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Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

Osunlade returns with a 5 track EP of exceptional quality showcasing his unique talent for creating emotive, electronic, cerebral house music with soul. Even within these boundaries Osunlade finds scope for variation, be it irresistible bumping grooves(Sistagurl), meditative melodies with etherial thought provoking spoken word, (The Journey), or full on electronic soundscapes encompassing the tribal and the esoteric, (Prism).

Pimpin’ takes a slowed down acid bass-line as the cue for a diatribe against the changes in the pimp game - a metaphor for today’s decline in standards of excellence.
The jewel in this crown is a hark back to the days of raw house music with a powerful and emotive female vocal. The Way U Left Me is an emboldened declaration of independence from toxic love guaranteed to tear down any dance.

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.

RENEGADE METHODZ presents ENACT

5 YEARS RM - MUSIC WITH THE FORCE OF FUTURE

Celebrating five years deep in the trenches of techno resistance, the Greek label presents ENACT, a Various Artists compilation that captures the ethos of Renegade Methodz in its purest form and collects together a carefully selected group of music that embodies the Renegade Methodz philosophy.

Detroit mixmaster Omar S serves new techno from out of leftfield with 'I Like You', a fresh 12" from the self-professed "best dance music producer and track mixer using faders (not a mouse)" in the city. Omar's all-analogue focus shines through here, professing his amourance for the listener in a short three-track spate. The mix job varies from crunchy to subdued to dynamic; 'I Like You' is the freakiest and roughest, a proper nerve shredder with fizzling hi-hats, 'Sad Techno' falls in the latter camp, sounding less melancholic than alien, a central acid burble glugging away against skeletal kicks. The closing track, meanwhile, 'Before Romance' bumps along with a funk feel that's so low slung it's on the verge of lewdness. Needless to say, we like it a lot.

Andy Riley and Laurence Ritchie are Drop Music accomplices; the label is a natural outgrowth of yesterday's Smokescreen Soundsystem, one of the oldest and best-respected UK crews to endorse (sound-) systems thinking. In case you don't know, remember this: they were early 90s stanchions of pressure-dropping UK house heft. This rare new reissue hears their hugely in-demand classic 'Party Criminals' return to fully swung, gatecrashing mode. And boy, weren't they just. Their fourth ever Drop drop, it first surfaced in 1999 and turned instant heads for its crystalline blue inners and jacking, organic sound, not to mention a cameo from fellow duo Freaked on the A2's 'Rhythm By Nature'. But our favourite has to be 'Make Me Feel' with its soft-attack hi-hats, not tapping, more fizzing like metal leaf against the ears.

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

The new album by L.Y.R., their third commercial release, begins with the idea that the furthest points of light - stars - can only be seen in the dark. It’s a kind of contradiction that finds musical expression in these new tracks, the band always navigating towards sightings of hopefulness and constancy in an increasingly bewildering and storm-battered world.

The term dark sky reservation has its origins in environmentalism, and several tracks on the album deal with the messed-up weather of our contemporary planet, both meteorological and psychological, from descriptions of an earth deluged by thunderstorms to the soggy back-gardens of suburbia, a climate crisis brought on by rampant urbanism. In that context, dark sky reservations are those regions of the landscape where light pollution is discouraged and even outlawed, to allow scientists and casual stargazers to peer into the cosmos and see the glory of the constellations, patterns of light that have entranced and mystified us for hundreds of thousands of years.

It’s from those designated zones that human beings get a sense of their place in the universe, and experience the wonder of the here and now against a context of eternity and infinity. An alternative to the hectic craziness of everyday life, so often virtual and synthetic, the dark sky reservation is a place of refuge and dreaming, and like L.Y.R.’s music, such spaces are earmarked for contemplation and thoughtfulness.

L.Y.R. is author and current British poet laureate Simon Armitage, singer-songwriter Richard Walters and multi-instrumentalist & producer Patrick Pearson.

'Trying Times' is a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. James Blake explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge

13 Track Album is James' seventh studio album and first fully independent release Album features British rapper Dave, and singer-songwriter Monica Martin Marketing plan will support long term growth, audience building and connecting with super fans Strong Content Plan including Single / Focus Track Performance Videos Alternative album versions TBC inducing deluxe, piano version and more

After a critically acclaimed trilogy of albums and a 10-year hiatus, Romain Turzi, the underground pope of uncompromising French music, returns to the helm to compose and produce his new opus “Drop!”. He is joined on vocals by his longtime friend Oliver Gage, whose autobiographical and melancholic writing brings to life an intimate and redemptive musical epic, woven with oblique pop songs and club tracks that reconcile punks and dancers.



