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Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.

Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.

Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.

The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.

Since the recent reissue of Sylvia Striplin's one album for Uno Melodic Records, demand has been building again for two of the key tracks back together again on 12' single. Huge on disco, rare groove, two step scenes these track capture the essence of the period of music and genius of producer Roy Ayers. First released in 1980, both tracks became signature tracks for Roy's Uno Melodic label. Sylvia previously sang with Roy at Polydor, sang lead momentarily with Aquarian Dream and one album with Eightes Ladies.

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

It's rare to hear a debut 12' single that really blows you away. That's hardly a controversial statement; in truth, most producers take time to find their feet, developing a distinct style over a period of years, rather than months.
Magnesii, then, is something special. Currently based in Amsterdam. The previously unheard of producer has delivered a stunning debut 12' for Tom Trago's Voyage
Direct label. R Raw, fuzzy and in turns melancholic, spellbinding and intense, its' three tracks bubble and hiss to the distinct sound of vintage analogue hardware.

You see, the young Dutch producer tends to avoid modern computers. 'I often feel like those screens suck my soul away,' he says. Instead, he jams out tunes on a tasteful selection of analogue gear, sequencing with either the Alesis MMT-8 or the Akai MPC2000 - a favourite toy of many of the Netherlands' best electronic producers - and adding basslines, beats, acid lines and melodies on obscure synths and drumcomputers'. His creations are then bounced down straight to 1/4" tape or cassette.

Some of these resultant jams, as showcased on this impressive debut, are nothing less than inspired. Acid lines rise and fall, machine drums rattle, and distinctive synth
lines weave in and out of the mix. These are raw tracks for the dancefloor blessed with all the colour and warmth associated with vintage hardware.

'RZTB Tantra' sets the tone, layering bubbling acid lines and dreamy chords over a relentlessly nagging bassline and punchy, scattergun drum machine percussion. 'Lava Jam' is decidedly deeper, with woozy, emotive melodies and alien electronics tumbling over a dusty rhythm pattern and tactile acid bass.

Magnesii completes a sterling debut with 'Van Dyke Island Jam', whose squidgy bassline and long, drawn-out M1 chords work in complete harmony with the crispy rhythm track and densely building percussion hits. Like its' predecessor, it too seems to be tinged with sadness, as if Magnesii's machines are shedding a tear for glories past.

Clearly, Magnesii is a name to look out for in future. For the time being, we'll have to make do with one of the most impressive debut 12' singles of 2014 to date.

The Mighty Ryeders' rare groove classic Help Us Spread the Message has been remastered and reissued here because it forever remains a favourite with DJs and dancers. It's a timeless soul and funk blend with many a standout jams, not least 'Evil Vibrations,' a super cool and breezy groove famously sampled by De La Soul in 'A Roller Skating Jam Named Saturdays' and later covered by The Rebirth. Alongside funk staples like the aching beauty of 'Help Us Spread The Message' and the collector-favourite 'Let There Be Peace' the album blends rich horns, clavinet and deep grooves with great songwriting and vocal harmonies. Do not sleep on this masterpiece of funk.

The interstellar electronics are once more pushed to the fore on closer '80 Axes', where jaunty synth lines combine with soft bongo hits to create an instinctive rhythm, and intergalactic melodies sprint between the speakers. You can dance if you want to, but lying down is very much encouraged.
As part of the label's mission to champion Dutch talent, Voyage Direct has always promoted new, up and coming, and little-known producers. Boss Tom Trago's master plan includes building a family of artists, in part through helping unheralded local producers to fulfill their potential.

On the label's latest release, he continues that approach, serving up a debut 12' from a mysterious young producer known only as Darling. Those paying close attention to the wider Dutch house and techno scene may have spotted his recent rework of Awanto3's 'Star Butchers' on Dekmantel, in which the man or woman of mystery added some killer keys to the Amsterdam legend's woozy, deep house original.

While that rework was undoubtedly superb, Jacob's Lead offers a truer reflection of the shadowy producer's previously hidden talents. As debut EPs go, it's a bit of a cracker.

The title track, in particular, is a beauty. Its' restless, hypnotic rhythm tips a wink to classic Dutch techno of old, while the undulating, analogue electronics and swirling pads recall the far-sighted retro-futurism of vintage Motor City material. Throw in some of Darling's trademark spine-tingling keys and a deliciously loved-up breakdown, and you have a choice chunk of life-affirming techno.

On the flip, Darling heads towards deeper territory with the bubbling melodies, starburst electronics and saucer-eyed chords of 'Video'. Unashamedly positive in sound and intent, it sounds like the kind of track that will be cited as a classic in two decades time. Melodious and infectious, it casts Darling as the Netherlands' answer to Larry Heard.

