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Southern Italy's disco jack-of-all-trades and STAR CREATURE regular GIOVANNI DAMICO returns with "THE PAYBACK EP" 12". DAMICO's ever-evolving sound swerves through bright moments of gospel house, afro-boogie and punky funk, each track having its own fresh flair.

Dark yet bright, martial yet emotional, the first album by Lyon-based producer Rabbeat thrives on contrast. Hardcore becomes a narrative tool: a parable of life, woven with the hypersensitivity central to MKNK's identity.

The blueprint for a night of futuristic dancing in 1985; It resides not in the stars, but in the crystalline echo of Geometry’s synthesizers.

K!pz enters the grid with Geometry, a 12-inch Maxi Single that strips the Italo sound down to its most essential, pulsating core: Pure Shapes and Catchy hooks, filled with musicality.

A1 – Circular: Hypnotic and fluid: a rounded bass sequence and celestial arpeggios that draw you straight to the center of the floor. Tight, gated drums and bright leads deliver the unmistakable Hi-NRG feel.

A2 – Triangular: Sharp and dynamic: angular lead lines guide a bed of arpeggiated bass, punchy synth stabs, and impactful breaks. A precise, energy-building melodic core.

B – Square: Solid and deep: a driving, grounded bassline supported by a slapping Drumulator groove. Dub-like reverbs and a classic lead synths carve out a strong, steady, and foremost euphoric atmosphere.

GEOMETRY imagines the future as envisioned in 1985—a vibrant collision of abstract design and intoxicating pulse.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

Dennis Huddleston is 36, a prolific ambient producer who releases albums on a prolific basis but never lets the quality levels dip. He often roams around different labels and for this one lands on Pure Life with six more sublime and subversive sounds. 'Pre-Dream Condition' is a slow awakening that sharpens your senses then 'Manual Dream Transmission' continues the heavenly ascent with lush arps shimmering across an infinite horizon. 'A Bright & Tranquil Light' is soft focus and beautiful and 'Night Language' brings sharper melodic focus with 80s nostalgia ripping through the keys. Two more long-form and unhurried but dense ambient soundscapes close out a pure escape.

He's back once again is Monsieur Van Pratt with more of his so-wrong-they're-right disco edits. This fight volume has two edits reshaping source material with the usual deft touch. His opener 'Linda' runs on clipped drums, tight bass loops and bright string stabs then 'Oye Un Momento' keeps its original vocal but reinforces the groove with heavier kicks and 'El Ritmo Que Te Atrap' has a kitsch Europe feel. On the flip, Disco 86 shifts towards something classier with 'Crees Que Soy Sexy' riding lush chords and plenty of glistening melodies drawn from the Rod Stewart original and 'Tu Amor' is packed with electric vocals and retro future keys for a full send finish.

Back To Life EP marks the rebirth of a seasoned artist stepping into a fresh chapter as
Just Marco. This first record in the Bending Body series comes after a long run of
exploration and self-reset, chasing raw honesty and identity built for vinyl-only cuts.
The record links past and present: rough drum work, evocative pads, bright acid lines, all
pressed on wax to echo the moments and people that shaped Marco along the way.
Musically, Back To Life it’s a blend where nothing is forced, where unusual choices and
imperfections are embraced as part of a renewed creative philosophy. It’s a return to the
music life where intuition leads and authenticity sets the tone.
Enjoy.

Dutch DJ/producer Boss Priester has built a name as a producer who operates with a ‘let the music speak’ ethos. Now based in The Hague, he has spent years crafting a distinctive sound that blends elements from minimal, house, and techno, releasing across respected labels including Ba Dum Tish, X-Kalay, Dungeon Meat, and his own BPDUBS imprint. His 2023 ‘Hotel Dijon’ EP on LOCUS marked a notable moment in his journey, having long drawn support from label boss Enzo Siragusa, establishing a connection that now comes full circle with an impressive debut outing on FUSE. Building on the backing of other notable figures such as Fumiya Tanaka and Samuel Deep, reinforcing his meticulous attention to rhythm, texture, and groove, his ‘Respect Yourself’ EP extends his sound further as he delivers four tracks that are impactful, precise, and built to command the dancefloor.

Title track ‘Respect Yourself’ leads the EP with its synth-led, hypnotic groove, as intricate percussion and low-end weight immediately establish a commanding presence shaped for the floor. ‘BP On The Master’ follows with a deep, rolling energy, blending minimal textures and squelchy bass licks with understated melodic flourishes. On the B-side, ‘Future Is Electric’ channels a forward-thinking spirit, layering bright textures over weighty, skippy UKG-influenced driving rhythms, before ‘Flava’ closes things with a hazy yet heavy kinetic groove that perfectly encapsulates Boss’s growing sound.

