Suche:b productions

Grady Steele (Formant Soundsystem) debuts on FELT with the tender spectre of Nausea, poignant patterns captured through the dusk-hued window pane.

Co-founder of the Formant Soundsystem, a travelling rig that’s powered forward-thinking dances in London and Paris, Grady Steele has championed both experimental and club music at the cutting edge. Concurrently to this, he debuted his own productions back in 2024 for Archaic Vaults. Uniquely intimate, his music shone lowkey and warm with an assured glow. It’s no surprise then to find his inimitable sounds land neatly on Fergus Jones’ FELT imprint.

Nausea extends across seven movements, narrating sentimental parallels of familiarity. Grady posits concentrated pangs of post-rave nostalgia with rich melodic sustenance, a vivid introspection tempered with field recordings and live instrumentation. Strummed guitars and aching pads move purposefully with the suspended pace, an immersive beatless vista from its opening quiet moments through to the guttural noise-laden finale. It’s a brief, beautiful collection from Grady Steele and another string to FELT’s unpredictable bow.

Written, recorded and produced by Grady Steele

Mastered by Miles Whittaker

Cover photo by Alex Kurunis

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

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.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

2026 Repress

Chlar delivers his debut record for SHDW & Obscure Shapes' Mutual Rytm imprint.

Emerging as artist of note for both now and the future, Chlar continues to craft and shape his sound as he curates his own high-octane approach to techno. Combining dynamic performances taking in three and four deck mixes with his own up front productions and his talents as a former mastering engineer, the Swiss talent has become a respected name amongst his peers. After releases on Lobster Theremin and his own Bipolar Disorder imprint, the Berlin-based DJ, producer and label boss heads to SHDW & Obscure Shape's blooming label Mutual Rytm to deliver six precise and powerful cuts across his 'Optimized Groove' EP.

"As the names states, 'Optimized grooves' is a collection of tracks designed to match specific parts of the event/night. From 'Night Genesis' at the origin of the night through to tracks like 'Maximum Performance', a peak time bomb, and 'Spirit Enhancer' - an uplifting and warm production elevating individuals to higher labels after hours of spiritual connection'" - Chlar

Opener 'Early Morning Acceleration' sets the tone early and dives into a looping ride through slinking hats and bustling arrangements - combining classic influences with forward thinking touches to reveal a dynamic slice of techno. Next, 'Maximum Performance' fuses swelling low-ends, sharp percussion and vibrant leads, while 'Love Blaster' delivers an all out fiesta armed with rolling drums, sharp whistles and rich chords. On the flip, B1 'Night Genesis' sees hypnotic loopy vocals balanced by tough kicks and luminous synths, before 'Spirit Enhancer' showcases a soulful trip as resonant electronics work around the track's tunnelling groove. The digital EP comes with a bonus exclusive production in 'Synaptic Discussion', a euphoric and impactful closer which brings things to a close firmly in the peak time hours.

Chlar 'Optimized Grooves' drops via Mutual Rytm on 9th September 2022.

Part 2 of our 1980 Taxi showcase, and it's heavier than the first. Here is one of Sly & Robbie's most loved productions, in its initial raw dubplate form. In August 1980, this raw cut of the haunting lovelorn classic first started to make its way out there on dubplate, in this spare, cavernous heavy mix without the synthesizer and syndrum sounds that would eventually adorn the final released mix. As tapes of these type of early mixes made for sound systems more often than not were not saved or archived, we're overjoyed to have located this one and brought it out. Like our previous Viceroys Taxi releases, this is some of the heaviest music of its day, in its pure initial form like you would have heard Shaka or other serious sounds playing thru the end of 1980.

Following our well received "Prince Philip Presents..." 2LP compilation, here's a lovely overview of the second phase of Philip's career, as engineer & producer at his own studio, HC&F. These ten tracks comprise our favorites from his production catalog, spanning the mid '80s when the studio really got going, right up until 1996 and his last set of proper productions. The album holds a mix of well known classics like the Garnett Silk, lesser known album only cuts like the Frankie Paul, NY dancehall 12" staples like the Scion Success or Shelene, as well as some lesser known gems. We'd be remiss in not mentioning that this album also contains two previously unreleased cuts - a wicked mid '80s Tony Tuff, and the wild vocoder laden 1985 theme song for Philip's "Get Smart" radio show, which ran for many many years on New York University's WNYU radio station.