An album of diverse influences, it draws on the masters of film music (Goblin, Angelo Badalamenti), the titans of electronic and techno music (808 State, Dopplereffekt), the hedonistic spirit of ’80s Brit rock (Happy Mondays, The Stone Roses), the finely crafted melodies of timeless folk singers (Woody Guthrie, Neil Young), and the sonic power of My Bloody Valentine or the productions of Andrew Weatherall.



A record born of friendship and fearless creative freedom, “Drop!” is an invitation to escape the heaviness of the present and brush against a form of utterly necessary ecstasy.

Over the past few years, Munich based polymath Lindsey Wang has risen to the forefront of the club scene under her Polygonia alias, creating a stream of spectacular releases where she tirelessly twists techno into a living, breathing ecosystem.

As she appears on Timedance for the first time, Polygonia sculpts a set of four immersive, pressure‐loaded club tracks where earthy psychedelia brushes up against precision‐engineered rhythm, inviting dancers into a zone that feels both ritualistic and sharply futuristic.

“Ceaseless Motion” draws on deep‐focus sound design, restless percussion and subtly warped harmonies, all threaded by a quietly hallucinatory sense of detail that really takes our breath away, and will surely bring the distinctive dancer to the very front of the bass bins.

G.A.M.O. (Gods Against Man's Oppression) recounts events leading to Napoleon Da Legend transformation after being bestowed a metal helmet, which is a weapon against our modern dystopia. The album features a blend of soulful and dystopic grit featuring the likes of Vinnie Paz, Goretex, General Steele, Skyzoo, Passport Rav, Nejma Nefertiti, Innocent?, SKAM2?, Eloh Kush, CF, Dontique and more. It has production from Dub Sonata, Maitre D, Homage Beats, Passport Rav Proffeny and Napoleon Da Legend. The result is 23 tracks that blend retro-sci fi "Noir Wave" and modern Boom Bap. It features an exclusive 2 page comic illustrated by UK's Dan Lish. Limited to 300 copies only.

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Wir denken gerne, dass unser Leben zu Geschichten geformt werden kann - klare Bögen, verständliche Bedeutungen, aber das Leben lässt sich nicht in Schubladen stecken. Stattdessen geht es unverblümt und ohne Entschuldigung weiter, ohne Rücksicht auf unser Ordnungsgefühl. El Ten Elevens ,Nowhere Faster", das 16. Album des Duos, entstand in diesem Unbehagen. In acht Tracks geht es nicht nur um das Nichts, sondern auch um Geschwindigkeit - diese seltsame Dringlichkeit, die uns vorantreibt, auch wenn das Ziel unklar bleibt. Das 33-minütige Album verlangsamt sich gerade so lange, um die schwierigen Fragen zu stellen: Wovor laufen wir weg und was glauben wir, überholen zu können? ,Nowhere Faster" entstand während der längsten Pause, die Kristian Dunn und Tim Fogarty in ihren 23 gemeinsamen Jahren von Tourneen und Aufnahmen gemacht haben, obwohl ,Pause" eigentlich nicht ganz richtig ist. Dunn ist bekannt dafür, dass er immer kreativ am Werk ist, und das hat er auch hier nicht aufgegeben. Stattdessen fing er an, nicht nur für einen, sondern für zwei Schlagzeuger zu schreiben, was Fogarty vor eine der größten Herausforderungen seiner Karriere stellte. Das Album ist auch eine Premiere für die Band, da es durchgehend echte Streicher und Klavier einbindet und damit die Klangpalette eines ihrer vielschichtigsten Werke noch erweitert. Nowhere Faster ist kein Rückzug in Nostalgie. El Ten Eleven setzt weiterhin auf Risiko und Neuerfindung. Das Album konzentriert sich weiterhin auf Fogartys treibendes Schlagzeugspiel und Dunn's bassgetriebene Experimente: Die ersten vier Tracks (,Seite A") zeichnen sich durch E-Bass aus, während die zweite Hälfte (,Seite B") zu akustischem Bass wechselt, der durch Pedale verarbeitet wird und so die emotionale Schwere des Albums subtil verändert. Letztendlich ist ,Nowhere Faster" ein Album über das Abrechnen - über Zeit, Ausdauer und die Ungewissheit, wie lange eine Band oder ein Leben dauern kann. Wir alle tasten uns an die Endlichkeit heran. Die Frage ist nicht, ob wir dort ankommen, sondern was wir auf dem Weg dorthin hören wollen. Zu welcher Musik werden wir tanzen, wenn sich der Boden unter uns zu verschieben beginnt? Wenn schon nichts anderes, dann vielleicht zu etwas, das wie ,Nowhere Faster" klingt.