Franky Wah returns to Crosstown Rebels and reunites with Kuuda on ‘Light Years’.
Dropping on 13th February 2026, the two-tracker sees the acclaimed UK producer continue his collaborative journey alongside the impressive Brighton-based collective for both his and their second appearance on Damian Lazarus’ revered imprint.

Having made a splash with his impactful label debut last summer, Franky Wah returns to Damian Lazarus’ Crosstown Rebels imprint with ‘Light Years’, a two-track EP that explores emotion and movement with measured confidence. The release sees the Yorkshire-born producer further embed himself within the Crosstown universe, delivering a project built on patience, progression, and feeling, where every moment earns its weight.

The EP opens with the title track, a wide-screen, hypnotic solo burner that balances uplifting melodic energy with weighty, driving grooves. Built for long moments on the floor, the track unfolds, allowing atmosphere and tension to do the heavy lifting while maintaining a clear sense of momentum throughout. On the flip, Franky reunites with longtime collaborators, producer-songwriter-vocalist trio Kuuda, for their second outing alongside him on Crosstown Rebels with ‘House In My Veins’. Continuing a partnership rooted in shared musical language and emotional depth, the Brighton-based trio is central to the track, bringing drive, earworm vocals, and a distinctive identity, woven seamlessly throughout Franky’s cinematic production - grounding expansive moments with human connection.

Following heavy support from Pete Tong on his Crosstown Rebels debut, and a recent invitation to host Tong’s flagship BBC R1 show at the start of 2026, Franky continues to assert himself as an artist equally at home in club culture’s most intimate spaces and its widest-reaching platforms. Meanwhile, Kuuda continue their impressive start to 2026, hot on the heels of their recent collaboration with Hot Since 82 on Bedrock. This latest partnership delivers a focused yet expressive statement, music designed to breathe, to move, and to resonate long after the lights come up.

As the world sinks deeper into screens and algorithms blur the line between creation and imitation, Nubiyan Twist return with Chasing Shadows, a record that reclaims the pulse, warmth and spontaneity of human connection.
The band’s fifth studio album is a rich and restless blend of jazz, afrobeat, hip hop and electronic textures, exploring the space between the organic and the digital. It’s music that moves, sweats, and breathes, made by real people in real rooms with heavyweight features bringing together varied voices from the music community which they inhabit.
Bandleader and producer Tom Excel explains: “We wanted to make something that felt joyous and defiantly human — something that couldn’t exist without that connection between people. You can get an AI to write a fugue in seconds, but it can’t capture the chemistry and chaos that happens when musicians lock in together. Chasing Shadows is our way of holding onto that.”
Folowing 2024’s acclaimed Find Your Flame, praised by Roling Stone, Jazzwise, NPR and more, Chasing Shadows pushes the band’s sound further into new soulful territory under Exce l’s expert guidance, featuring bright new vocalist Eniola and a glowing cast of icons and innovators. Malian star Fatoumata Diawara lights up the title track on a powerful slice of Afrobeat, Joe Armon Jones leads the dub workout ‘Rhythm Of You’ and the band take it back to their hip hop roots on great colabs with The Pharcyde’s Booty Brown, Ghanaian MC M.anifest and London dancehal favourite, Mr Wi liamz.
On Chasing Shadows, Nubiyan Twist continue to look outwards with their music but keep the focus firmly on humanity and positivity. It is an album which crosses continents and which shamelessly celebrates our co lective strength.
Fifth album from UK-based co lective Nubiyan Twist led by bandleader & producer Tom Excel (Africa Express, Onipa)
Featuring Booty Brown, Fatoumata Diawara, M.Anifest, Mr Wi liamz and Joe Armon Jones.
Pressed on Yelow Vinyl LP, or Green & Yelow splatter Vinyl LP (exclusively for UK indies).

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

Also Playable Mono, the nom de guerre of Rafał Lachmirowicz, channels musical greats and the romance of Italy with the Firenze EP. “Neverland” reimagines Giorgio Moroder’s iconic introduction of “I Feel Love”, undulating arpeggios and clean kicks giving way to an addictive tongue-in-cheek melody of laser futurism and eastern influences. “Firenze” follows. Broad analogue bars call to mind the works of Patrick Cowley, disco funk flirting with a spoken word tribute to Florence in this bright and bold track. Our next stop off is “Bergamo.” Low-slung, this smoky number is primed for the night. Thick thrums of bass are punctured by piano keys and toms, robotic pulses and trills adding a 1970s sci-fi groove to the proceedings. Turning the tables is “Breakfast Date.” Slow and dreamy, this early morning lounge affair lowers the tempo. Considered and thoughtful, meandering melodies border the blurred lines of jazz and funk. The words of “Firenze” are left in the wings for the instrumental close, Lachmirowicz’s synthesizers taking the limelight in this uplifting finale. A 12” that encapsulates the expansive sound of Also Playable Mono.