After over a decade away from making music, Greek-born musician and composer Giannis Gogos is back. It was the turmoil of the pandemic that allowed him to reconnect with making music after years working in photography and now he's combining analogue and digital sound with intricate melodies and plenty of keyboards, glockenspiel, kalimba and guitars. This latest album is enhanced by oodles of delay and reverb effects and makes for an ethereal journey inspired by Henry Corbin's Man of Light in Iranian Sufism. It explores light as a symbol of divine presence through serene, introspective soundscapes.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

The music producer from Girls of the Internet steps away from the band and messes around with synths & samplers - resulting in a smorgasbord of styles and influences from UR, Aphex Twin's Selected Ambient Works, Andrew Wetherall's Bloodsugar, string-laden Detroit Techno, Drexciya, Microhouse, Underworld, and some oddball house stylings.

t 5To the End (La Comedie) feat. Françoise Hardy




















t 5To the End (La Comedie) feat. Françoise Hardy




















t 5To the End (La Comedie) [feat. Françoise Hardy]




















[t] c5 To the End (La Comedie) [feat. Françoise Hardy]




















[t] c5 To the End (La Comedie) [feat. Françoise Hardy]




















[t] c5 | To the End (La Comedie) [feat Françoise Hardy]

Finally out is this eagerly-awaited release of SUNANDBASS Recordings, Hits Me In Waves EP by Mark System. Friends and close members of the SAB family know it's been brewing for the last decade, appearing in bits in aftermovies and we are beyond excited to now share it with the world.

'Hits Me In Waves' unveils three currents at once, the surging pull of inspiration, the sweep of new love, and the beautiful embrace of La Cinta's waters, all washing over in unison. Thus, each track of the EP explores a wide range of emotions and moods, expressed in multiple styles within drum & bass; the lead single 'On An Island', sets the tone with unmatched sound design, rich musical elements, and raw, uncompromising production. Next comes 'Point Of Reference', built for the dancefloor and eternally young in its refined appeal. 'Celebration' follows, a powerful track that ties the listening journey together, pairing heavy low-end weight with slick musicality to keep it both melodic and full of energy. 'Where's The Dog' stands out for its playability and tough bass synthesis, making it the hardest-hitting cut on the record. Closing the EP is the beautiful and introspective 'Started At The End', a deep dive into Mark's musical mind, offering a classic, emotive finale.

Hits Me In Waves is more than just a collection of tracks, it's a reflection of Mark's long-standing relationship with SUNANDBASS and our shared vision for music that speaks to the soul and stands the test of time. Spanning from Ibiza, this release embodies the SAB spirit: pushing the boundaries of drum & bass while fostering connection through rhythm, movement, and community.

First album of French band La Femme released in 2013 with which they won Best New Band of the year at the French Music Awards and god certified gold. It marked also the beginning of their international recognition, confirmed since with their 2nd album Mystère in 2016 and their brand new album Paradigmes today. Includes the hits Sur La Planche, It's Time to Wake Up and Antitaxi! La Femmes's debut LP, is a mix of surf revival, updated cold wave (in a similar vein to countryman Lescop), 1960s yéyé and psychedelia. "Psycho Tropical Berlin: is apparently also their self-penned genre, they have also said "strange wave, new Motown, witch wave, silly mental wave"... whatever, aach term makes for a pillar to describe their music. Psycho Tropical Berlin is the story of a couple who slipped into chaos and survives by watching each other. Le Danger est partout - Peril is all around - as written in the booklet. Rock and pop, rococo bauhaus, fed from multiples influences (Krafwerk, Elli & Jacno). La Femme just want to please you. Generous and welcoming, she stretches you her white hand in the dark, if you grasp it, it could be the shiver of your life.

Venice, Italy – 2025 Paolo Mosca, the Italian producer, composer, and DJ acclaimed for his soulful approach to electronic music, unveils his new alias I.O.N with the forthcoming debut EP Signals, set to be released on Ritmotherapy. Known for releases on Slow Life, Altered Circuits, and a recent collaboration with Alex Neri, Mosca now steps into uncharted territory fusing experimental electronics with rock-inspired textures and raw energy for the dancefloor.

Signals is a daring reimagining of 90s sonic aesthetics, drawing inspiration from the breakbeat and hip-hop influences of cult films like Blade & The Matrix. Each track on the EP blurs the line between nostalgia and innovation, layering hypnotic riffs, rolling basslines, and gripping vocal samples with futuristic precision.

The EP kicks off with “Camouflage” , where breakbeat rhythms and hip-hop flavors meet futuristic atmospheres. A grabbing vocal, heavy low-end, and hypnotic riff drive the track into a world of cinematic tension and release.

“Escape” follows with a slower tempo, but its restrained pulse only builds anticipation. Classical violin lines cut through break-driven drums, leading to a long-awaited drop that delivers an overwhelming yet deeply satisfying release.