Up Ya Archives returns with its first release of 2026, ‘Northern Step’, from Manchester-based jungle producer & DJ Worsleyy. The track arrives ahead of his upcoming EP of the same name slated for a 13th March release via Up Ya Archives Records.

Fuelled by crisp, tightly swung drums and a smooth, rolling bassline, ‘Northern Step’ is a salute to its junglist roots. Drawing from the Manchester rave records he was introduced to by his dad, and with the help of legendary Mancunion music mixologist Chimpo, Worsleyy channels those early warehouse energies and pairs them with his own progressive and futuristic lens. It’s heritage and evolution colliding, rooted, forward-thinking and built for sweat-drenched dance floors.

When speaking about ‘Northern Step’, Worlseyy said:

“Northern Step is a proper nod to the junglist past with the lush floaty vocals, calculated drum choppage, a smooth rolling bassline and Chimpo hopping on to drive forward the sound of the North.”

Worsleyy is a familiar face across the UK circuit, having played sets at The Warehouse Project and supporting Nia Archives on her 2024 UK tour in Manchester. Drawing from UK rave lineage and contemporary club sounds, his productions balance nostalgia with futurism, channelling the energy of Manchester’s acid raves. His tracks have travelled far beyond UK borders, spun by the scenes most forward-thinking tastemakers like DJ SWISHA, Sherelle, Pete Cannon, and Nia Archives on dancefloors around the world. Worsleyy’s rise has been as visible as it is audible — bold, bass-driven, and impossible to ignore.

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Nouvel EP de la série Vinylbleu, ce pressage vinyle réunit Leks avec son titre Alienation, véritable retour aux sources, ainsi qu'une nouvelle track de DE$ et deux productions signées Numéro Bleu. Une face tekno et une autre orientée hardtek, la track Onde Stationnaire est également sortie sur l'album digital Whispers of the Spiral du label Eskwad Records, à découvrir en ligne.

Repress

Reboot returns to Cécille this November with his five track ‘Lind EP‘, once again showcasing his unmistakable groove driven signature sound across four vinyl cuts and a digital bonus.

Since two decades the Frankfurt born artist has been shaping the underground with his raw, hypnotic and percussive house productions, gracing some of the most respected imprints including Cocoon, Cadenza, Sei Es Drum, Rawax, Mood Child and of course Cécille - the legendary house label founded by Nick Curly and Marc Scholl, which has long been a natural home for his sound. Over the years, Reboot has become a solid part of the Cécille family, regularly appearing on the label’s releases and lineups world wide.

With this release, Reboot once again proves why his productions remain a fixture in record bags and DJ sets worldwide timeless, driving and unmistakably his own.

This selection of obscure eighties and nineties experimental and industrial music was taken from even more obscure cassette releases on labels such as Nihilistic Recordings, Harsh Reality, Cauchy Productions, Cafardage, Illusion Production, Watergate Tapes, Afterbirth Records, IEP and Out Of Nowhere.

Tracklist A:
1 Kinexus Stringenus - Ohne Titel (from "Heliotropic" Cafardage 199?) 2 Bernard C. - Les Chants Révolutionnaires Part 3 (from "Les Chants Révolutionnaires" Illusion Production 1983) 3 Winter - Ik Wil Winter (from "The Netherlands" Harsh Reality 1989) 4 Lyke Wake - Burning The Human Flesh (from "Pandora's Wooden Bucket" Watergate Tapes 1989) 5 Varoshi Fame - Work After Machinery (from "Tear Down The Mill" Afterbirth Records 1987) 6 Toshiyuki Hiraoka - Ore (from "Japan" Harsh Reality 1990)

Tracklist B:
1 Mortification To The Flesh - Voice Out Of The Tomb (from "Registro De Voces" IEP 1987) 2 Louis Pasteur - Bei Aller Liebe (from "Wolfsangel" Nihilistic Recordings 1986) 3 Det Wiehl - Rome (from "Tu Quoque, Fili Mi" Cauchy Productions 1987) 4 Nox - Yohad (from "Out Of Nowhere" Out Of Nowhere 1986) 5 A Violated Body - Seduction (from "Wolfsangel" Nihilistic Recordings 1986)

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

B. Chamber (Stratum A), by B. Close, is the first full length solo release by Los Angeles-based multi-disciplinary artist Brian Close. The first of two volumes assembled from some thirteen hours of music produced by Close while residing in Connecticut from 2021-2025, B. Chamber (Stratum A) offers a vivid, fractal afterimage of a prolific, specific time and space in the artist’s oeuvre.