Minor Notes continues to explore and open up the world of Russia's underground electronic scene. The new vinyl release is a collection of original works by the highly experienced Kaluga-based music producer Chivee Gres. The record perfectly showcases the sound of Deep House and Jackin, showcasing Nikita's subtle sampling, masterful arrangement, and deep knowledge of production techniques. This music is made for the dancefloor: Side A is the perfect companion to any warmap, while Side B will brighten up primetime with its bouncy sound.

FUSE11 - Rosati - Divina Nostalgia

For Fuse Imprint's eleventh release and the first of 2026, Rosati unveils 'Divina Nostalgia', an ode to vibrancy in dance music through four truly euphoric tracks. The Italian artist focuses on the enduring power of vintage production with a much-needed spotlight on techno's optimistic underbelly, resulting in a sound that is both charismatic and electrifying.

'Division' sets the tone of the EP with playful percussion and bright synth work that unravels as the track progresses. Rosati utilizes the full character of the 909 for the flair that drives the record: rides, claps, and open hi-hats thunder through the arrangement in celebration of each transition. The artist then zeros in on 'Echoes', tightening the energy with an unflinchingly analog bassline and lush pads that round out the harsher edges of the percussion. This serves as a more linear approach for immediate effect; where the track favors minimalism, it provides maximum impact.

Gradually turning up the energy, 'Orbital' jumps through toms and filtered chord stabs to emphasize the record's extroverted nature. The synths dazzle along the rolling drums for a track that possesses house's temperament but techno's insistence. Finally, the title track 'Divina Nostalgia' concludes the EP in a moment of pure release. If you wondered where jazz comes into the picture, just ask Rosati. Organs, Rhodes, swing, and sustained tension slice through to a victorious finish line that highlights dance music's command of the present moment.

A rising artist of the French electronic scene, Naajet asserts her identity with The Night Starts Now, a four-track EP that celebrates the freedom and intensity of the night. Co-founder of the Bande de Filles collective and known for her explosive universe blending House, Hardgroove and Breaks, as well as for the unique energy inherited from her dance background, Naajet delivers here a sonic manifesto conceived as an ode to club culture and to the present moment.

“I imagined this EP as an anthem to the world of the night. The night offers us unparalleled freedom, an outlet that allows us to be ourselves, to create, to love. The Night Starts Now captures this celebration of the present moment and this declaration of independence.” Naajet Opening the EP, “Ready To Shine” unfolds radiant House nourished by Pop and 90’s sounds. With a clear and ascending rhythm, the track combines euphoria and introspection. “I composed this track as a joyful and introspective journey that prepares us to embrace the night. For me, it is a call to accept our wounds, to transform them into light and strength, so that we may shine brighter when we enter the club,” explains Naajet. Between ethereal vocal lines and shimmering pads, the track acts as a ritual of entering the night, inviting us to turn wounds into strength and to shine on the dancefloor. The second track of the EP, “Sugar”, embodies the effervescence of the club. Carried by a hypnotic voice and an effervescent rhythm, the track celebrates the communion of bodies and the liberating energy of dance. “It is an ode to dance and to bodies coming together. This track speaks of those moments when, on the dancefloor, boundaries fall: we sweat together, we free ourselves together, and energy flows from one body to another,” says Naajet. A true concentrate of intensity, “Sugar” captures the moment when sweat, rhythm and abandon merge into a collective movement towards freedom.

With “I Can Be Anything”, Naajet changes register and flirts with deeper, even techno textures. Built on a throbbing pulse and sharp synths, this track is meant as a manifesto of identity. “I really wanted to propose a track that claims our right to free and plural expression and sexuality. I Can Be Anything is about our multiple identities, our ability to reinvent ourselves and to refuse any form of formatting,” she says. Between club intensity and political resonance, “I Can Be Anything” questions our multiple facets and embodies the assertion of an elusive and free self. Closing the EP on an euphoric note, “May It Never End” stands out with its broken rhythms and powerful synths. The track conveys the transcendent energy of the end of the night, when dawn arrives but we refuse to leave the collective trance. “I wanted to put into music this feeling of infinite energy, when time is suspended and the party seems to never have to stop. It is this euphoric vertigo that connects us all in the same breath, this utopia of a night that would never end,” says Naajet. A true apotheosis, this track embodies the utopia of an eternal night.

