quête:bu

This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.

Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.

Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.

Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.

Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.

Larry June has built a career on making hard work look effortless, and his album Who Coppin’ stands as a masterclass in smooth, lifestyle-driven West Coast hip-hop. The album delivers a high-grade mix of Bay Area luxury, entrepreneurial motivation, and unbothered charismatic flows. Spanning a laid-back audio palette designed for early-morning juice runs and late-night freeway cruises alike, Uncle Larry balances the discipline of a hustle-first mindset with warm, sun-drenched production anchored by crisp organic instrumentation and heavy-knocking bass.

The album features a tightly curated roster of collaborators who align seamlessly with Larry's signature aesthetic. Spoken-word encouragement from Wallo267 sets an intentional tone on the opener "Go Outside Intro," framing the record around execution and focus. Soulful contributions from Jhené Aiko on "California Dream" and Musiq Soulchild on "Pretty Green Eyes" provide lush R&B textures, while NorCal legend B-Legit and longtime partner DJ.Fresh reinforce June’s deep West Coast roots. Meanwhile, Swizz Beatz injects high-energy bounce into "Flex," offering a vibrant contrast to Larry’s understated, cool-headed cadence.

Behind the boards, top-tier producers like Cardo, Teeko, Beat Butcha, Jay Versace, and June Santana craft a nostalgic yet modern backdrop filled with warm sample flips, smooth G-funk synthesizers, and relaxed soul grooves. The project builds to an emotionally grounded conclusion on "God Got Us (Ain't Too Many)," where June strips away the flexes to offer direct encouragement to his audience, proving once again that consistency, self-belief, and steady progress remain the ultimate luxuries.

2xLP, Gatefold Jacket, 18x24 Poster Included

Musique Pour La Danse presents a raw, euphoric, and totally essential document of British rave history. LIVE IN MANCHESTER captures like nothing else the pure energy and essence of an era.

Featuring the unstoppable duo Mark Franklin and Nigel Champion, and vocalist Saffron, this legendary 1992 live set delivers iconic tracks like "Anthem", "Adrenaline", and "Malfunction" in their most ecstatic form and many exclusive tracks.
Often copied and sampled, never surpassed, because it simply can't be. If you're only owning one rave record, this is the one.

Includes liner notes by Matt Anniss, re-designed in Büro Destruct with an historical collectible flyers poster 12"x36", with the help of Phatmedia.
Newly mastered and cut at Transition Studios for maximum impact. Simply the best thing for your warehouse soundsystem.

Listen to the full recording

Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.

Flug brings his singular vision to Backspin Records with 'From My Soul', a 7-track EP that marks a powerful new chapter for both artist and label, rounded out by a remix from Kashpitzky. Moving between deep emotional techno, raw percussive functionality and high intensity, the release showcases Flug's signature precision and narrative depth while keeping things classy and never falling for overused tropes. Kashpitzky completes the package with a remix that reinterprets the source material from a darker, more straight-forward angle. ??

Opening with the title track 'From My Soul', Flug sets off on an epic 8-minute journey built on reverberating melodic layers, shimmering chord pads and a strong low endthat unfolds slowly and deliberately, balancing emotional weight with a hypnotic drive. 'Make It Loud' follows with a more stripped, functional direction, where warm low-end energy, minimal percussion and reverb-drenched sine wave synth hits create a tight, circular groove anchored by a subtle but sinister vocal presence. ??

On the flip side, 'Human Instinct' turns the energy more direct and physical, driven by a saturated kick drum, looping synth motifs and sparse vocal cuts that heighten tension without disrupting the flow. 'The Awakening' expands the emotional scope with a deep kick and tom-driven bassline, expansive droning pads and dragging percussion that build a rich, cinematic atmosphere. Kashpitzky's remix reimagines the original at a faster BPM with distorted chord stabs, off-grid hi-hats and layered synth work creating a tense, industrial atmosphere that breaks into a spacious breakdown before dropping back into a stripped,high-impact groove. ??