After leaving New York City early in the pandemic to a farmhouse in the countryside with dedicated spaces for multiple sound stations, Close developed an intensive daily practice of melding with the machines. The vast, pastoral backdrop of rural CT provided inspiration and contrast for his ongoing investigations into dynamic, poly-rhythmic electronic music. The sounds on B. Chamber (Stratum A) range from the machine-modeling of acoustic instruments and natural environments to the utterly unhuman, spinning on the axis between crystalline, pointillist precision and shifty blown-cone distortion. Close’s atypical interpretations of rhythm, noise and other undefined musics land in a hybrid zone of their own.

Throughout B. Chamber (Stratum A), Close’s productions are in perpetual motion. Foxtrot’s shifting hi-hats and disembodied voices rise like cicadas propelled by glitching machines and tangled rhythms, Many Drive draws momentum from dubby stabs and twinkling atmospherics. Character Community’s nimble, drifting snares and erratic static are uplifted by swelling synths, and Mpan’s modular mining forgoes drums but is no less propulsive for it. Acre Voices’ seasick pads and deft drum patterns tap an energizing nerve, and closer 5D Bow’s ambush of pummeling machine gun fire spirals into the tryptamine palace and emerges completely rinsed and refreshed.

Equally powerful in the club as in the outdoors, in the headphones eyes closed or on the move, B. Chamber (Stratum A) grants an immersive temporary trip on B. Close’s unique wavelength, with Stratum B to complete the picture in the summer of 2026.

RIYL - Mark Fell, muay thai, Vladislav Delay, gaming, Errorsmith, modular synthesizer.

+++++

Brian Close (b. 1979, NYC) uses the cold logic of mathematics to trigger states of total sensory displacement. Close co-founded multiple AV studios to explore the "hypnotic"—a ritualistic practice of motional-graphism and improvisational sound. His work is a study in synesthesia and the architecture of trance, using geometric precision to dissolve the sense of time. It is a digital-visceral experience built on heavy logic, designed for large-scale immersion and timelessness.

Close is one half of Georgia who have released records on Palto Flats, Firecracker Recordings, Meakusma, Youth, OOH-Sounds and EM Records, and have a long-running residency on NTS.

B. Chamber was written, produced and mixed by Brian Close.
Mastered by Rashad Becker.
Artwork by Brian Close.

First-ever official reissue - 180g black vinyl edition

In the late 1960s, a distinctive musical movement began to flourish in Italy—while also gaining momentum abroad, particularly in France and the United Kingdom. Known as library music (or sonorization), this genre consisted of genuine music libraries created specifically to accompany audiovisual productions such as television programs, commercials, documentaries, and films.

Produced under conditions of complete artistic freedom, these recordings often defy clear categorization, as they are not tied to any single musical genre. This creative independence allowed composers—frequently working in total anonymity—to experiment boldly, crafting avant-garde and forward-thinking sounds that, in many cases, anticipated musical trends that would only become widespread years later.

Oronzo De Filippiis known not only for his contributions to library music, but also for being part of the projectThe Braen's MachinealongsideAlessandro Alessandroni, one of the most significant figures in this field.

Meccanizzazione is a fully instrumental album—as is typical of the genre—literally dominated by the distinctive sound of the harpsichord. The record essentially alternates between two main compositional approaches: on one hand, more accessible and "friendly" tracks with a refined jazz-lounge and bossa nova flavor; on the other, darker and more hypnotic pieces, whose repetitive structures vividly evoke the rhythms and mechanical pulse of the industrial world.

Veniceberg Records returns with its eleventh installment. After a series of remarkable releases featuring some of the biggest names in the Italian and international underground scene, the label has chosen not to look too far afield for this EP. Instead, it proudly presents a very promising young talent and current resident of the club: Banjo.