DJ, producer and co-founder of the Bande de Filles collective, Naajet has established herself with a singular universe where House, Hardgroove and Breaks blend, nourished by her background as a dancer and an instinctive sense of groove. For the past three years, she has performed on French and European stages – from Berlin to Amsterdam, via Geneva and Oslo – and has made her mark in clubs such as Rex Club, Le Sucre and Badaboum, as well as festivals like Nuits Sonores and Kolorz. On the production side, she has released several acclaimed EPs on renowned labels such as Shall Not Fade and Monki & Friends. In 2025, she takes a new step with the launch of her label SWEAT Records and a residency at Le Sacré in Paris, affirming her role as an ambassador of a free and intense club culture. She also collaborates with the waacking company MADOKI, for which she composes and mixes projects at the crossroads of dance and music. With The Night Starts Now, Naajet confirms her status as an essential artist of the new electronic generation1

Luca Olivotto is back on Small Great Things sub-label At A Glance with new four-track EP, ‘Acquafun’.

Berlin-based DJ, producer, and label head Luca Olivotto continues to shape the underground house scene through his acclaimed imprint Small Great Things and its signature Small Great House events. Known for his warm, soulful House sound and meticulous curation, Luca now recently expanded his creative universe with the launch of At A Glance, a new sublabel under his direction.

Leading the charge is ‘I Got Nothing’ setting the mood with a buoyant bassline, bright piano lines, west coast funk style synth licks and jazzy undertones floating amongst a crisp, swinging drum groove. ‘Prosciutto’ follows in style a delectable sonic treat layered with organic percussion, airy chords, dubbed-out vocals, smooth strings, and a deep, rolling low-end that oozes warmth and character.

On ‘Half A Ever,’ hip-house vocal snippets and chanting hooks intertwine with sharp stabs and a driving rhythm section, showcasing a vibrant, club-ready energy. Concluding the EP, ‘Equalizer’ ties it all together with jazzy keys, soulful organ lines, marimba touches, choppy bass, and saturated drums, a masterful nod to the timeless essence of House.

“My Brain Is A Diskotheque” is more than a dance record—it’s a sharp, finely-crafted soundtrack to modern escapism, walking a perfect line between the bright euphoria of Side A and the inevitable comedown traced on Side B.

Falter is the 5th full-length album from New Zealand-based composer/-multi-instrumentalist Micah Templeton-Wolfe, working under the moniker Stray Theories.

Templeton-Wolfe has consistently woven together the cinematic sweep of ambient music, the refined structures of neoclassical composition, and the emotional cresting arcs of post-rock. With Falter, those intersections are more deeply blurred, yet more boldly explored.

Transparent Red Vinyl.

The title Falter evokes wavering, hesitation, uncertainty of intent and yet the album stands in sharp contrast to that concept: Templeton-Wolfe’s performance here is marked by a quiet but unmistakable confidence.
From the first notes, the listener is immersed in an atmosphere in which the music feels like a cinematic means of passage, a journey toward redemption. Optimism is present, but ever cloaked in doubt; moments of
contemplative solace sit side-by-side with streaks of melancholia. One senses something looming within the sound-world of Falter. As though the heart itself can tell something is coming.

In this respect, Falter may well rank as the most affecting release in Templeton-Wolfe’s canon to date. While his earlier work had always balanced delicate textures and evocative atmosphere, here he pushes into a more expansive emotional terrain. Only the hopeful refrain “Lifelines” brings the album fully into brighter territory , hinting that redemption is possible, that the journey through doubt is not endless.

2026 Repress


DJ Koze's 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. La Duquesa' was the album's dreamy single standout, a journey into deep, tropical ecstasy. XTC' begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. Many people are experimenting with the drug Ecstasy,' it says, ...is the drug like the lie and meditation the truth Or am I missing something that could really help me". XTC' then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze's signature percussive quirks, it drives towards the track's final pay off: an undeniable, all-consuming, irresistible high. Knee On Belly' recalls Koze at his most tongue-in-cheek and overt, it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. Knee on Belly' recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.

Following the last blend of four timeless cuts compiled into TRIX002 (2023), Party Tricks returns with a new VA that maps the outer edges of UK breaks and garage on the A-side, and a US-tinged psychedelic journey on the B-side.

Stitched with fleeting lines from The Usual Suspects (“The greatest trick the devil ever pulled…”), A1 Trick or Treat - Trip To The Dark Side dives into the darker shades of the UKG spectrum, setting the opening tone with a mysterious heavy stepper.Continuing down this road, Sheethanger – Discostep flips the energy with a dubby, and irresistibly groovy breakbeat workout, complete with spicy vocoders and a kinetic drive engineered to lift every dancer off the floor.