Next, “Neo” builds momentum with a gritty 303 bassline and sharp synths, locked into a relentless 4x4 rhythm. The track feels like an expedition through acid-soaked landscapes, equal parts raw and refined.

“They Are Looking at You” closes the EP with explosive energy, bursting with hip-hop vocals that command “don’t stop. ” Propelled by a nasty bassline and oriental-inspired synth melodies, it’s a track built to ignite dancefloors and spark spontaneous breakdance energy.

With Signals, I.O.N presents more than just an EP; It's a manifesto for a new era of club music. It’s heavy yet soulful, experimental yet deeply physical, and above all, a fresh signal to the global electronic scene that something new has arrived. Reserved for their official release on Ritmotherapy, the anticipation around this project signals a bold new chapter for both artist and label.

The soundtrack for the animated film Arco (directed by Ugo Bienvenu, winner of the Annecy 2025 Crystal Award for Best Feature Film, also presented at the Cannes Film Festival) was composed by Arnaud Toulon. Between orchestral flourishes and delicate electronic touches, he composes immersive, sensitive, and luminous music that evokes the great scores of Joe Hisaishi while asserting a resolutely contemporary identity.



Conceived as a true sonic journey, the soundtrack accompanies Arco's temporal wanderings with rare cinematic intensity. Each piece oscillates between poetry and dramatic tension, making this work an experience in its own right, to be discovered far beyond the images.



Awarded the Sacem Prize for original music for feature films in Annecy, this soundtrack is already establishing itself as a landmark piece of contemporary animated cinema.

Alice Deejay was the Eurodance project founded and produced by Wessel van Diepen, Dennis van den Driesschen, Sebatiaan Molijn,
Eelke Kalberg and vocals by female singer Judy. Their 1999 single "Better Off Alone" reached charts worldwide, hitting #2 in the UK,
cracking the Billboard Hot 100 in the USA and dominated dance floors across Europe. Follow-ups "Back In My Life", " Will I Ever",
"Celebrate Our Love" cemented their place as one of the Netherlands' successful dance acts of the early 2000s.

Their debut albumWho Needs Guitars Anyway? was released in 2000 and also made strong impact across international charts, including the United Kingdom where it peaked at #8. Celebrating it's 25th Anniversary, the album is now available on vinyl for the first time, featuring their chart toppers
"Better Off Alone", "Back In My Life" amongst others. Who Needs Guitars Anyway? is available as a limited edition on purple coloured vinyl, and includes an insert.

Dies ist das erste Release von Saxophonist, DJ und Produzent Marc Spieler auf seinem neu gegründeten Label FLOVE.

Ein wahres Meisterwerk, das seine einzigartige Art elektronische Musik zu produzieren und seinen unverwechselbaren Style präsentiert.

Jeder einzelne Track ist ein wahres Kunstwerk. Gönn dir diese Platte und lass dich von seiner emotionalen und echten Musik treiben und verzaubern.

Hol dir jetzt dein eigenes Exemplar der limitierten Vinyl Auflage inklusive einem im Bleisatz handgefertigten Kunstdruck Cover.



This is the first release from saxophonist, DJ, and producer Marc Spieler on his newly founded label FLOVE.

A true masterpiece that showcases his unique way of producing electronic music and his unmistakable style.

Every single track is a true piece of art. Treat yourself with this record and let yourself be carried away and enchanted by his emotional and authentic music.

Get your own copy of the limited vinyl edition now, including a handcrafted art print cover in lead type.

Am 19. Dezember 2025 erscheint über ZYX Music das mit Spannung erwartete Debütalbum Future Rave United Vol. 1, das die Zukunft der elektronischen Tanzmusik neu definiert.

Auf 10 energiegeladenen Tracks präsentiert das Album eine unvergleichliche Mischung aus treibenden Beats, hypnotischen Melodien und futuristischen Soundlandschaften.

Die Tracklist setzt sich zusammen aus:
HYPERLOOP | BLACKLIGHT | ULTRANOVA | ALPHA | IN MY HO U SE HOUSE | THE FUTURE RAVE (PLATZ 2) | UNITED FAMILY | XTC | TITAN | UNITED DJs OF THE WORLD

Jeder Track auf Future Rave United Vol. 1 ist ein Statement: von pulsierenden Club-Hymnen über emotionale EDMErlebnisse bis hin zu epischen Future-Rave-Sounds, die jede Tanzfläche in eine unvergessliche Partyzone verwandeln. Mit diesem Album richtet sich der Künstler direkt an Fans von elektronischer Musik, die den Puls der Zukunft fühlen wollen.

Future Rave United Vol. 1 ist nicht nur ein Album – es ist eine Bewegung, eine Feier der Einheit in der globalen DJund Clubszene und ein Muss für alle, die den Sound der kommenden Jahre erleben möchten.