With productions characterized by catchy vocals, this is an excellent blend of house, electro, breakbeat, and techno sonorities. He doesn’t fail to deliver a 4-track EP that's ready to ignite the sweatiest moments on the dancefloor.

Love Never Sleep.

Following a triumphant first release, Archivio Records returns with another slab of golden era UK Techno House from a true master of the sound: Mark Ambrose

This versatile three track EP made up of 2 previously unheard and unreleased lost DAT productions, paired with a monstrous modern creation, from a man known for his uniquely trippy and boundary pushing take on the genre, presents the listener with a smorgasbord of peak time Tech House, hypnotic Techno and emotive Acid House.

The A side Mountain Storm is nothing short of an epic, instantly recognizable future classic! Punchy, percussion laden drums set the tone upfront, before a titanic, rumbling bassline blows the doors clean off! Disorienting vocals drift in and out before an eerily familiar string arrives by special delivery directly from the State of 808, building the tension required to set the stage for the main event: a haunting, poignant and highly relevant monologue for the times we find ourselves in today, delivered by a renowned, yet uncredited Jamaican poet.

B1 Get On Down takes the listener to the middle of the dancefloor, mid-set at a Techno-leaning after hours. Think Christian AB in a mischievous mood…

Obscure, industrial, fizzing drums start the show, followed by a stomping yet playful bass line, hip hop vocals urging you to get busy on the floor swirl around you, before a piercing arpeggio sends the listener to the cosmos, as the track peaks.

B2 Deep Sea couldn’t have a more appropriate name if it tried. A chugging, melancholy, submarine journey to the bottom of the Atlantic, presented at a lower BPM, making it equally perfect for the very beginning or very end of a set.

The Brooklyn-based record store proves their record label is no one hit wonder with this outstanding release from the Crayon Records head honcho. Unmissable.

Warehouse Find! Test Pressing!

Andre Lodemann is a highly regarded producer from Berlin whose debut release dropped in 2004 on Mike Grant's legendary Moods & Grooves label.
Last year saw Andre Lodemann release his Innervisions debut Leaving The Comfort Zone EP.
He has remixed for labels such as Innervisions, Buzzin' Fly, Poker Flat and Rebirth.
Squares is a brand new side-project from Fish Go Deep, focusing on completely hardware-based productions and slightly more experimental, left field deep house.
Tony Lionni continues to impress following his Osgut Ton smash Found A Place (which continues to drive dance floors into a frenzy worldwide) with releases on Versatile, Mule, Wave and Madhouse.

West Hill Studio is the place where the sound that has defined all the productions and artistic projects connected to the Periodica Records label was developed.
 Located in the hills of Naples, it’s a private recording studio immersed in a small woodland and isolated from the city. A small wooden lodge and vintage equipment made it possible to create and convey, through music and ideas, a precise musical aesthetic that transcends contemporaneity and current trends.
The catalogue is personally curated by Mystic Jungle – born Dario Di Pace – music and executive producer and founder of both Periodica and Futuribile, released exclusively on vinyl and in limited editions. Well known for a distinctive sound that has unpredictably ranged from mutant-disco to soft-rock and reggae-inflected explorations for over a decade, he now presents two new electronic funk/rock tracks in collaboration with Serbian guitarist Igor Sekulovič. A pair of deliberately raw cuts, with the B-side conceived as an homage to a seminal 1985 digital reggae riddim built from a preset on the Casiotone MT-40

2026 Repress


Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

Blue Vinyl Repress

The special one! Mr. G’s productions are distinctive, deep, driving and, above all, a listen to behold. Like the man–machine interface between hypno house and roots techno, he manages to unite dance floors either through his High Mass–like live sets full of swing, grit and soul, or simply through other DJs playing his records.
Blessing Running Back for the second time, Mr. G’s Reconnection EP is the result of a serious dive into his vaults.
City Heat (G’s Underground Dub) is a picture-perfect example of his skill to groove without a doubt: raw, funky and fabulous. Serendipity and Work on the flip side complete this picture. Decades of record buying, music making and a love supreme for this culture rolled into one. Made yesterday, released today, and it will still sound great tomorrow. A personal gift from Mr. G’s archive to Running Back.