On the B-side, the focus shifts toward the psychedelic zone of the US niche. A Terran Collective - Mercury Uno rolls out in low gear under acidic, foggy tension, gradually accelerating as it climbs toward a hazy, hypnotic eruption.Finally, Earth Trance Interlude - Moonshine delivers an after-hours breaks masterpiece - the right anthem to close the record on a bright and uplifting-melodic-tribal note.

Club Splendore was born in 2022 in Modena, Italy, as an itinerant party and club format.

In just a few years, it has established itself as one of the most recognizable disco-oriented projects within the new Italian nightlife scene, exporting its sonic and visual identity to iconic clubs and international settings.

With over 20 dates in a single year, recurring sold-outs and a diverse crowd, Club Splendore has evolved into an experience that goes beyond the dancefloor: an inclusive, label-free space where music, style and attitude coexist under red lights and immersive atmospheres. The format has appeared in some of the most relevant venues across Europe, including Villa Delle Rose (Riccione), Palazzina Grassi (Venice), Matis Club (Bologna), Hierbas Club (Cortina), while also expanding internationally with dates at Do Not Disturb – W Hotel Amsterdam, COYA Mykonos, and House Party London, confirming the project’s ability to connect with an international audience. From the club to the record.

Club Splendore Vol.1 is the project’s first official vinyl release and marks a natural step forward: capturing on physical format the sound that has been defining its dancefloors over the past years. The record explores a contemporary take on Italo Disco, infused with classic disco, funk and modern house elements, delivered with an ironic, sensual and direct approach. A sound that reinterprets the aesthetics of the ’80s without nostalgia, translating them into a current, club-focused language. Behind the production and on the decks: Sparkling Attitude, Nicola Zucchi and Matteo Mussoni, resident DJs of the format and the core musical force behind Club Splendore.

Side A features “Drink Campari”, an italo disco track built around warm, enveloping textures, elastic basslines, bright synths and a late-night groove. A story of summer desire and endless nights, playing with the iconography of Italian Red Passion in a light, effortless way.

Side B hosts “Madame”, a bonus track and electronic ballad with a more intimate, suspended mood. A track designed for the final hours of the night, when the club slows down and the dancefloor gives way to something more personal.

Club Splendore Vol.1 is not a compilation, but a statement of intent. A first chapter that brings the club experience beyond the club itself, staying true to the promise that has defined the project from the very beginning: “We will bring the light into the darkness of the night.

Julius Rennert returns with a warm, soulful House release that channels the timeless spirit of Jack while bringing his own modern sensitivity to the floor. Blending smooth and deep-driven grooves with a partly unmistakable French House touch, the EP radiates a comforting glow - lush chords, shimmering samples, and subtly swinging drums that wrap the listener in a sense of effortless uplift.

Despite arriving in the colder months, this record feels like a beam of mid-summer light: nostalgic yet forward-thinking, deep yet wonderfully accessible. Its refined production and heartfelt energy make it equally suited for intimate late-night sets, cozy living-room listening sessions, and dancefloors craving a touch of emotion.

Warm, groovy, and irresistibly soulful - Julius Rennert's new release is set to brighten the season and warm hearts long after the last note fades.