On 19 December 2025, ZYX Music will release the eagerly awaited debut album Future Rave United Vol. 1, which redefines the future of electronic dance music. Across 10 energetic tracks, the album presents an incomparable mix of driving beats, hypnotic melodies and futuristic soundscapes.

The tracklist consists of:
HYPERLOOP | BLACKLIGHT | ULTRANOVA | ALPHA | IN MY HOUSE HOUSE | THE FUTURE RAVE (PLACE 2) | UNITED FAMILY | XTC | TITAN | UNITED DJs OF THE WORLD

Every track on Future Rave United Vol. 1 is a statement: from pulsating club anthems to emotional EDM experiences to epic future rave sounds that transform any dance floor into an unforgettable party zone. With this album, the artist addresses fans of electronic music who want to feel the pulse of the future.

Future Rave United Vol. 1 is not just an album – it‘s a movement, a celebration of unity in the global DJ and club scene, and a must-have for anyone who wants to experience the sound of the coming years

The legendary Youthman riddim traces back to Glen Brown's 1977 cut 'Wicked Can't Run Away' and took its iconic name after the 1979 Wayne Jarrett classic 'Youth Man'. A decade later, Horace Martin carved his mark with Sound Boy Style, recorded in one take at Gussie Clarke's Music Works with Sly & Robbie in full stride. Known as "The Man With The Biggest Shoes," Martin's career spans over 400 songs, three acclaimed albums and worldwide tours across 24 countries. Blending roots, dancehall and his love for comedy, Martin is a proper champion of Jamaican music and culture.

It's time for the next instalment from our gracious Spiritual Vibes label to bring some joyous musical upliftment and what better way than to introduce an inspirational piece we entitled 'Hands of Moses'; a revamp from the vaults of Bushman's works from the 80s and known to many as a one-away dubplate called 'Moses' in which we have now brought up to speed inna 2025 style with some exceptional musicianship involvement from the Spiritual Players of Instruments bringing emphasis to the majestic soundscapes on this project! ????

As it's the 2nd edition on Spiritual Vibes and to keep the theme of the release - we have decided have the main run in a special luminous red colour disc pressing and if that wasn't enough we are also giving away an EXTRA DUB CUT as a digital download to the first 100 copies sold via Bandcamp as a token of appreciation for all the support for both Ashanti Selah & Bushman's works over the years!

This vinyl comes complete with 4 stomping cuts mixed down in the Selah Dub studio with precision and quality ensuring to bring the right energy to the sessions through the sound-system style selection!

Originally Written by S. Richardson (Bushman) & Re-worked by both Bushman and Ashanti Selah for Spiritual Vibes recordings!

First Contact features CROÍ, Lukey, KAIR, Sahm, and HVSN. Our first release is a compilation of tracks that we’ve been collecting and to seize all the styles and genres which we will deal with in the future.

‘First Contact’ is the first song of the VA, opening with an invitation with a combination of a nostalgic ambience followed by the drums that go along with the vocals pointing to the start for our journey. In Irish, the word "CROÍ" (pronounced KREE) means "heart". ‘Target Lock’ from Lukey, is a track that will definitely surprise you. This song is meant to push you back to the dance floor with a feeling which you don’t get very often from listening to these kinds of songs. Everything is cool with ‘Target Lock’, drums, nice trippy vibes, and how the bass fits there… You should be blown away by this song. In a real old school style! Lukey has previously caught the eye of industry labels like Hot Creations, also his release on Carpet & Snares Records, Into The Wizard's Sleeve, The Void Project was hammered by some of the great DJ’s in the world.

KAIR introduces himself to us in his own way with ‘Let's Get it!’ Because this bomb won’t fail to make you dance and feel good! It’s pure house and joyful music that makes you dance and get lost within the music. Also, ‘Let's Get it!’ is just a preview of the upcoming EP. ‘Rainbown’ is a track which shows us that Sahm knows how to come out with a brilliant house track. A groovy old school house with heavy percussion, comes from a young talented producer from Brazil! This will be the track that you’ll be playing years from now on. And ‘Bust This’, you will hear among the bass, the claps and drums, a high energy that will make you move your body. HVSN presents his vision of how to bring the right emotions of a dance floor full of energy and the connection between the bass, synth, drums and melody is back!

Enjoy, This Is Real Talks Records.