We stumble, we doubt, we fall - but within those moments lies the spark of transformation. It isn't just change. It's courage. It's fire. And that same bravery is at the core of the twenty- second instalment of Armin van Buuren's annual year mix series. Opening with a powerful narration that sets the stage for transformation, this 113- track journey takes you through the sounds that breathe courage, reinvention, and unshakable energy. From uplifting anthems and emotive vocal tracks to driving, boundary-pushing tech-trance, the mix features productions from Armin van Buuren, Adam Beyer, KI/ KI, Ferry Corsten, Joris Voorn, Hardwell, Svenson & Gielen, Hannah Laing, Factor B, Mauro Picotto, and others. Collaborations with artists such as Bon Jovi, Martin Garrix, Sam Gray, and Malou highlight the spirit of connection and reinvention, while tracks such as "Set Me Free (Rising Star Remix)", "Put Your Bassline", "Holding The Light", "Marama (Moon & Stars)", and "Missing Part Of Me" demonstrate the power to transform moments into memories. Whether through soaring melodies or relentless grooves, this mix invites you to take the leap, embrace the unknown, and let the music guide your own transformation. All together, in A State of Trance.

Making a welcome return nine years on from his last outing on Dekmantel, Makam offers up a generous helping of wayward grooves that take his curious spirit even further into unmarked territory. With a strong dub sensibility grounding his rich tapestry of percussion and instrumentation, Guy Blanken follows his own path to arrive at an album that embodies house music as a launchpad for experimentation.

Blanken says himself he was determined to approach his first Makam productions in years from a place of total freedom — "It's not a single direction, but rather a landscape of sounds, moments, and textures. TARP feels like a new beginning, a free project that just had to happen naturally." The steady pulse of the club remains a guiding principle boldly manifested on heads down roller 'Static Shade', but even in the lilting organic loops and tumbling percussion of 'Forgive' there is a funkiness that's beholden to continuous movement.

At times the direct thump of 4/4 disco juts out as a call to dance, not least on 'Flying Birds' and 'La Tuna', but elsewhere the rhythms are more slippery. 'Dub In Loen' plots a delicate path through dub techno and 'Lummel Spirit' casts off into pattering Balearic bliss. The pervasive dub mood of the record comes to the fore on expertly crafted stepper 'Diagonal Rain' and crooked album opener 'Clear Skies'. 'Jackie B' lands as a love letter to quintessential deep house, and yet still there's a left-of-centre charm that gives the track a personality that is pure Makam.

Exuding warmth and imagination at every turn, TARP is the perfect example of how to make a groove-oriented album a rich home listening experience. There are ample moments primed for the spectacle of the dancefloor, but the mellow hue and broad sweep of approaches make Makam's welcome return utterly compelling from end to end.

SAM GOKU (Permanent Vacation / Dekmantel / Atomnation)
Paryìa marks its eighth release with Sam Goku, whose contribution showcases not only the creative depth of his dreamy side but also just how club-ready his tracks can be. Rooted in shimmering house and techno yet fluid across a wider spectrum, both Sam Goku’s sets and productions strike a balance between effortless buoyancy
and intricate depth. A distinctive sound that seamlessly blends elements of his roots with everything dance music lovers cherish: richly textured layers, hypnotic repetition, and a subtle sense of unpredictability. This balance is also reflected in his EP on Dekmantel (2024) and Permanent Vacation (2025), shaping a sound that is instantly recognisable and quietly enduring.

remastered

After the success of part one, the second half of this fabed Aspect double pack from 2000 gets a separate reissue by popular demand. M-Core's 'Get Down' starts proceedings, a slow techno burner that starts with spaced out eeriness but builds its momentum rhythm-wise almost literally brick-by-back. 'Evolved' by Soul Capsule Productions has a fresher, cheerier atmosphere to it, before the gloomy clouds gather again for closing track 'The Prayer' by Dark Boys.

When Soulox sent me a bunch of tracks he had been working on last year, there were some really good bits in there, but I noticed that there also seemed to be a lot of remixes that him & Xtra Spice Mikey (previously known as Phineus II) had been doing of each other's music.

I felt like even though I had no clue what the originals of the tunes were or what they sounded like (or if they even really existed!), that it could make sense to put this all of this together into an 8 track joint release of original productions & each other's remixes. It also gave me the opportunity to include in some older bits from XSM which had never seen the light of day.