With Stronger, her third EP, Mira Ló continues her rapid ascent within the French electronic scene. A cathartic project born from a period of personal upheaval, this EP is both a cry of resilience and a celebration of club culture as a space for healing. The Paris-based queer producer and DJ turns pain into creative force, and the dancefloor into refuge, release, and rebirth. Across four emotionally charged tracks, Stronger traces the contours of a club where one rises through the energy of the beat, the warmth of a caring community, and the affirmation of self through sound and movement. “This EP is my response to a very dark period in my life. I chose to turn pain into strength, to stand back up through music, and to reconnect with joy, intensity, and the collective. Each track follows a movement, of a body rising, a heart beating stronger, a soul regaining its light. Stronger is also a tribute to those who carried me when I could no longer stand on my own. It's proof that even in chaos, we can rebuild together.” Mira Ló The first chapter of this inner journey, “Riser” is a house track filled with enveloping melodies, ethereal pads, and organic chords that create a suspended sonic space. Its steady pulse and warm basslines evoke a rising from within. “I wanted this track to feel like a build-up, like breathing again. It's about that moment when you feel you're ready to rise once more, even after a fall, like a gentle but powerful wave,” says Mira Ló. With its R&B textures, pop-infused touches, and radiant production, “Brighter” glows with warmth. It captures the return of inner clarity, the rediscovery of joy and ease. Made to bring people together, it’s Instagram | Youtube | TikTok | SoundCloudboth immediate and heartfelt. “It’s a song about shining again, after the dark. I wanted something full of light and simplicity, a track that speaks to the heart and makes you want to dance without thinking.” A personal and introspective nod to the French Touch, “Higher” is driven by filtered basslines and hypnotic grooves. It channels a sense of euphoria that builds gradually, almost meditatively, like a joyful vertigo. “This track is about finding euphoria again, that moment when music lifts you beyond yourself. I grew up with the French Touch, and this is my way of coming back to it with my own voice.” Closing the journey, “Louder” is the most assertive track on the EP. Inspired by the UK bassline and garage scene, it bursts with percussive, punchy energy. This is where everything comes into full light, bold, unapologetic, and free. “I wrote Louder as a statement: I’m here, I exist, and I won’t stay silent anymore. It’s about partying as self-affirmation, as a joyful, powerful scream of identity. Meant to be played loud. Very loud.” Mira Ló, born Ana Lopez, is a queer producer and DJ based in Paris. Drawing from the full spectrum of club music, her sets and productions blend melancholic emotion with a unique, high-energy, euphoric touch - inspired by artists like Disclosure, salute, and Sammy Virji. From her early days playing in Parisian bars and intimate clubs, she quickly rose to the lineups of top French venues and festivals such as Peacock Society, Marvellous Island, and Lollapalooza - extending her reach across Europe and even to Chicago. She’s carved out a strong place for herself within the new wave of the French electronic scene, leaving a lasting impression with every appearance. In 2023, she released her debut EP Memories and was featured in Apple Music’s “Women In Electronic” series. That same year, she became a resident at Sacré in Paris, before unveiling her second EP Tribute To Chicago in 2024. She returns in 2025 with her third release, Stronger - once again proving she’s one of the most promising artists shaping the future of electronic music.

DJ Support: Mousse T, Mr V, Quentin Harris, Mark Knight, Claptone, Severino, Roger Sanchez, Moplen, David Morales, Kenny Carpenter and Terry Farley

So Sure presents – Tedd Patterson: Pieces Of Me EP
A1. “Let The Music Set You Free” (feat. Manchild Black & Monster Black)
Tedd Patterson joins forces with Manchild Black and Monster Black to deliver a vibrant, uplifting slice of NYC dancefloor energy. “Let The Music Set You Free” puts a fresh spin on The Illustrious Blacks’ signature message of joy and empowerment.
Patterson’s trademark production—tight, driving beats, bright synths, and peak-time club pressure—creates the perfect foundation for The Illustrious Blacks’ playful, feel-good, and exuberant vocals. Their dynamic presence shines throughout, bringing color and vitality to a track crafted for uplifting moments and late-night release.
A standout A-side full of personality, positivity, and true NYC spirit.

B1. “Piece Of Me” (feat. Inaya Day)
“Piece Of Me” is a high-energy, funk-infused dancefloor bomb featuring a sublime, hook-laden vocal from the legendary Inaya Day. Expertly produced and perfectly executed, this track hits that sweet spot between soulful house and classic club firepower, with Inaya’s unmistakable presence elevating it into instant-favourite territory.

B2. “Do It Again” (feat. Joi Cardwell)
Fresh from collaborations with Inaya Day and The Illustrious Blacks, Tedd Patterson returns with another heartfelt slice of soulful NYC house. “Do It Again,” featuring the unmistakable voice of Joi Cardwell, is vocal house at its purest—authentic, emotive, and stamped with Patterson’s bonafide New York pedigree.
If you like your house music infused with feeling, warmth, and groove, “Do It Again” delivers in full.

The second release from the Époque label is a major one, featuring Niels Van Gogh’s 1998 hit single "Pulverturm”, which earned gold certifications in Belgium and South Africa and climbed into the Top 10 in the charts of many European and worldwide countries. The esteemed Brazilian techno artist ANNA delivers a rework, adding her signature touch to this iconic track.

"In 2023, while preparing for my Tomorrowland set, I was exploring iconic tracks that resonated in Belgium and could be perfect for an edit. I chose 'Pulverturm' for its powerful vocals and strong melody”, says ANNA. “What started as a quick edit turned into a labour of love, and I was so happy with the outcome that I wanted to try to release it as an official rework. We were in conversation with Niels Van Gogh when I sent the track to Charlotte de Witte, who loved it. She introduced me to Époque, and we decided to release the rework together. It's been a year since I crafted this rework, and I've never had so many artists from various genres, Techno, House, Melodic Techno, Tech House, Hard Techno, requesting a track like they did with my rework of 'Pulverturm.' It's incredibly exciting to finally share it with the world!"