VA – First Contact RTR001 incl CROÍ, Lukey, KAIR, Sahm, HVSN

Pt.1 of 2

Gigi Masin's sparkling sonic magic leads us to the light in “Implodendo in una accecante oscurità” (Imploding in a blinding darkness). The mirror reflects nothing but a faint, unfamiliar, mysteriously hostile face, but a glimmer survives, evoked by a painfully solemn romanticism that is salvific, glimmers of light bounce off broad synthetic volutes, a bewitching ambient, airy quiet, they spread, a few veins of darkness shine through, aesthetic beauty equates to clear spirituality, sax and female voices, the elegy that intertwines piano and vocal loops, that omnipresent melancholy, nostalgia, reassuring, which is openness to tomorrow. It is the moment of light, the powerful feeling that nothing is lost, that what awaits to be grasped is more than a remnant, perhaps an overcoming, light that “is not what it shows but what it reveals”, that light that becomes memory that does not need to illuminate to be perceived where it most needs to spread, where darkness has resided for too long

Pt.2 of 2

Gigi Masin's sparkling sonic magic leads us to the light in “Implodendo in una accecante oscurità” (Imploding in a blinding darkness). The mirror reflects nothing but a faint, unfamiliar, mysteriously hostile face, but a glimmer survives, evoked by a painfully solemn romanticism that is salvific, glimmers of light bounce off broad synthetic volutes, a bewitching ambient, airy quiet, they spread, a few veins of darkness shine through, aesthetic beauty equates to clear spirituality, sax and female voices, the elegy that intertwines piano and vocal loops, that omnipresent melancholy, nostalgia, reassuring, which is openness to tomorrow. It is the moment of light, the powerful feeling that nothing is lost, that what awaits to be grasped is more than a remnant, perhaps an overcoming, light that “is not what it shows but what it reveals”, that light that becomes memory that does not need to illuminate to be perceived where it most needs to spread, where darkness has resided for too long

2025 Repress

In 2013 Voyage Direct released Tom Trago’s ‘Hidden Heart of Gold’, an expansive trip into intergalactic deep house territory that ranks as one of his most emotionally charged moments to date.

Hidden Heart Of Gold is undeniably special. A typically spacey and quietly soulful dancefloor epic that stretches out majestically over 13 spellbinding minutes. It was a highlight in many of Trago’s club sets for the best part of 12 months prior to release..

Virtual waves of ambient chords shimmer between the speakers, rising and falling as if drifting through time and space. Meanwhile, eyes-closed melodies reminiscent of classic stargazing techno and disembodied vocal samples ride a tough but unfussy machine drum rhythm and addictive bassline. There are well-timed breakdowns and a gradual, enveloping build towards a heart-breaking climax. Many listeners may feel contrasting emotions; a sense of undiluted joy while dancing, perhaps, but also the odd pang of melancholy when listening on headphones. It's that kind of record.

The tracks intergalactic, emotion-rich inspirations are explored further on the flipside Ambient Mix, a winding, beatless excursion brimming with hazy, late night beauty. Gentle and immersive, it offers a grandiose, never-ending world in which to shed your inhibitions. Shorn of the originals dancefloor paraphernalia, Tom's emotive, wide-eyed vision comes to the fore ¿ all sensual chords, far-sighted pads and gentle, outer-space melodies. Like the A-side club version, it may just take your breath away.

2026 Repress

Atmospheric Vol 2 is the second single to be taken from Deepchord's latest full length but sees him stray from the album tracks, bringing 3 exclusive pieces to the vinyl, keeping in the same musical vein as Ultraviolet Music.

Exploring the North & Pinewood Lodge see Rod Modell on more Deep Techno excursions as beautifully sweeping pads and glistening synths drift by ever evolving, perfectly processed atmospheres. Deepchord's unique use of subtle field recordings throughout give both of these tracks a real heady/druggy quality and his seamless loops allow you to drift of into his fully developed dream world. Shot Point delves into straight up ambient territory with Deepchord striking an unearthly balance between the natural and synthetic world. Yet more flawlessly collected field recordings wash away on an ocean of reverb soaked pads, drowning the listener within its mesmerising tides.