With the 'From My Soul' EP, Flug marks a strong first statement on Regal's Backspin Records, delivering a cohesive body of work that balances depth, emotion and dancefloor utility, reinforcing the label's dedication to innovative techno.

The latest release from Rainbow Disco Club’s label imprint, Beyond Space And Time, is the debut compilation from The Melting Hours, a live project by Wata Igarashi and Kuniyuki. WataIgarashi continues to make his mark on the history of techno, whilst Kuniyuki has long been revered as one of Sapporo’s greatest treasures. The two artists, who have long held mutual respect for one another, met whilst performing at the Draaimolen Festival 2025, and this encounter gave rise to The Melting Hours.

‘Blue Sun’ is imbued with a freshness reminiscent of the ambient jazz masterpieces released by prestigious labels such as ECM and Windham Hill. ‘Liquid Dunes’ sees the organic tones of the flute and percussion melt into over ten minutes of abstract sound textures, whilst the breathtaking ‘Cloud Touch’ awakens amidst a swirling vortex of pulsating downbeats and arpeggios. It is said that ‘Blue Sun’ was created by reconstructing studio rehearsal recordings, whilst ‘Liquid Dunes’ and ‘Cloud Touch’ were crafted from live recordings at Draaimolen 2025. The essence of these works—and indeed of the project The Melting Hours itself—lies at the heart of their improvisational nature.

It brings to mind the Rainbow Disco Club event back in 2026, where they wove their sounds amidst fresh greenery and surrounded by listeners under a clear blue sky. It felt as though the pulsating energy was spreading across the dance floor, guided by a session from The Melting Hours that seemed almost like a living creature. The organic breath one senses in this work not only evokes precisely that scene but also allows us to feel the unique, ephemeral nature inherent in this project—and, consequently, the boundless possibilities that stem from it.

Rainbow Disco Club のレーベル・ライン'Beyond Space And Time'から放たれる最新作は、Wata IgarashiとKuniyukiによるライブ・プロジェクト、The Melting Hoursによる初の音源集だ。テクノ史に残る実績を現在進行形で刻み続けているWata Igarashi、長きに渡り札幌の至宝として尊敬を集めてきたKuniyuki。兼ねてよりリスペクトを送り合ってきた両名がDraaimolen Festival 2025への出演を契機に邂逅し、始動したプロジェクトがThe Melting Hoursである。

ECMやWindham Hillといった名門レーベルのアンビエント・ジャズ傑作群を彷彿とさせる瑞々しさを湛えた"Blue Sun"。10分以上に渡るアブストラクトなサウンド・テクスチャーの中にフルートや鳴り物のオーガニックな音色が溶ける"Liquid Dunes"と、そして鳴動するダウンビートとアルペジオの渦に覚醒する圧巻の"Cloud Touch"。"Blue Sun"はスタジオでのリハーサル音源を、"Liquid Dunes"と"Cloud Touch"はDraaimolen 2025のライヴ音源を、それぞれ再構築し楽曲化したものだという。これらの作品、ひいてはThe Melting Hoursというプロジェクト自体のエッセンスは、その即興性を核としている。

WataとKuniyukiがゼロから音を立ち上げ、お互いのエレクトロニクス/生楽器を操る技術、それぞれエレクトロニック・ミュージック以前にフリージャズやニューウェイヴ/インダストリアル等に傾倒した時期を含む、音楽家としての半生を持ち出し合う感覚。そこに、例えばDraaimolen出演時に降り出した雨や、リハーサル時にスタジオに迷い込んだ蜂のような、外的かつ偶発的な要因、感情やムードの起伏までもが絡み合う様相。互いの予想を越えるスリルの中で曲が形づくられるプロセスこそが、この作品とプロジェクトを特別なものとしているのだという。

快晴の元で新緑とリスナーに囲まれ音を紡いでいった、去る2026年のRainbow Disco Clubを思い出す。まるで、生き物のようなThe Melting Hoursによるセッションに導かれ、脈動するエネルギーがフロアに伝播していたようだった。この作品から感じられる有機的な息遣いは、まさにそんな情景を思い起こすものであると同時に...このプロジェクトが宿すその場/その時限りの唯一無二性と、それ故に広がっていく限りない可能性をも感じさせてくれる。

2026 Repress
Vinyl Only

Discover our second release featuring Erro, Leanca, Herck and Techu.