Big up to both of them for being up for putting this release together & thanks to Skr0nz for the illustrations used on the artwork.

Carlo Troja, aka Don Carlos, from the Italian province of Varese, has been active as a DJ since the late 1970s. He
debuted as a producer in the late 1980s with the single "Alone" on Calypso Records (IRMA), which immediately became a cult hit on the global Deep House scene. His productions have always fused house rhythms with the sounds of
African-American jazz, sometimes bordering on disco, progressive, and electronic soul.
In 1992, his first album, "Mediterraneo," was released in the United States on IRMA USA, followed in 1993 by his
second, "Aqua," and several hit singles with the Montego Bay project with Stefano Tirone (Stone Inc.), all on IRMA
Records.
He reached the UK charts with Byron Stingley's production of the hit "You Make Me Feel," a remake of the classic
Sylvester song. He has performed in various European and American countries, as well as at the Ministry of Sound
and Turnmills in London.
In 2001, he released his third album, "Music in My Mind," featuring Kim Mazelle, Michelle Weeks, Taka Boom, and
Kevin Bryant.
A new album of re-edits of '90s-style songs, titled Livin' a Dream, was released in 2020, along with two compilation
volumes of Paradise House, both on IRMA Records.
With this new single, he continues to showcase his distinctive Soulful Paradise House sound, rooted in the
Mediterranean sound, as specified in the title.

Alchemist is the debut full-length album from Alexander IV, the jazz-influenced beat project of Dutch producer and multi-instrumentalist Joris Feiertag. Known for his club-ready solo productions under the name Feiertag, this project sees Joris stepping into a more introspective and cinematic space-merging beat culture with live musicianship, sample-based craftsmanship, and a deep love for soul and jazz.

In 1999, on December 23 to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album “Yesterday Was Dramatic – Today Is OK”. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn’t pay attention to some kids selling records on Reykjavík’s high street. Little did those shoppers know.

Thankfully, those 10 tracks weren’t overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: A note-for-note representation of “Smell Memory“ by Kronos Quartet (with additional drums by múm’s Samuli Kosminen), a gentle reinterpretation of “Random Summer” by acclaimed pianist and composer Hauschka and an otherworldly new version of “Ballad Of The Broken String” recorded by label mate Sóley. Additionally, four remixes produced in the early 2000s are made available for the first time ever on vinyl here.

In 1999, electronic music was in full bloom. The dance floors were thriving worldwide.Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random and forgettable. New ideas require new mindsets after all. With “Yesterday Was Dramatic – Today Is OK”, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Listening to the album in 2019 still makes every music lover’s heart jump. Combining Drill-and-Bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock’s boominess, folk music’s soulful brittleness and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize.

Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. How these ideas really came about, though, is not known – the dynamics, the struggles, the qualms, the sudden realization of having achieved something which might actually stick. Maybe that is a good thing. Örvar Smárason remembers that most of the album “was recorded in a tiny, sweaty room in the summer of 1999 with carpenters banging nails around us, but sometimes we put on headphones so we couldn’t hear them.” It is a good thing they did. As is often the case with classics, all one can do is listen closely and let the magic sink in – again and again.

Born to Dominican and Brazilian parents, xavi grew up bouncing from place to place, picking up inspiration wherever he landed. His first love was baile funk, but he was raised on classic hip-hop, eventually notching up production and songwriting credits for Vince Staples, Demi Lovato and Ariana Grande. But the major label life wasn’t giving; sick of the industry, he headed back to São Paulo to soak up the atmosphere and connect with artists on the ground. Before long, he started uploading quickfire bangers to SoundCloud – at this point there are over 350 of them on his feed – an »evolutionary playlist« in his own words, bursting with ideas.