Charlotte de Witte adds: “I fell in love with ANNA's masterfully crafted touch on ‘Pulverturm’ the moment she sent it to me. Being a bit of a sucker for legendary tracks that have left a deep mark on the history of electronic music myself, this one just hits all the right spots. It's been a long and challenging road to make it happen but I'm incredibly proud and honoured to have Niels Van Gogh's timeless classic ‘Pulverturm’, seen through ANNA's eyes, for the second release of Époque. A label we founded earlier this year to honour nightlife, club culture and dancefloor legacies.”

The original “Pulverturm” is a twitchy and hypnotic cut with trance infused synths over the top of the rumbling drums. There is progressive energy in the melodies and plenty of emotion in the vocals. ANNA’s version is driving and emotive with sensual vocals and bright, trance infused chords over rolling drums that bring the power.

About Époque:

Époque is a Belgian label and nightlife archive created by KNTXT and run by KNTXT and Charlotte de Witte. In collaboration with clubs and labels, past and present, Époque captures the spirit and lifestyle of our bygone discotheque culture. The Époque label reworks iconic tracks, brings back dance classics and uses club memories and aesthetics to translate these legendary compositions into unique new releases produced by today’s leading electronic music talent. Époque also designs high quality merch and party gear as an homage to the global club scene.

Imagine it’s 1987.

The neon is glowing, the lasers are cutting through the smoke, and space synth is ruling the dancefloors. Laserdance just dropped their groundbreaking album “Future Generation.” Tracks like “Power Run” and “Humanoid Invasion” are setting clubs on fire, and every bedroom producer dreams of reaching that cosmic perfection.

And in this athmosphere Spacehawk appears shining like an alien spaceship.

Behind the name Spacehawk stands Swedish producer Anton Eriksson, a modern-day craftsman of analog dreams. In his vast studio, packed with vintage synths and drum machines, Anton creates electronic masterpieces so authentic, so rich in melody and power, that even Michiel van der Kuy himself, the godfather of the genre, decided to collaborate with him.

The result? “Space Patrol” – a landmark single that bridges generations of synth lovers.

On the A-side, you’ll find Anton’s stunning original version, pulsating, melodic, and bursting with energy. Flip it over, and you get a remix by Michiel van der Kuy that feels like a time warp straight back to the golden age of Italo-space glory.

“Space Patrol” has it all: soaring melodies, driving basslines, hypnotic rhythm, and that unmistakable intergalactic energy that makes you feel like you’re racing through the stars.

Fans of Laserdance, Rygar, Koto, Syntech, and all things van der Kuy will instantly recognize the DNA of true space synth excellence here.

To top it all off the single comes on a bright yellow vinyl, housed in a stunning retro-futuristic sleeve that looks like it beamed in straight from 1980s sci-fi.

It’s not just a release. It’s a revival.

And if space synth runs through your veins, this is one you simply can’t ignore.

Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.

The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.

A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.

On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.

Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.

Adlibitum Tum Tunes is a division of MixCult Records

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

The Tuff Fluff EP from Joe Koshin channels the spirit of classic Tech House while pushing it somewhere new. Bouncy and full of groove, each track brims with fresh ideas and details that give the EP its own unique character. Born from a shared musical connection between Joe and label
head A for Alpha, Tuff Fluff began taking shape a few years back. After patiently waiting, the record now arrives feeling more relevant than ever - vibrant, groovy, and timeless all at once.
Marking the first release on Alpha’s Trip in two years, Tuff Fluff also celebrates the label’s relaunch, complete with a fresh new look crafted by the legendary Pointless Illustrations. It’s the start of an exciting new chapter for the imprint, setting the tone for what’s to come. Rounding out
the release is A for Alpha’s remix, a darker, moodier take built around the unmistakable sound of the Roland SH-101 bassline, whilst lifted with floaty, luscious pads - the perfect counterpoint to Joe’s bright and bouncy originals.

EB-REX kicks off EB003 with atmospheric, driving techno single 'The Core' by Estella Boersma. The label's third release, EB003, expands it's sonic scope and delivers a bright, peak-time techno experience. The release concludes with a delicate IDM cut, leaving the listener suspended between nostalgia and motion. EB-REX, a Berlin-based Techno label founded by Estella Boersma in 2024, stands as a testament to versatility and artistic freedom. Drawing inspiration from the halcyon days of old-school rave and the relentless drive of Techno's present, each release embodies a synthesis of the past and the future.

2026 Repress

After a storming Soma debut at the tail end of 2017, Cleric returns with the Silent Kingdom EP. This typically intense and raucous new release features an epic VSK remix on the flip.

