the remix into a peak-time weapon, showcasing Gearmaster’s unmistakable touch and deep understanding of the dancefloor.

Gravity EP marks the beginning of Oinimod Records’ vinyl journey — a release that bridges classic influences and contemporary House music, crafted for DJs, collectors, and true House music lovers.

The second vinyl release on Platz fur Tanz continues the narrative of techno's past and future. Experienced artists reinterpret the shadowy vibe of dancefloors around the world, giving it new form and depth.
The record opens with a track by Swedish techno futurist Lakej, featuring his signature sound of machinery on a working factory floor. The music immediately transports you into the industrial atmosphere of a rave.
This time, the Italian-born, Berlin-based artist VSK takes us on a journey through the emotional waves of deep techno. A slightly jazzy groove makes this track perfect for peak time dancefloors.
Latvian producer Ksenia Kamikaza stays true to her style, transporting us into a world of visualized melodies and rhythms. The bassline sets the groove, while the unhurried rhythm allows you to fully surrender to the dance.
Liza Aikin brings an uncompromising Berlin vibrations to the release, reminding us how a true rave should sound. Her style is not heavy but persistent. Liza never stops experimenting, and this track will be a highlight of any DJ set.
Another Latvian electronic talent closes the release. Igors Vorobjovs blends the best of electro and techno in his track. Nervous rhythms and loud sounds stir the emotions, while the raw, untamed resonance will leave no true connoisseur of feral techno indifferent.