»balança e paixão« is his debut release, proper, a 12-cut snapshot of chaotic, trailblazing, turbulent genius – bending thrashed rhythms into relentless vocal chops from a laundry list of young brazillian MCs. Built on ear-zizzing »tuin« hits and razor’s edge cuts, he creates hypnotic ripples that wedge themselves between São Paulo’s weirdo fringe (artists like JLZ and Iguana) and the percussive, MC-heavy sound of funk ritmado, one of the contemporary scene’s most vital and recognisable strains. Crucially, you can hear a Photek-like approach to space in his productions too, filling the gaps with metallic clangs to lend his rhythms their own unique dimension. The flipside takes it slower, deeper. On »sei q tu gosta« (I know you like it), DJ Leal Original and MC Vuk Vuk’s voices are transformed into ghosted sibilances next to xavi’s sonar pings and woodblock hits with an almost avant-dancehall slant, like some choice Equiknoxx dub, while on »cuidado bandida« (be careful bandit), he deploys bone-rattling trills that bite down on atmospherics that wouldn’t be out of place on Akira Yamaoka’s »Silent Hill« OST.

Allowing yourself to find meaning or beauty in the mundane is an act of generosity, Whether it’s seeing a smiling face in an electrical outlet socket, or discerning cosmic design amidst the forest floor detritus, it comes from a place of kindness to yourself and senses – and openness to hidden spirit of the world. These tracks came together during a period of intense personal change for adaa, rooted in a fruitful reflection on the connections between spirit and body, “feeling my flesh so I can feel and understand my spirit,” as adaa puts it. The sense of a crossover and clash of multiple connected realities – on-screens, on-line, on-earth, off-world, after-life – unites adaa’s multifaceted productions.

Ostensibly an assemblage of found sounds. scribbled thoughts and poems from diaries, and musial snippets, the album's scattered production reflects adaa’s own many mirror worlds. Field recording sit behind most tracks, alongside VST synths, guitars, and a variety of voices, from adaa’s own mangled vox to EVP samples taken from YouTube (recorded sounds believed to be spirits or paranormal activity), all processed to varying degrees.

While the music was mostly produced either in adaa’s studio in Providence, Rhode Island, or in bed, the field recordings bring the outside world in. The result of walks in the woods, hum of roads and highways, hiss of beaches, warmth of walks with friends and past lovers “around the East Coast”. It sits behind tracks like ‘sight’ where a lilting piano lin bobs atop a pond of rustling and distant whistles. Is that birdsong? Or ghosts? Saccharine hyperpop arpeggiation crossfades sharply into noise guitar squall. Angelic demon voices yawn into a hefty crescendo. Pure drones duet with gales of undefinable field sounds.

“Sometimes I feel like a seed in frosted soil,” says adaa. “If i choose to be optimistic.”

2026 Repress

A mastermind when it comes to crafting quality electronic music across the house spectrum, expressing various shades of his vision, French DJ/producer Traumer has solidified himself as one of the country’s finest exports while his alias has become a home for heavily sought-after minimal-leaning house productions that journey through expansive textures and trademark percussion. After combining with Romanian favourite Cristi Cons early last year as part of the imprint’s collaborative ‘X Series’ and following a series of releases on his own gettraum label, the Parisian makes a highly-anticipated solo return to Enzo Siragusa’s FUSE as he unveils his latest four-track offering in the form of his ‘Nectar’ EP. The title track ‘Nectar’ heads up the package and brings a blend of snappy drum grooves and zippy synths beneath hooky female vocals as it builds into a rolling anthem, while ‘Lamerci’ gets dubby with crisp percussion shots guiding hazy stabs and deep grooves. On the flip, ‘First School’ strips things back and focuses on a snaking bassline and signature silky melodies, before closing on the interwoven textures and shimmering tones of B2 ‘Rodage’.

Never Sleep charity tape series ends up in Thornton Heath, London for the grimiest of bedroom work outs.

Early Fruity Loops philosopher Plasticman aka Plastician teams up with fellow trailblazers DJ Suicide & N Double A crew for a prompt internet radio set of prototype Grime. Rugged, raw and filled with the occasional KAOS Pad trigger / gunfinger FX; the devilish miscreants bring the lyrical vehemence.

Broadcasting from his parents place and utilising early productions Plasticman keeps the fibre optical momentum burning with early production, laser precision polyphonic instrumentals and quantified eski.

N Double A crew have so many quotables but its a "pass the mic" affair as limited equipment fort his bedroom bedlam. L Man spits certified gold on demand whilst Narstie echoes his signature cadence, Typah goes in hard with the colder than waiting in a queue outside Plastic People flow and Uzi destroys the stream with typical flair.