Linda’s Head is the first new album in over a decade by the Pacific Northwest trio of Liz Harris (guitar, vocals), Scott Simmons (bass), and Jed Bindeman (drums) .

Like its predecessor, 2015’s The Original Faces, the album maps a uniquely intimate and potent vision of bedroom dream pop. Theirs is a shoegaze of half-light and silhouettes, attuned to the shadowplay of melody, melancholy, and undertow.

The record’s title is a refraction of meanings: a head in the clouds, a severance, a fictitious landform jutting into the sea. The music is similarly layered, both yearning and weathered, its edges blurred by years in the wild. Lyrics of waves, storms, and escape further shade the songs in subcurrents of desperation and beauty, tinged in the palette of the New Zealand pop underground. But at its core Helen’s chemistry is one of warmth and release, powered by the kinship of old friends in dark times.

Stone Age Is Now: Poems from Lithic is the new album by musician and poet Caleb Nichols - both a companion piece to his book Lithic: A Hyperballad (Harbor Editions 2026) and a follow-up to his album Stone Age Is Back (Royal Oakie 2025). Across twelve tracks Nichols interpolates poems from Lithic: A Hyperballad with tracks from Stone Age Is Back, bringing new depth to his indie-rock and alt-folk compositions. A meditation on grief, but not in the ways you’d expect, the album explores what it means to be living and dying right now, in this moment of extraordinary change.


Inspired by the raw immediacy of Neil Young, early REM, and Califone, Nichols adhered to a first-take best-take rule and tracked the album in just five days. Produced by Nichols, the album was engineered by Jay Pellicci (Deerhoof, Om, Sleater-Kinney) at Brother’s (Chinese) Recording in Oakland, CA, with Nichols later recording the spoken word overdubs after hours at an empty bar in San Luis Obispo, CA. Pellicci later mixed the tracks and David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain) mastered the album at The Garden Shed in Oakland, CA.


Featuring even more experimentation than Stone Age Is Back, the album is peppered with field recordings captured by Nichols from many locations, including Kew Gardens, London; Llan Tysilio, Yns Mon; Treborth, Gwynedd; a secret beach in Bangor; Kelvingrove Park, Glasgow; and Broad Street in San Luis Obispo, CA. In addition to contributions from band members John Metz and Aaron Kroeger, the album features saxophone by Lorenzo Coretese , and Rhys Trimble provides the Welsh translation and performance you hear on “Orme Dream At The Car Park”. Additionally, Nichols took some liberties adapting the poems from the book to the recordings. “You’ll notice that there are differences between the printed poems and the poems recorded here. That is because a poem is never finished and can exist in multiple instances at the same time, like in quantum mechanics. The cat in Schrodinger’s box is both alive and dead; at the bottom of the cliff, our eyes are both: closed and open” says Nichols.

CBR010 Que no te eduquen, aprende! EP by Hannah Addams First solo EP in vinyl for Domingo aka Hannah Addams. 5 Original Cuts, printed in wax to celebrate the 10th vinyl release on Casanova Bar Records. Raw, Hypnotic, Powerful and rolling grooves. No downs, but straight Techno, just the way Hannah Addams understands Techno Music. Playing with the patterns between a 4/4 kick and 5 or 7 or even 3/8 patterns on the bass line. Artwork by Domingo Casanova. Picture taken by himself to "El Gran García" while playing Damas back in 2021. Mastered at Koschitzky Mastering All rights reserved © Casanova Bar 2026

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

V Don and Da$h are not strangers to each other. Connecting in the past for memorable tracks like “Glad Bag”, “Redrum”, and “Now or Never”. They picked right up where they left off with a menacing five track EP back in July. “5 Deadly Venoms” put V Don’s expert production and the many flows of Da$h on front street. A duo that has always held themselves to high standards.