WOODKID komponiert die Musik zum heiß erwarteten PlayStation-Spiel "Death Stranding 2: On The Beach". Mit seinem neuen Album "WOODKID FOR DEATH STRANDING 2: ON THE BEACH" zum sehnlichst erwarteten Spiel von Hideo Kojima hebt WOODKID die Idee von Game-Musik auf ein neues Level. Die Songs sind inspiriert von Kojimas Erzählkunst, seinen Figuren und der Welt von Death Stranding - und entfalten sich als eigenständiges Werk voller Tiefe, Kontraste und Atmosphäre.WOODKID, bürgerlich Yoann Lemoine, ist ein französischer Sänger und Komponist. Mit seiner stilsicheren Kombination aus orchestraler Dramatik, elektronischer Präzision und emotionalem Tiefgang hat er sich international einen Namen in der Musik- und Filmwelt gemacht - sowohl als Musiker als auch als Videoproduzent für Künstler:innen wie Rihanna, Lana Del Rey, Pharrell Williams oder Harry Styles. Seine Musik wurde für zahlreiche Film-, Serien- und Videospielproduktionen eingesetzt (Arcane, Assassin's Creed, The Umbrella Academy). Für seine Arbeiten wurde er mehrfach für Grammy- und MTV-Awards nominiert, seine Single "Run Boy Run" wurde weit über fünfhundert Millionen Mal gestreamt. Auch in der Modewelt ist WOODKID präsent - etwa mit Musik für die Shows von Louis Vuitton oder Dior.Über drei Jahre hinweg arbeitete WOODKID eng mit Kojima und dem Team von Kojima Productions zusammen, um Musik zu erschaffen, die weit über klassische Soundtracks hinausgeht. "Jeder Song, jedes Thema wurde in zahllosen Varianten und Schichten komponiert", erklärt WOODKID. Das Ergebnis ist ein Album, das cineastische Orchesterarrangements mit elektronischen Klanglandschaften und eindringlichen Gesangslinien verbindet."Death Stranding 2: On The Beach" ist das neue Werk von Hideo Kojima, einem der visionärsten Köpfe der Gaming-Welt. Als Fortsetzung des vielfach ausgezeichneten ersten Teils, der über 20 Millionen Spieler:innen weltweit erreichte, führt das Spiel die Themen Verbindung, Isolation und Verantwortung in eine neue erzählerische Dimension. Das Spiel besticht zudem durch einen hochkarätigen Cast - darunter Norman Reedus, Léa Seydoux, Troy Baker, Elle Fanning und Shioli Kutsuna - und eine Geschichte, die von den globalen Erfahrungen der letzten Jahre inspiriert ist.Von zarten Melodien bis zu eruptiven Breakcore-Momenten - jeder Track erzählt eine Geschichte. Für die Aufnahmen reiste WOODKID zwischen Paris, Los Angeles und Tokio, um die kreative Vision Kojimas einzufangen. "Es ist manchmal schwer, Hideos Vision ganz zu verstehen, weil sie sich ständig verändert. Man muss dem Prozess vertrauen - und das Ergebnis ist immer überwältigend", sagt er. Was dabei entstand, ist mehr als ein Soundtrack: Es ist ein Manifest künstlerischer Freiheit, ein musikalischer Gegenentwurf zu Konventionen - und eine Hommage an das Anderssein.Die erste Single "To The Wilder" erschien im März 2025 und verzeichnet bereits über 3,7 Millionen Streams weltweit. Das Album erscheint digital, sowie als Vinyl- und CD-Edition - beide mit dem großartigen Artwork des Spiels und als liebevoll gestaltete Sammlerstücke für die internationale Fancommunity.Neben WOODKIDs Album erscheinen zwei weitere Veröffentlichungen zum Spiel: ein Score-Album sowie ein weiteres Song-Album mit noch nicht angekündigten Künstler:innen. Beide erscheinen digital, ebenfalls bei Milan Records.Das Spiel "Death Stranding 2: On The Beach" erscheint am 26. Juni 2025 exklusiv für PlayStation®5.

South London’s Jerkcurb – aka Jacob Read – is back with news that his sophomore album ‘Night Fishing On A Calm Lake’ is to be released at the end of November following 2019’s ‘Air Con Eden’.

After that album’s successful release Read had planned to expand Jerkcurb into a full band setup when his father, a painter like himself and a creative inspiration, passed away. Instead of the envisioned plan of taking his project bigger Read returned to the family home and re-examined the material for the new album and instead the album became one of reflection, grief and redemption. It’s not much of a stretch to see clear musical inspirations for the record too – Prefab Sprout, Talk Talk and The Blue Nile, records where the moments of silence are stretched out.

Read produced and engineered the album himself, mostly at home with Lara Laeverenz and Gray Rimmer providing cocals. The album is mixed by Dilip Harris (King Krule, Mount Kimbie).

The enchanting cover artwork was painted at Read’s father’s studio in Camberwell, painted in oil with its dreamlike blur of blue and black . It hints at the early film noir and magical realist influences for the album.

In 1995 The Roots burst onto the scene with their seminal debut album, Do You Want More?!!!??! that garnered critical acclaim and cemented them as a powerhouse group fusing elements of various genres with their signature live instrumentation. Thirty years later in March of 2025, The Roots played a three day, six show residency at the legendary Blue Note Jazz club in New York City where they celebrated their debut by playing it in full – performing many tracks that hadn’t been performed live in decades. The performance also brought out special guest appearances from long-time collaborators, Ursula Rucker, Dice Raw and Rahzel, Godfather of Noise.

To cap off the 30 Year Anniversary, The Roots will release the full performance on vinyl. The 2xLP, gatefold package is pressed Black vinyl, and features 21 tracks. ?uestlove spent tireless hours perfecting the mixing and mastering with Glen Forrest and Colin Mohnacs to ensure all elements of the performance were represented on the vinyl.