Following his debut appearance on HABITAT in 2024 with his standout ‘My Eyes Are Failing’ remix, Echonomist returns to serve up his ‘Dominator’ EP - a five-track release that captures the Greek artist’s unmistakable tension, groove, and analogue character, paired with high-caliber remixes from Fango and Toto Chiavetta. With previous releases on Innervisions, Exit Strategy, TAU, and Kompakt, Echonomist has steadily built a reputation for fusing raw emotion with forward-leaning sound design. His prolific output and effortless ability to experiment with various styles have long made him a respected figure within the global electronic landscape. Now, with his ‘Dominator’ EP, he brings that creative force back to Mind Against’s imprint in commanding form.

Opening with the title track, ‘Dominator’ immediately sets the tone: bustling energy, driving drums, and siren-like synths cut through a deep, Detroit-leaning atmosphere. ‘Modulator’ follows with a pulsing, oscillating bassline and rattling percussive breaks that coil around warped vocals. On ‘Use Your Illusions’, the pace becomes chuggier as he combines raw industrial drums with a thudding kick, dubby chords, and fizzing synths. The package is then elevated by two heavyweight reinterpretations, with Fango’s remix of ‘Dominator’ pushing the cut into a more intense, pressure-driven space, upping the ante with amplified rhythmic density. To close, Toto Chiavetta delivers an electro-laden rework, sculpting the track into a dense, atmospheric journey that prioritizes ever-evolving groove and textural depth.

Echonomist 'Dominator’ EP drops via HABITAT on 10th April 2025.

On a planet far beyond our solar system lies a volcanic tropical island, a glowing mirage where alien tides crash against molten shores and the sky pulses in time with the rhythm below. E.T.H (Italy) inaugurates the first-ever
Basement Beats vinyl release with Neon Inferno. The A-side opens deep and progressive, dense with atmosphere and tension, before pivoting into the playful, radiant Cumbia Poderosa, where the artist’s roots surface through Italian vocals. As the land shifts, lava carving new paths through jungle terrain, Utrecht-based Tifra reshapes thetitle track into a hypnotic, tribal ritual meditation built for the late hours.

Closing the portal is Osaka’s Paperkraft, whose vibrant remix injects uplifting energy and subtle Asian influences, bringing the journey to a euphoric, otherworldly conclusion.

EP2 Limited 2 x 12" Vinyl & Digital Release The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP — but far too important not to be heard. The double pack also includes the title track off the forthcoming album ‘Now More Than Ever’, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording sessions. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration. The EP features seven tracks, including reimagined and extended versions of classics such as Kenlou Cult Classic ‘Moonshine’, Jackson and Heron’s ‘Lady Day and John Coltrane’, and ‘Home Is Where the Hatred Is’, plus a deep focus on ‘Racetrack in France’ — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album. Highlights include: The MAW (Masters at Work) Live Mix of ‘Moonshine’, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone. A sprawling 12" version of ‘Home Is Where the Hatred Is’ — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance. The 12” version of ‘Lady Day and John Coltrane’, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement. A masterful reworking of ‘Racetrack in France’ featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The instrumental version is also included in this 2 x 12” EP. Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever ‘EP Two’ is an essential release — a bridge between the past, present, and the music still to come.

We’ve all experienced that feeling when a song instantly transports us back to the moment we first heard it and became completely hooked. For Linda & Norm, “Moments to Want You” by the Jerry Lillard Band carried the warm vibes of a Parisian summer in 2019. Fast-forward to 2025, they revisited the track with a complete twist, nudging it toward an AOR resurgence for the label’s Soft Rock for Hard Times series.

The original version by the Jerry Lillard Band was released in 1981 on a German rock sampler, created in protest against the closure of their rehearsal space in an old school building. “Moments to Want You” stands out for its haunting melody, heartfelt lyrics, and compelling arrangements. Inspired by these elements, Linda & Norm cast the song in a new light, leaning into ’80s-tinged guitar pop à la Trevor Horn, with hints of psych bedroom pop in a distinctly Californian fashion.