Mothers of All is Mark Gomes' second album as Blue Chemise for Students of Decay, following 2018’s acclaimed Daughters of Time. Though built from very different materials, it shares its predecessor's economy, sense of proportion, and fascination with the ways domestic life can open onto larger and less easily defined realms. Where Daughters of Time evoked tender, if alien, nursery songs, Mothers of All takes the form of spectral salon music heard at a temporal and geographic remove.

These pieces feel fundamentally receptive, with Gomes allowing his chosen fragments to retain their own histories - both personal and aesthetic - while revealing unexpected tonal relationships through their idiosyncratic arrangement. The resulting music is at once deeply personal and strangely unmoored, a space where the intimate and the distant occupy the same plane.

What lingers about this project as a whole is the paradox that the most private experiences can also be the least singular: that family, memory, and devotion become most legible at the point where they cease belonging to any one life.

Garefowl is a project connected to the archipelago of St Kilda, Scotland. Ewan Macdonald and his father Murdo, relatives of one of the men who killed the last Great Auk (Garefowl), conceived the project to reflect on and mark this family history. Garefowl is an international collective of musicians combining strings and electronics: Nathan Bontrager (viola da gamba/harmonium/banjo), Stuart Graham (bouzouki/harmonica/harmonium), Chris Jones (concertina/mandolin), Ewan Macdonald (fiddle/smallpipe drone), Richard O’Flynn (island sounds/percussion/XRD drones), Jess Whelligan (cello).

Things That Vanish was recorded on Hirta, the main island of St Kilda, at night. The soundscapes of Hirta breathe across the record: a quiet rolling swell of winds, waves, birds, and the otherworldly thrum of the snipe. Taking influence from the traditional folk music of St Kilda, the tunes on the record are inspired by the threatened seabirds of the islands. The band were intrigued by the folk stories around these birds, and how they often are depicted to imbue a primal, dark and haunting nature. In such tales, the birds retain a quality akin to a sea monster: preying upon calves and sheep, and believed to be the pelagic souls of drowned sailors or the cursed spirits of cruel captains.

No synthesizers were used on the recording. Instead, the production draws entirely on sampled and processed field and hydrophone recordings collected on St Kilda. Additionally, drones were created through a process pioneered by Richard O’Flynn and Joe Gardner. Rock or bone samples are analysed using X-ray diffraction (XRD), which creates a spectrum with peaks corresponding to the sample’s chemical composition; this spectrum can then be mapped to sine waves, forming a drone.

Love is not soft.
It was never meant to be. It sweats, it pulses, it burns through skin.
It lives in the space between bodies. In friction, in tension, in heat that doesn’t ask for permission. LOVE AS A PHYSICAL FORCE is not about romance as an idea, but as an experience.
Something you feel at 5AM, when the night has already taken everything from you, and still asks for more. Across four tracks, DJ Hermano moves between intimacy and impact.
From the longing of Vem pro meu amor to the rupture of No encontrarte nunca mas, love reveals itself as contradiction:

tender and aggressive, distant and consuming. The collaboration with Cuerpos brings a raw edge. Where visceral collides with desire.
Voices don’t just sing; they confront, they provoke, they touch. On the B-side, the body takes over.

Friction Lovers and Desire and Heatwave at 5AM dissolve the emotional into the physical.

Where connection happens through movement, sweat, repetition. This is not love you write about.
This is love you survive. A record for the late-night moments, between the club and sleep.
For the moments where the line between pleasure and exhaustion disappears.
For when desire becomes the only language left. Love, here, is not a promise.
It’s a force.