The Revenge of Alice Cooper, the long-awaited new album from the reunited original Alice Cooper Group, is officially out today on earMUSIC. Marking their first full-length collaboration in over 50 years, the original lineup returns in fierce form, unleashing all the chaos, danger, and theatrical swagger that first defined their legacy and cemented their place in rock history.

Synaptic Cliffs is barely able to contain the excitement for the release of the 4-track EP "Maximalism" where pdqb collaborates with DJ Sotofett in the most effective way. pdqb's sleek and melancholic electro originals carry a sexy 1980s reminiscing vibe, not too unknown from classic US electro disco-styled pop music. They meet warehouse remixes from DJ Sotofett, known for his top-notch electro productions on Clone and Tresor, as well as funky breakbeat, afro-dub and all-things-house on his own labels Wania and Sex Tags Mania. The remix of pdqb's electrocognition-beauty 'Giallactrus' has heavier, almost p-funk styled electro beats, live scratching complementing the block party approach while retaining the vibe of the original. Elysiaamore, pdqb's sonic love letter to Tangerine Dream, gets a bit of melodic menace treatment by DJ Sotofett, turning it into an intensified breakbeat juxtaposition with Junglized B-Boy elements... again without taking away the energy from the original. The vinyl version was cut by DJ Sotofett with optimal club sonics at Manmade Mastering, Berlin.

12” vinyl, full sleeve artwork with Mordançage front cover artwork by artist Jo Torres, design & centre labels by Ciaran birch. Limited run of 300.

“Singing Vessels” draws inspiration from the sonorities and aesthetics of Amazonian medicine ceremonies and traditional Andean music. At its heart is a collection of clay whistles from ancient South America, whose timbres conjure the vibrant soundworld of the Andes. The piece also incorporates shamanic instruments from the Amazon, such as the shacapa — a bundle of dry leaves whose rustling produces a deep, soothing texture with remarkable sensory resonance.

Interwoven with generative electronics, live looping and synthesisers, these organic timbres create evolving psychoacoustic spaces where the mystery of nature meets inner realms of perception and consciousness. The piece unfolds as a ceremonial passage through a shamanic ritual: beginning in a dense jungle of sounding entities, rising into moments of cathartic purging, dissolving into states of blessing and communion, and finally returning to the here and now with renewed awareness.

Nervio Cosmico is an electroacoustic experimental duo based in Bristol, formed by Chilean composer Daniel Linker and Italian sound artist Matteo Amadio. Blending acoustic instruments from ancient South American shamanic traditions with live looping, generative sound design, and live electronics, they craft sonic journeys that explore perception, consciousness, and a spiritual connection with nature.

The Loon EP by Rubinskee unfolds like a lucid dream — a surreal voyage through shifting moods, hidden meanings, and subconscious awakenings. Each track opens a portal into a distinct emotional landscape, weaving hypnotic rhythms with deep introspection. The journey begins with “The Loon” (ft. DJ Raw), a haunting call from the subconscious — disorienting at first, then transformative once you surrender to its pull. Soos’ XTC Mix elevates this awakening into euphoria, turning chaos into clarity in a moment of pure transcendence. With “Zona Roja,” the listener descends into a feverish groove — a jungle where rhythm devours reason. “El Siguiente Paso” pulses with momentum and resolve, a reminder that evolution demands movement. Finally, “Estás Engañada (Niterói Mix)” closes the trip like a cinematic crossing — nostalgic, unrestrained, and beautifully alive in motion.

BTS’s Japanese debut single NO MORE DREAM -Japanese Ver.-, originally released in 2014, is now coming to analog for the first time as a 12-inch color vinyl single!

Side B includes two fan favorites that light up the stage: Attack on Bangtan -Japanese Ver.- and the beloved track I Like It!

Remastered and newly cut for vinyl, this long-awaited analog release comes in a clear yellow pressing.

Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.

Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.

Even within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.

Sivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture.

Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.

Moody and Zeitgeist have had the utmost privilege to bring onboard a team of some of the most accomplished musicians/wordsmiths India has to offer for this album. Working out of Island City Studios in Khar West, Mumbai, the duo assembled a team of musicians including acclaimed and awarded vocalists Vinay Sugatha Ramadasan and Anuja Zokarkar. The pair bring a lyrical depth to the music informed by millennia of North-Indian classical poetry and melody. Metaphor and imagery is intermingled with EX GENERATION's unapologetic rhythm and production style to form something that is profound and complex, whilst also accessible and innate in the way it confronts the listener.

DYSTORTION
Extrawelt's Latest and Longest-Brewing Album Lands This December on Cocoon

In this beautiful world marked by rising chaos, sometimes the simplest way to escape its troubles is through sonic relief. Germany's renowned electronic duo Extrawelt will offer exactly that with their 5th full-length album, DYSTORTION, via Cocoon Recordings this December.