Joining the release are two favorite artists of theirs, further expanding the song’s potential into dancefloor territory. Sydney’s own DD Mirage delivers the smoky, dubby disco blend we’ve admired since their debut album, while seasoned producer Justin Van Der Volgen brings the B-side magic, echoing the authentic stripped-back dub approach in the vein of Pettibone and Baker. To round it out, an instrumental version, along with an extended mix courtesy of Justin, complements the release, making it a 12” worth pulling out whenever the moment calls.

Following a successful first volume of the newly launched DC4 compilation this summer, Volume 2 arrives featuring four on-point singles from the label’s extended family of artists, alongside a string of label debutants. Heerhorst & PETER PAHN return to the fold following their contribution to ‘Dark Clouds’ with Teenage Mutants, a former Beatport no.1 and highlight of 2023 for the label. Continuing the celestial themes ‘Crystal Sky’ feels like part 2 to ‘Dark Sky’, a lively electro-tinted record driven by dreamy melody lines and chanting vocals that has plenty of peak-time energy. Italian behemoth’s Mind Against debut on Drumcode in collaboration with Tharat, ‘Cloud’ is one of the most interesting releases we’ve heard on the label in recent times, marked by a head-spinning flurry of stuttering, distorted sounds, all the while maintaining a rolling,

intoxicating groove. Rising German artist Kos:mo mints his first release on DC with ‘Samsara', a fierce acid techno cut that takes on a life of its own in the second stanza, equally fit for a film soundtrack as a dancefloor, such is its dramatic arc. OZBEK & Zafer Atabey are mainstays of the Turkish techno and tech house scene, ‘My Culture’ is drenched in attitude, a slick slice of punchy dancefloor grit, with a foot in house, techno and electro, driven by a rapped vocal line.

Welsh multi-instrumentalist and producer Huw Marc Bennett sinks his hands deep into the soil of South Wales, reimagining traditional melodies from the Morgannwg/Glamorgan region through an earth-toned palette of folk, jazz and psychedelic roots. ‘Heol Las’ is ancient music seen through a modern prism; acoustic textures rubbing up against hypnotic grooves, field-worn stories refracted into new shapes.

Every track on the album is either drawn directly from, or woven around, archival tunes of the region. Bennett’s approach is reverent yet expansive, pulling history into the present while staying grounded in community, landscape, and lived culture.

Bennett says, “On this record there are versions, interpretations and tunes influenced by cerddoriaeth werin, the folk music of Morgannwg; The place I was born, I was raised in and revisit to feel grounded. The melodies you hear were given, found and invented.”

It’s a properly transcendent Kalahari debut as S.A.M. makes nods to ’90s Eurodance and deeper, spiritual invocations.

At the helm of multiple labels, but this marks a Kalahari debut for the Danish artist. Sometimes anthemic, sometimes operating from a more meditative space, but always serving as an outlet for ecstatic release. Rapturous big room ascension into more contemplative territory.

Channelling some divine NRG in the vocal hooks, like much of their work, an air of blissed intent cloaks the whole thing. This is a suite of tech and deep house that strikes a balance between the introspective and direct, the metaphysical and corporeal.

Pitting sonic immersion against forward momentum has almost become a blueprint for any Kalahari release, and here, we bear witness to a prime example. Heady stuff.

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The Fuga compilation returns to Token with its seventh installment by a fresh batch of artists emphasizing the cryptic sound of the Belgian record label. The V/A displays urgency as its focal point, expanding and contracting its acoustic space throughout to channel instability. With eight contributions, Fuga VII sifts through nail biting arpeggios, frenzied percussion, and obscure ambiance to recalibrate techno's current soundscape.