Kukangendai are the innovative three-piece Kyoto based experimental rock band formed in 2006 with Junya Noguchi on guitar and vocals, Keisuke Koyano on bass, and Hideaki Yamada on drums. Since 2016 the band have set up shop in their studio and venue space, Soto, which houses an incredibly well tuned and powerful sound system that has become a well known destination for touring musicians. In March of 2025, Marionette was celebrating a belated 10 years of activity with label showcases across Japan in collaboration with Dotei Records, and Soto was inevitably one of the stops as many label alumni have set foot in the venue over the years. This is where I got to experience Kukangendai perform for the very first time and knew right then we were destined to work together.

Kukangendai embody an undeniable sense of timing and precision through collage-like repetition of minimalist phrases that manifest as a single unified rhythm. Their latest offering for Marionette, titled Baquet Wheel, is a purely acoustic endeavor, remarkably recorded live using Taku Unami's special binaural microphone. The trio seamlessly twist polyrhythms and melodies rooted in jazz, krautrock, blues, and Tuareg producing a timeless sound that preserves the primitive and memory evoking narratives buried deep within the music. Over the course of five tracks, the visceral nature of Kukangendai’s dynamic evolves from playful riffs that are seemingly familiar yet strikingly original, making it impossible to discern exactly when this material was conceived.

Kukangendai have maintained a prolific yet relatively low profile for the last two decades, with a handful of self-released editions on their own labels (Soto and Leftbrain) as well as a collaborative album with pioneering electronic music composer Ryuichi Sakamoto in 2018, then venturing outside Japan in 2019 to release their first widely distributed album on Ideologic Organ, a label curated by Sunn O)))’s Stephen O'Malley. Other collaborative projects to date include an album produced with rap group Moe and ghosts, live performances with Keiji Haino and with poet Gozo Yoshimasu, productions with the Chiten theater company, and most recently a remix album of their works featuring Carl Stone and Madteo.

2026 Repress

The Hypnus clergy is pleased to present the debut album of our beloved initiate Luigi Tozzi.
Released in the light of the summer solstice full moon of 2016.

Supported by Cio D'Or, Claudio PRC, Deepbass, Evigt Morker, Ness, Svreca, Oscar Mulero, Artefakt, Ben Buitendijk, Giorgio Gigli, Exium, I/Y, Jonas Kopp, Kwartz, Samuli Kemppi, Eric Cloutier, Abstract Division, Brando Lupi, Nobody Home and many more.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

Originally released in 2024 on KOWBOI, Klint’s Cheetah now arrives on vinyl for the first time. A raw and driving EP built for the dancefloor, bringing together groove, tension and hypnotic energy across the full record.

2026 Repress

Prologue: Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs. I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching. 'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.' --

Sa Pa presents Rhythm From Ambient, the second release on Dub Techno For Life, delivering four experimentally tipped house and dub techno tracks.

Leading with ten minutes of undulating, swamp-soaked grooves, heavy dub weight and scattered, gravel-like percussion, “Rhythm From Ambient” shares the A-side with its companion “Rhythm” - bringing a rougher, rawer energy that revives an industrial techno cut originally intended for Sa Pa’s MDR EP (2015).

On the B-side, “Last Dance” is an extended deep house-styled ‘Ballroom Dub’ that’s a warmly haunting mixture of atmosphere, groove and slow-burning euphoria. Closing the EP is “Bo Riddim”, a slower experimental number with deep sub-bass, heavy drums and laced-out percussion underpinning experimental textures and melodic fragments.