A landmark moment in innovation, internet radio was a key player in the growth of Grime and Dubstep. Helping build profile, connections and galvanize the online community.

Kolosso, a sacrilegious mix of 808, Tap, Drill, and Bastard Jazz.
Founded in 2023 under the guidance of multi-instrumentalist and producer Davide "Kidd" Angelica (who has previously worked with Inoki,
Deda, Voodoo Sound Club, and others), the group brings together some of the most visionary musicians in Bologna's underground scene.
Their music explores the chaos of contemporary life, intertwining urban sounds and jazz languages in a continuous exploration of new sonic
perspectives and narrative horizons. The result is powerful and powerful live performances, complemented by rich, layered, and meticulously
crafted album productions.
OVER is the conclusion of Phase 1 of the Kolosso project: extensive underground work, in the studio and on stage, seeking a point of collision
between jazz and urban sounds, trap, drill, and grime. Worlds seemingly distant but united by a common drive: to transform the chaos of the
present into language.
OVER is an attempt to go beyond: beyond the patterns of composition, beyond the rules of production. A huge sonic puzzle constructed with
patience, instinct, and perseverance.
OVER is the raw power of a musical collective condensed into an album. A tamed energy, yes, but still radioactive, like uranium: unstable,
dense, alive.
Featuring: DJ Craim, Awon, Lauryyn, Pasquale Mirra
CREDITS
Davide Angelica: compositions, guitar, samples
Salvatore Lauriola: bass
Giuseppe Allotta: drums
Gioacchino Allotta: keyboards, synth
Gabriele Polimeni: trumpet
Federico Califano: alto sax
Matteo Diego Scarcella: tenor sax, flute
Jacopo Trapani: compositions, recordings, mixing
Francesco Brini: mastering

Kanyon (John) is a NYC based producer/dj who has cut his teeth in the underground US techno scene through raw live sets, and dynamic djing. Keeping the quality high with his signature no-bs style of production and performing, he has played live supporting legends like Steve Poindexter, DJ Hyperactive, and Francois K. His productions have garnered support from Ben Sims, Akua, Ron Like Hell, Kush Jones and many others.

The Duplex EP is a split record featuring John's house alias DJ John Brooklyn on the A side (A1, A2, locked groove) & techno alias Kanyon on the B side (B1, B2). Exploring NY house and trippy, dubby minimal techno respectively, Duplex EP is a heady start to 2026.

Dear friends, What’s left of a genre when you drop the posturing and keep nothing but feeling, space and rhythm? Freudenthaler answers that question straight up with a stripped-back, no-nonsense take on UK garage. With a sharp ear for space, swing and restraint, he boils the sound down to its core — nodding to the golden age of sound system culture while lacing it with the jazz-tinged touches that run through his productions. The result is a record that feels both timeless and personal. Freudenthaler plays with expectations, flips them neatly, and leaves just enough room between the beats for the atmosphere to breathe and the dancefloor to lock in. One for lovers of vinyl, heavy sub and subtle moves. Sincerly yours, Brombért P.S.: The physical release comes with handcrafted, screen-printed artwork by the fabulous graphic artist Zatina Kessl

James Ruskin's Blueprint Records celebrates its 30th anniversary in 2026. Kicking off the festivities Vinicius Honorio returns to the label but this time it's alongside R.M.K who makes his Blueprint debut.

Vinicius Honorio is a Brazilian-born, London-based DJ and producer whose vision of techno is built on hypnotic repetition, gritty textures and emotional weight. With a career spanning over 2 decades, Vinicius has emerged as a powerful voice in contemporary techno - raw, focused and unflinchingly honest. His productions blend relentless drive with intricate groove, often laced with haunting melodic undertones and has released music on the likes of Figure, Token, Mord andSK_eleven, as well as Blueprint.

Hailing from London, R.M.K is the alias of Fossil Archive label head Roberto, representing a faster and more intense take on his unique brand of Techno. During his 20+ year career in music, he has formed friendships and worked in partnership with other respected artists such as Trevino (Marcus Intalex), Jamie Anderson, Robert Owens, Goldie and Nastia. Although the focus is always on the very heart of the most raucous of raves, R.M.K never shies away from groove and funk