Opening the compilation is contemporary techno mainstay Rene Wise with his debut contribution to the record label 'Rough Rider'. In this A1, Wise plays to his strengths by blending deep techno influences with hyper-focused rhythmic work. With a hint of tribalism, he conjures up synthwork from far off to whip motion into heavy drum patterns. Following this first track, STIPP and Sandrien take control in presenting 'Corrie', a sequence-forward groover that slides through drum programing to streamline rhythm. A shrill pad comes in at the halfway mark, completely lifting the energy of 'Corrie' to strain the track's obscurity with an ethereal counterweight. The brief passage of these kinds of elements provides a lot of dynamic to what would otherwise be a powerfully straightforward piece. Diving deeper, Red Rooms unveils 'Limited Sensory' as the next chapter of the compilation. Always swift and exact, the German artist continues to push into the ultra immersive with a web of elements that whiz by for a peaktime lock in. Cold in attitude, Red Rooms tunnels through 'Limited Sensory' with quick drumsand far-off percussive hits that rumble through the track. Stepping up afterwards is Lindsey Herbert with 'Oscillations in Space' - an appropriately named recording that experiments with mania as a tool for the dancefloor. Fast and spiraling, Herbert keeps her hands on the arpeggio's filter to contain tension through thunderous reverb transitions, balancing panic with pace. AgainstMe then stretches out the followup with the commanding 'Phase Shift' to double down on weight. Textural intimidation and stomping percussion is given the space it needs to perform on heavy weight sound systems, making it an austere middle point for Fuga. MAL HOMBRE then guides the listener to more elastic sound design in 'Critical Velocity', in a most appropriate Token fashion. Snowballing in intensity halfway through, MAL HOMBRE pushes the cutoff of his melody and programs snare rolls for vintage craze through the second section. Bells clash with ringing hats to fly the track along its course without looking back or letting go. Conor Wall takes control with 'The Strategy' that focuses on pace rather than melody, weaponizing metallic texture for a deep dancefloor experience. The ambiance does a lot of story telling here, marking breaks and riding through drops to provide grit to an already substantial record. This leads us to the final contribution in Fuga VII - 'Ad Libitum'. Here, Porteix emphasizes the conclusion of the compilation with mystery. The synths slither around pulsating rhythm, creating uninterrupted motion throughout the track's entirety. Porteix draws the curtains on an inquisitive note, keeping the suspense high until the next Fuga compilation comes around.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this first volume, the Intercommunal takes its audience from New Orleans to Brittany and on to North Africa. The journey was bold, without a doubt—and its memory remains unforgettable.

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this second volume, the Intercommunal builds unprecedented soundscapes around a song of revolt, a dance tune, or a burst of dissonance. The journey is unforgettable, no question about it. On repeat listening, it even becomes… lunar!

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Marlon George is a British DJ and producer based in London renowned for his "slightly spacey, casually jazzy, and fully groovy house music," with support from names as illustrious as Kyle Hall and Jimpster. But really, if he's getting signed by the legendary Trelik, then that's all you need to know about his skills. He lays them bare across three tasteful cuts here, starting with the liquid dub of 'My Secrets Are Safe With Me' with its wispy shards of light piercing the water's surface and glistening against the dusty hi-hats. 'Najagen' has more drive but no less depth and warmth to it and 'Do The Rha!' is another smoky, minimal, heady dub house roller that sneaks right under your skin.

On and on, the beat goes on. Sound System culture plays a huge part in the history of House music, shaping Mysticisms, its founders and the music it brings into the spotlight. Continuing the dive into that history, in all its forms and permutations, Tranquil Elephantizer’s 1995 classic Zombie Dawn is reissued here in its original form.

A name that has been getting noticed on recent releases for the likes of legendary San Francisco collective Wicked Records and Manchester’s cult Red Laser label, the project has, in fact, been around for several decades.

Morphing out of the late 80s Acid House revolution, members Alexis Worrall, brothers Caspar and Darius Kedros and focal point, David Jenkins aka DJ Shakra came together in the South London melting pot of free parties and DIY anything is possible ethos.

Born of a collaboration between the short-lived Camberwell Butterflies project – featuring Alexis Worrall and DJ Shakra amongst others – and the Kedros’ bothers downtempo/trip hop forbears Slowly. With a shared label, on the ground-breaking Chill Out Records, and Thursday late-night encounters at London’s legendary Megatripolis club, they decided to pool studio resources and Tranquil Elephantizer was born.

Mixing lo-fi 808 heavy analog jams of the Butterflies, with the studio sophistication from the Slowly crew, sparked something new and Zombie Dawn was the first result. Local producer Crispin J Glover dropped by the studio, riding high with his Caucasian Boy project’s hypnotic Northern Lights (featuring DJ Shakra on Roland 303) – recently out on Strictly Rhythm – he offered to remix both Zombie Dawn and the Slowly album cut No Slo Dub for release on his own Matrix label and an underground hit on the London and West Coast 90s party scene was born.