Following up the Girls On Tour EP (DTL001), Sa Pa delivers another four cuts for Dub Techno For Life, the artist’s newly launched label, continues its push into deep house and dub techno territory with a self-styled experimental streak.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

Veerus & Mattia Saviolo bring their A-game for the brilliant ‘Move Your Body’. The Italian compatriots aren’t new faces to Drumcode. Veerus has earned his stripes via five fantastic EP over an eight-year period, highlighted by ‘Hypnosis’, ‘System’ and ‘Cycle’. Meanwhile Mattia Saviolo is a recent debutant dropping the excellent ‘Parallel Dimension’ on A-Sides Vol.10. When Veerus suggested a collaboration to Mattia, he didn’t mince his words. “Yes, but it has to be a bomb!” Over two days the pair locked in to build an outstanding peak-time production from the ground up. “We started completely from scratch, with no ideas prepared in advance and no project exchanges before meeting. In just two days the track was finished and everything happened very naturally. We both brought our own vision into the process without stepping on each other’s toes, which made the collaboration feel effortless from start to finish,” Veerus shares. ‘Move Your Body’ has a distinct charismatic appeal not commonly found in techno tracks, highlighted by a stomping riff throughout and tension-filled break, before it turns into a pumping cut in the final stanza. A straight-up belter! Accompanying it is a captivating solo track from Mattia, ‘Mindframe’. An absolute gem, file under futuristic techno that sounds like no other.

DAYBREAKERS Records proudly presents ROOT DOWN 30, a celebration of one of Europe's most influential club institutions. Curated by legendary DJ, producer and tastemaker Rainer Trüby, the compilation marks three decades of Root Down, the Freiburg party that has quietly shaped dancefloors, record collections and musical conversations since 1996.

Long before genre boundaries dissolved into today's eclectic club culture, Root Down championed a unique musical vision. Jazz, Brazilian grooves, soulful house, broken beat, Afro-Latin rhythms and future-facing electronic sounds were brought together under one roof, creating a community that became a vital meeting point for adventurous dancers and deep music lovers alike.

Across thirty years, Root Down has hosted an extraordinary roll call of artists and DJs including Jazzanova, Gilles Peterson, Theo Parrish, Kyoto Jazz Massive, Jimpster, Laurent Garnier, Dixon, Peter Kruder, Richard Dorfmeister and countless others, helping establish Freiburg as an unlikely but essential stop on the global underground music map.

ROOT DOWN 30 captures that spirit perfectly. Handpicked by Trüby, the collection brings together a selection of artists whose music embodies the warmth, sophistication and dancefloor energy that have defined the party since day one. Featuring music and remixes from Jimpster, Osunlade, Da Lata, Jazzanova, Crackazat and more, the compilation moves effortlessly between soulful house, jazz-inflected club music, Brazilian influences, broken beat rhythms and deep electronic grooves.

ROOT DOWN 30 is a snapshot of an enduring musical philosophy. Thirty years after the first Root Down dancefloor came to life in Freiburg, the spirit remains unchanged: open-minded, soulful and rooted in discovery.

ROOT DOWN 30 stands as both a celebration of that remarkable journey.

Released on DAYBREAKERS Records.

"The Whole Of The Moon" is a classic. It's a song about awe and hope and love for the people who show us the best of this often broken world, the blessed few who show the way and introduce us to things and thoughts. Keith McIvor aka JD Twitch of Optimo was one of those people, and this version of the track - electronic, euphoric, open-hearted - was made by some members of the broader Optimo community after his terminal brain cancer diagnosis in 2025. The task of making a version that could've been heard on the dance floor at Planet Peach, Mas, or the Sub Club on a Sunday night or Monday morning brought them together across oceans, an act of joy amidst so much loss. It was never intended to be released, but as it made its way to friends and others, it also felt wrong not to. Its sentiment is universal and applies to so many incredible people in music and beyond that are sadly missed. So here is the Watergirls' first and last track, presented as a limited white label with some particularly lethal mixes from Sean Johnston of Hardway Bros and A Love From Outer Space. We're giving all the profits to charity. It's meant to be played out. It's meant to make two friends hug and sing into each other's faces. It's for Keith and for everyone like him.

Compilation of lost Dutch synthesizer and wave music from 1982 to 1987. All collected and compiled by Rutger Nijkamp, who inherited many tapes from his musician-mother Veronique (Verque on the compilation). This led to the collection of more cassettes, found in second hand shops and through connections from his mother. Comes with a beautifully risograph-printed zine featuring the stories and photographs of the acts and bands included on the compilation.