Phantom Limb opens the EP, all guns blazing. Calamitous percussion hammers through as twisted synth hooks tear the speakers with unrelenting drive. Tag X takes on a more hypnotic functionality yet still embodies Cleric's fierce, vigorous energy. Title track Silent Kingdom concludes Cleric's original tracks for the new EP and doesn't let up on intensity one bit. Pervasive rhythmic elements are bolstered by dystopic pads that cleave through the heart of the track creating an absolute killer, peak time cut. The in-form, Berlin based VSK, fresh from his Soma release under Symmetrical Behaviour offers his take on Silent Kingdom; a decidedly gritty affair he retains the deeper elements of the original but certainly ups the severity.

Another hard hitting and astute release from one of the UK's brightest talents.

Tokyo based French producer Laurent introduces his label State of Levitation, dedicated to releasing music that tries to grasp the elusive.

Taking charge of the first release, he delivers 4 tracks unraveling sonic landscapes he resonates with, a blend of styles between techno and electro, dark and bright, with an emphasis on melody and emotional evocations.

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.

Figure is celebrating its 150th release with a loaded triple vinyl compilation, showcasing artists both old and new to the label – a testament to what the Figure sound is today. The cover art has been commissioned from Berlin-based graffiti artist Erik Winkler, whose spray-painted work is adorning the thick triple-pocket sleeve housing three colored records.

The compilation features some important recent additions to our growing roster: both Jancen and Arthur Robert deliver their unique take on tunneling techno, be it searing or psychedelic. And Brazilian shape-shifter Vinicius Honorio carves out his own gliding bass frequencies while A-STS relies classic drum machine bleep hypnosis.

Label head Len Faki’s own energetic appearance echoes his versatile style found on his recent album release. The all-out production featuring strings and quirky synths sits in contrast with Jeroen Search & Decoder - a pairing of veterans, whose minimal hardware sound slowly builds over trippy acid loops. The flipside belongs to a younger generation of producers, namely IGLO turning out a superb techno roller teeming with life and lush with details. The duo of Munich brothers Glaskin already remixed Faki for his Fusion album, their first original release on Figure comes a skillful blend of distorted stabs and deep grooves.

Equally refined but with a harder edge to it, Scheermann practices a dark, minimalist approach where each element gets time to shine for maximum effect. His bleak track is aptly paired with a rare solo release of Obscure Shape whose fractures of a dreamy, twinkly melody make for one of the most emotional moments of the compilation. The final side holds Roman Poncet’s seasoned understanding of groove, balancing perfectly the dubby stabs and vocal chops for a dazzlingly perfect loop. The final tones to this milestone release come courtesy of another of Figure’s bright new voices: Arkan manages to conjure up a powerful sense of progression, where colourful synths converge in harmonies over an effortlessly bouncing beat.

It is a rare moment for an independent label to make to number 150. But to keep finding new talent who help re-shape the signature sound while expanding the family roster, that’s a true blessing. This package shows how Figure is growing and adapting as a label, staying relevant as one of the leading voices in modern techno.

A transcontinental meeting of minds, methods, and Volvos. What started as a remix request became a studio session and, eventually, a four-track affair of acid-tinged house, Italo accents, trance echoes, and techno pulse.

In Love Again captures the shared DNA of Loods and Gerd Janson, bright, melodic, and built for the beach club (Massimo Vitali's cover makes it official). Four flavours of the same spirit, each mix a nod to a time when 12-inches told a whole story.

For best results: play loud, add sea breeze.

Photo titled Blooemendaal Night 3", 2001 by Massimo Vitali

2025 Repress

Following up last summer’s dark and driving ‘Amotik 013’, Amotik returns with the hypnotic rhythms of his next instalment on his self-titled label. For the ‘Amotik 014’ EP, Amotik is joined by Tina Ramamurthy, whom Amotik previously worked with on his 2020 Bpitch record and his second album ‘Patanjali’ in 2022. This time, Ramamurthy joins Amotik for the entire ‘Amotik 014’ EP, with ‘Chauhattar’ starting things off with psychedelic spoken word vocals over dubbed-out hits and a chugging beat.

The track is neatly followed by ‘Pachattar’, which continues that early 2000s drummy, New York feel on the B-side of Amotik’s ‘Amotik 014’. Here, Tina’s vocal echoes through cavernous halls while its massive low-end-heavy drums keep steady in a real trip. ‘Chihattar’ then emerges from the darkness, bright pads and subtle percussion accompanying poetry recited by Tina Ramamurthy, evoking the familiar comforts of nostalgia and closing this three-track EP from the husband and wife duo.

Operating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic & cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack & Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.

Jaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet & embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid & Schneorr N. acting as local hubs for collaboration and exploration.

The purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out & doing their thing.

The whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.

Baghali is released digitally and on vinyl in an edition of 300 on 3rd October 2025.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.