Coming in the original “Saxmental Mix”, alongside Glover’s storming “Nu Dawn Club Mix” Zombie Dawn was a correlation of the past, present and future in one record. The history of British House can be heard in the bumpin’ nature of the beats, the sharp hats encompassed around dub overtones that give it added warmth. The slightly quirky, left field touches of the tracks, set against the then weekly overload of sharp US imports, brought the mix of influences from the Tonka and Sugarlump Sound Systems they had partied and been involved with, on to vinyl, adding touches of jazz keys and disco’s heritage for good measure.

A bedfellow for the emerging UK House sound coming on the likes of Luxury Service (Rob Mello / Zaki Dee), Other (A Man Called Adam / DJ D) and Nuphonic (Faze Action / Idjut Boys), that shaped and defined London clubs and far beyond. Some 30 years later, with a new album on the way, here is debut Tranquil Elephantizer’s release, remastered especially for this reissue, ready to bring that optimistic thinking back.

Tranquil the Mystery.

‘Confession' is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged — and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. “This wasn’t the album I intended to make,” says Carla dal Forno. “I originally wanted something veiled and abstract, but I realised I couldn’t hide behind abstraction — the songs only worked when I leaned into emotional truth.”

This is dal Forno’s fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms — a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. “I live in a small country town that offers a stillness my life didn’t previously have,” she explains. “In that quiet, feelings I might’ve ignored in a busy city grew loud.” Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling.

The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines — longing, jealousy, fantasy, self-exposure. “At the heart of the album is a friendship that became emotionally charged in an unexpected way,” dal Forno says. “That shift brought daydreaming, jealousy, tenderness, confusion, self-awareness — and eventually acceptance.”

The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There’s a looseness, even a playfulness — “like the sensation of tension lifting once you finally admit something to yourself,” as dal Forno puts it. The album traces a subtle arc: attraction blooming where it shouldn’t; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. “The record exists in that contrast,” dal Forno reflects. “Peaceful surroundings, unsettled interior.”

Like all of dal Forno’s work, Confession resists clean conclusions. It doesn’t moralise desire or romanticise restraint. Instead, it lingers in the in-between — where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel —and living with what that admission changes.

2026 Repress

It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.

Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album 'Dream Temperature', he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output.

A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon, releasing the highly revered 'Petrol' (2016), 'Tongue' (2018) and the viscerally beautiful 'Moons Melt Milk Light' (2023), in a line of unwavering musical dialogues. While the penultimate album was a deliberate, reductive, entirely acoustic detour that was born out of a want to unplug, 'Dream Temperature' sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album's electronics are triggered by Brian's lungs, generating otherworldly synths modulated by expressive breath control, channelled through the laptop as the core processing chamber for added textural components and field recordings.

A free floating and heavy emotional resonance marks 'Dream Temperature' from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one's day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift throughout as tracks pass by like introspective thoughts, fueling both a tense and ethereal quality that underpins the album. Interluding solo and part-solo piano improvisations 'Last Sun 1' and '2' are positioned adjacent to the buffering digital soundscapes. Their softer, still processed timbres pierce the melancholic exterior, offering a contrasting tenderness that could echo the grace of Ry?ichi Sakamoto, the spiritualist rigor of ECM's Keith Jarrett and a touch akin to Aphex Twin's piano miniatures. 'Nulle Part 1+2' signals the first appearance of an acoustic wind instrument, as tenor saxophone flourishes are juxtaposed against noisy drones, all shouting at the void, with notes resurfacing like lost digital data.

The album was recorded at home during either sunset or nocturnal hours between September of 2024 and October of 2025, a period in which Brian found himself craving more lengthy and intimate studio time as he searched for more pronounced textural qualities amidst his new sonic ambitions. 'When The Light Appears, Boy' shows further evidence of this deeper universe, revealing a grittier edge as the album's essential blueprint is sonically inked. A sprawling expanse of wind synths rhythmically encircle the listener before a dreamy, ghostly ambience blankets 'Toyama'. The sound is evocative of the productions of post dubstep era luminaries such as Burial or the productions of HTRK's Nigel Yang. More isolating and enveloping than the previous all acoustic record, this is music both disorienting and yet warmly inviting all at once. A sonic diarist at heart, personal field recordings were also taken from Sardinia, Japan, Big Sur and LA which intersect at unexpected moments throughout the album's 31-minute play time.