Loveface are back once again with four more dancefloor ready edits. Starting things off is a Unique Dancefloor Rework of 80’s Post Punk Classic. Following on from that is a Complete remodel 0f 90’s alternative dance/rock hit. Now flipping over to the B side is a House groove with sensual monologue diva vocal. Last but not least we are treated to an Uplifting 90’s flavoured italo house/garage vibe track.

Jen Cardini & Shonky revive their 20 year old anthem August In Paris with remixes from Kasra V, Jennifer Loveless and Jump Source.

Originally released on Mobilee Records in 2006, Jen Cardini and Shonky’s record ‘August In Paris’ remains a defining statement from the minimal era. Ahead of its time upon release, the record distilled the genre to its essentials, bleeps, hypnotic grooves and impactful vocals, unfolding with the kind of restraint that continues to resonate two decades on.

To mark its 20th anniversary, ‘August In Paris’ returns with three distinctive reinterpretations from Kasra V, Jennifer Loveless and Jump Source plus a re-release of the original coming out on Jen Cardini’s formidable label Correspondant. As well as this Jen Cardini and Shonky will be playing an All Night Long set at Paris nightlife institution Rex Club on 29th August. Look out for merch on the night too.

Speaking about the project Jen Cardini discussed: “It is crazy to think this was two decades ago and that Shonky and I are still touring and sharing our love for music. For the anniversary, we decided to bring this special track to light again’.’

Each remix approaches the source material from a different perspective while preserving the essence of the original.
UK DJ and producer Kasra V leans further into the track’s skeletal framework, blending his signature sultry sonics into this hypnotic chunky groove to produce something entirely new but familiar.

Jennifer Loveless, an unearthed gem when it comes to production, strips things back even further, delivering a rough and tough uncompromising club version primed for sweaty dark dancefloors, it perfectly encapsulates the original without overshadowing it.

Closing the EP, Montreal duo Jump Source, Priori and Patrick Holland, take the record into more left of centre territory. Their version stretches the original into a warped, slow-burning electro excursion, perfectly suited to the blurred edges of the after-hours.

Coming off his first two years as a solo artist, Nick Schilder paused for a moment of contemplation. How do you keep growing as an artist, and continue making music without falling into routine? Returning to his artistic foundation—guitar on his lap, hours behind the piano—the Dutch singer-songwriter let intuition guide him, leading to his brand-new EP, Reflections.

After a summer jam-packed with festivals, Reflections provides contrast—the tracks harness a more organic sound, hitting closer to the heart, drawing from folk and pop while leaving space for the echoes of his foray into electronic music to resonate. From ‘Made For You’ to focus track ‘Die For You’ and ‘A Little More Like Me’ marking the turning point, this EP offers a sonic snapshot that bridges two seasons, a creative reset born of reflection.

Reflections is available as a limited edition on transparent vinyl. The package contains an insert with lyrics.

Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.

To call this album important would be an understatement - Space Time Continuum is the culmination of everything ASC has been building with the Spatial family of record labels, comprising the very best of what atmospheric music can be, and showcasing what is to come. Label stalwarts and debutants combine to bring you the ultimate compilation of this music. ASC is proud to present to you Spatial’s magnum opus: Space Time Continuum - Chris Hayes" Featuring new original music from: ASC, Aural Imbalance, Chronicle, Eusebeia, Ghosts of MIDI, JLM Productions, KMC, Law, Probe-One, Reviver, Senses, and tdel. ● Deluxe Foldout Box Set with Full Artwork Print Inside and Out ● Marbled Vinyl 3x12" ● Each 12" has it’s own individual Full Artwork Sleeve

After a sought after debut EP on their Perfumed Freedom label Foehn & Jerome return to the imprint with their versatile “Hermanngirl” release. The record spans across four original cuts, brimming with a nostalgic minimalist approach, incorporated with the distinct sound of modern times from the Berlin based duo, a reflection of the highly anticipated Perfumed Freedom parties they run. Diving into PFFD002 you will discover a refined blend of hypnotic and stripped back structures infused with distinct house grooves with an intricate and detailed energy for the floor. A producer pairing that continue to evolve their sound, developing the direction of their Perfumed Freedom set up but maintaining the direction at the core, timeless yet hypnotic.