For over two decades, the humble duo behind Extrawelt, who shy away from making music for clicks, have been a steadfast presence in electronic music. Known as serious studio and tour-focused artists who craft timepiece albums, each a work of enduring craft, that go on to create atmospheric, out-of-the-box live acts, they've been shaping and redefining electronica since their first release.


DYSTORTION is their most diverse and evocative album to date. Imagined over six years and shaped by a world in flux through COVID, political upheavals, social media, and AI, it reflects the contrasts and twists we've all felt while offering surges of serenity and hope. From brooding tension to playful relief, it moves through different states in an evolved Extrawelt manner.

The album's opening credit, "Grand Départ," as if a cinematic prelude, invites us into a world of creeping bass, an explicitly Extrawelt sound that's synonymous with the "anti-genre genre" they work within. The album's second track, "Clapland," sees Extrawelt joining forces with Jimi Jules, a name synonymous with excellence in electronic music, creating a rare collaboration that is felt in every note. Soon, the mood shifts into softer melodies as heard in "Surrounded By Miracles," "Hope Sounds Good," and "Sir Stringalot," which bring bright euphorics to balance the darker moments in an album echoed by industrial influences. Later, as "Dystortion" (the album's title track) unfolds, we're drawn into something few electronic artists can create: raw emotion. This is a gritty landscape as reflective as it is pulsing, glitchy, intense, and richly textured.

DYSTORTION is a reflection of a complex, divided world, carried through dramatically with Extrawelt's signature techno tension. Like the world right now, it is full of contradictions, surprises, and moments of introspection, an essential listen for fans of mature electronic music that may or may not need a reminder of why, after 20 years, we're still listening.

as in, a borgesian term of imprisonment in which you come to learn that stasis is an illusion. you attune and collect evidence. long shadows swing from the room’s sharpened edges, contracting and rotating with each passage of the sun, cumulatively tilting toward the next season. the cyclical heating and cooling of the concrete inscribes what you eventually recognize as an insistent rhythm onto your skin. it feels as though you’re preparing yourself to haunt the place. the first visitation comes in winter. sound bubbles from a crack in the wall, a conversation you can’t follow and hardened repeating codes that splash off the walls like rain. it had to be, and you’re looking away.

Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.

A1 - Unraveling

Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.

A2 - Forced Perspective

A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.

AA1 - Surface Scan

Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.

AA2 - Mixed Motive

Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.

Words by Chris Hayes (Spatial / Red Mist)

Itako's new release on Sonic Groove signifies a creative evolution, stepping away from his electro-techno inspirations such as those on Maceo Plex's Lone Romantic Imprint. This fresh offering delivers a blend of deep, mental, and acidic techno that fits seamlessly into the many genres of today's techno sound, a perfect synergy that connects at home, in transit or on a dancefloor.

Magnificent Fall, The Notwist's new rarities compilation, compiles some special and wild moments from this unique German indie group's rich history. They've always snuck gorgeous songs and thrilling remixes onto split singles, extended plays, and other formats, across their career, and pieced together here – compiled thoughtfully, with sensitivity to flow and the listening experience – these thirteen selections work as a kind of ‘shadow narrative’ of The Notwist, an alternative index of the possibilities this shape-shifting group uncovered during their time together.

They've been smart to let go of chronology when sequencing Magnificent Fall, so the songs here move across phases and stages of The Notwist's career, helmed by brothers Markus and Micha Acher. This approach makes plenty of sense, as this music compiled here abstracts from two impulses – to push forward and not repeat what has come before, while building from the group's very specific musical language. Just one example: the loveliness of the instrumental “Avalanche”, from 2020's Ship, follows elegantly from the happy-sad glitch-pop of “Blank Air”, from a 2010 split with former member Martin Gretschmann's project Console. Different phases, different memberships, shared concerns.

The Notwist have always been interested in and open to community, and one of the many ways they reach out to others is through the remix. There are three here, sent back to The Notwist from different corners of the world, both aesthetically and geographically: Grizzly Bear take on “Boneless”, Ada tackles “Run Run Run”, and Odd Nosdam submerges “Sleep” in noise and clatter. Another connection, of course: Odd Nosdam is part of The Notwist's extended family, through Markus and Micha Acher's 13 & God project with fellow Anticon artists Themselves and Subtle.

So, the music on Magnificent Fall traverses varying terrain – abstract hip-hop, chamber pop, sweet and simple folk song, indietronica, free-floating improvisation. There are several unreleased songs, as well, drawn from across the group's history. Core to it all, though, the thing that makes The Notwist so singular, is the thumbprint of the Acher brothers, their gently poetic way of moving through the world and welcoming other musicians and artists into the fold, expressively and with generosity.

Historically aware without being nostalgic, Magnificent Fall is the perfect way to introduce The Notwist's reissue programme with Morr Music, too, including a box set, and the group's eight albums, documenting their three-and-a-half decades of music and community-making. Looking back to move forward? It's a very good idea.