'Dream Temperature' is a vital coalescence of both Simon's electronic and acoustic practices with repositioned electronics akin to earlier works, both haunting and elegant, yet still profoundly personal. Simon continuously resonates as an experimental outlier treading an enthralling, non-linear musical path. This music resolutely glows with an unknowing aura, like an untapped energy source waiting to be discharged.

First released back in 1998, Random Factor's Too Fast Into The Future returns to wax and serves as a reminder of just how far UK mainstay Carl Finlow was already thinking ahead. The album was also a standout moment in the Leeds-based 20/20 Vision label catalogue that threads house, techno and electro into something more unsettled and brilliant. 'Lead Me Blind' and the title track fold processed vocals into stark machine rhythms, while 'First Principles' and 'When Daylight Fades' remain DJ touchstones. There is tension in every bar and introspection rubbing against dancefloor drive. Decades on, it still bangs.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

Hekt's debut album Forever is released 1st May 2026 on Numbers, with the first single "Someday" featuring Valeria Litvakov out now.

Made with his friends Henriette Motzfeldt & Catharina Stoltenberg (solo and together as Smerz), Copenhagen-based composer/producer Fine Glindvad (who records as Fine), and Valeria Litvakov, Forever is built around juxtaposition: pop and bass brushing shoulders with dopamine fueled EDM. The record is a funhouse of mirrors where polystyrene arpeggios skitter underneath uplifting chords.

As Hekt describes the record: "Forever is desire and digital synthesis, car rides and lingering perfume. It’s missing someone who was never really there, holding on to something you didn’t want in the first place. The songs you hear when you’re falling in love on the dancefloor, and the songs you hear when you open your eyes and realize it’s just you alone with the DJ, the last one to leave. Songs to make out and break up to. A party so good you get depressed it can’t last forever."

Forever is a continuation of Hekt's work exploring the emotional core of pop music. "Someday" is the soundtrack to a hundred imagined futures with strangers in the club, as pristine arps and heartswelling chords skitter under Valeria Litvakov's ruminations, both lovestruck and terrified. Smerz add a level of fantastic to the slanted otherworldly pop of "Up in the Air, So" and "Forever." On both tracks, the melodies are squishy and impressionistic, the sound of all those memories we make in dance floors, taxis home, and in the blurry morning sunshine as we adjust to reality.

And while guest vocalists abound on Forever, Hekt also takes a turn at the mic himself. On "Without You" he shakes up a perfectly mixed cocktail of melancholy and beauty. And on "Promise" his voice is turned into another melodic accent against the fragile IDM sound design. Elsewhere he turns up the aggro. Dueting with Catharina Stoltenberg on Boys Noize's secret weapon, "Anytime Anywhere," the two trade bars across a compressed field of static and feedback while little hints of sub and wiry synths circle the edge of the stereo.

Hekt's music has always attempted to redefine what club music can and might be. This reimagining of the very basic building blocks of the dance floor is felt across Forever where he leans into the emotions of 2010s EDM. "What I loved about hardstyle and jumpstyle was the emotional intensity that kind of music can bring if you’re in the right setting. And I think that is what has stuck with me from EDM too. Emotional intensity," he explains. "It’s just been the soundtrack to some of the most fun moments in my life." On "But I Can't Really Show You," he compresses the EDM-era into 3-minutes. Vocal catharsis, dubstep womp, and soaring chords make it sound like the entirety of Tomorrowland being processed through MAX/MSP. This Skrillex-meets-Calvin Harris colossus is designed to destroy every sub woofer as it pulls on every last heart string.

And then there are the straight-up club stompers. "Baby" is UK club music reimagined with the steely lines of Danish modernism - think DJ Q going b2b with Errorsmith. It has a bassline made out of flubber with a vocal chopped beyond recognition as it bounces across chromatic synth lines. Even when he strips things down on the slinky garage-esque "Big Things," there are still unexpected twists and turns. The melody sounds like an Ibiza House compilation played in reverse, alongside drums that swing in and out of psilocybin bleeps and bloops. On other tracks like "Dream" and "You Won't Believe," the tropes of dance musics past, present, and future are dissolved in baths of synthesis and polished sound design.

Forever is a record where club music and Scandinavian EDM seamlessly mixes into avant-garde pop. Hekt has crafted singular and unclassifiable love songs alongside effortless bangers, making an ode to those eternal dance floor moments where time stops and you start hoping for something big.