Juxtaposing acid-tipped breakbeats with influences of acoustic behaviour in nature, Sully unveils a debut release for Critical Music with two-track 12” ‘Flux’ b/w ‘Chatter’. Sully says: "‘Flux’ and ‘Chatter’ were another attempt to take the groove and feel of the breakbeats I've been previously working with and build them from the ground up. The aim was to find space for the tonal elements to breathe and end up in a place I'd not been to before." Birdsong became an unexpected reference point during the writing process, with Sully using synthesis to analyse and recreate natural calls as compositional material. The resulting dialogue between acoustic behaviour and digital sound generation forms part of the release's underlying methodology rather than a surface aesthetic. "The contrast and contradiction of the organic world captured by digital processes is always a pull for me," Sully explains. "It never fails to inspire." Jack Stevens aka Sully has spent much of the last two decades developing a body of work that sits slightly outside the obvious cycles of revival that have shaped UK bass music. While his records draw from established rhythmic forms, they rarely settle within a single tradition, instead examining the shared characteristics between them. His releases have consistently explored the points where 2-step swing, breakbeat construction, and jungle's rhythmic vocabulary begin to overlap. Sully’s records retain a relevance that extends beyond the moment of their release, continuing to circulate through DJ sets and specialist record collections. This 12” adds another chapter to a catalogue defined by sustained investigation into rhythm, texture and soundsystem music.

This release closes the current run of much‑needed raids on the Digi Dub archives. Label boss Berwick emerged from the DIY ferment of Camberwell's squat era , blending reggae and rave influences into a stream of boundary‑pushing music and events under a tangle of ever‑shifting aliases. Nodding to the Far East stylings of Augustus Pablo, South‑Eastern Style finds Berwick, working under his Mudskipper alias, refracting Pablo’s melodic meditations through a mutoid bass filter, delivering six cuts of idiosyncratic, genre- agnostic electronics.

Some of Berwick’s Mudskipper material was partially exhumed for digital release in 2021, but the alias was only one of several he deployed during Digi Dub’s most fertile years and during the 90s Mudskipper material was released sparingly. It feels fitting, then, that this project finally gets its due in the form of a full vinyl release.

Beware Dub is the only track here to have seen daylight before, with a version originally appearing on the 1996 four‑track EP 4 Golems. It makes a fine opener: an agile bassline rolling through tunnels of processed skank, rocking in a haze of centrifugal breakbeat. Ambrosial Dub mounts an imperious, guitar‑laced groove onto a solid steppers march, while Pillars Dub drives another vigorous, sub‑heavy bassline forward in the mix alongside a mechanised rhythm track, shards of noirish piano and bursts of twinkling synth.

The second side opens with the cosmic skank of Stand It Dub, followed by the mutated one‑drop drift of Where There’s Dub, suspended in a canopy of gentle keys. Wasted Dub closes the EP in fine style, Berwick applying widescreen dubwise pressure: a robust low end topped with the distinctive twin twangs of jaw harp and slide guitar, coming on like Jah Shaka meeting Ry Cooder.

It’s one thing to edit a song; extending sections, taking parts out, even adding a kick. Karizma uses his Knevrm!nd moniker to completely re-imagine tracks, producing completely new music and re-arranging vocals to create something completely different.

After building up a substantial catalogue of these in demand cuts we thought it was time to make some available on vinyl for the first time.

Knevrm!nd Vol.1 comes blasting out of the gate with four essential jams from the vault.