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell moving people the old way, part 2. Resistance is futile against the Grays...

Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources - fingerpicked guitar, plaintive banjo, muted accordion tones - subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album’s title.

Tracks such as “Pattern For a Pillow” and “Amidst Things Uncontrolled” articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity - fluttering guitar lines, reedy accordion tones - briefly break the surface before being absorbed back into the field.

Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia - a reminder that electronic music’s most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)

Much like the duo’s music, the story of Rural France is both mundane and magical. Tom Brown (also of transatlantic janglepunks Teenage Tom Petties) and Rob Fawkes moved to London in their mid-twenties. Despite living under the same roof, they never picked up a guitar – except for one drunken, failed attempt at writing a Spoon song (“Big Chops” …don’t ask). It was only after both separately relocating to Wiltshire and starting families that they began assembling songs as a way of meeting up. Tom had amassed a pile of sprightly slacker jams that were calling out for Fawkes’ messily melodic guitar lines. Rural France was born.

After a debut album on their hero, ex-Lemonhead Nic Dalton’s Half-a-Cow Records, they retreated to a garage to record their next two albums: RF (2021) and Exacamondo! (2024), both released on much-respected jangle label Meritorio Records. Despite being lo-fi in the truest GbV sense, both records were warmly received by the DIY indie blogosphere, with their short, scrappy, but supremely melodic songs landing on numerous AOTY lists. RF even won Album of the Year at Janglepop Hub.

Raven Sings The Blues probably summed up the sound best: “With drunken visions of Beach Boys harmonies playing in the back of their heads and hooks that consume Teenage Fanclub cheeriness with the same beautiful brevity that drives Tony Molina, the pair have knocked out eleven rumpled classics.” Album four, SLOTHS, arrives via Meritorio Records and Safe Suburban Home Records on 08/05, and is a slightly different beast. For one, it’s been mixed by a professional – Rob Slater (Westside Cowboy, Yard Act, Thank) – giving the guitars and drums room to breathe. It’s easily their most high-fidelity record to date. It’s also their jangliest, most baroque and thoughtful album yet. But alongside added organ, horns and mellotron – and drums from Tom’s Teenage Tom Petties bandmate Jeff Hamm – it still retains the buzzes, hums and little freak-outs that stick to the duo’s original “Pavement playing Teenage Fanclub” mission statement. “Rob and I both wanted to do something a little slower and a little more melancholy,” says Tom. “We resisted our usual urge to hit the distortion pedal and made something that fitted where we are now and celebrates how we still listen to Meatloaf when we get drunk.”

SLOTHS is also the most thematically consistent Rural France record to date. While it wouldn’t be right to call it grown-up, it definitely has homeowners’ insurance. From the Silver Jews-esque Americana of “Slab” and mid-life rallying cry of “Thirty Seven Forever”, to the horn-embossed loser anthem “Lonely Heart Pyramid Scheme,” the songs celebrate (and rail against) the absurdities of getting older, forming a band in your thirties, and the strange phenomenon of time passing. Because no matter how slow you move, everything else goes fast. SLOTHS.

***
you are much more than simply dead:
I am a dish for your ashes,
I am a fist for your vanished air.
***

Following FATPOD-58 (2020) and his contribution to the latest Freude am Tanzen compilation, Module One now presents his first solo EP on Jena's Finest: Freude am Tanzen. The record combines minimalist, functional dub techno with gently playful ambient textures and is complemented by a rework from Japanese producer Yone-Ko (Closer Kiew). On the A-side, ‘Against The Tide’ and ‘Utopia’ are clearly aimed at the dance floor: both tracks fuse influences from deep house, minimal and techno into versatile club tracks that feel at home in a wide variety of DJ sets. The B-side, featuring ‘It's November Again’ and Yone-Ko's reinterpretation, opens up the sound spectrum – from introspective listening to subtle grooves. A release that mediates between functionality and atmosphere – ideal for listening, drifting away and dancing.

A1
Künstler: Module One
Titel: Against The Tide

Spielzeit: 06:10
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A2:
Künstler: Module One
Titel: Utopia

Spielzeit: 06:46
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B1:
Künstler: Module One
Titel: It’s November Again

Spielzeit: 02:06
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B2: Künstler: Module One
Titel: It’s November Again
Version: Yone-Ko Rework

Spielzeit: 08:08