quête:ch

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).

HI-LO returns for another elite EP on Drumcode, ‘REESE’, with the title track a tribute to Kevin Saunderson’s iconic bassline sound. The Dutchman never misses. Following acclaimed EPs HI-LO has released on Drumcode including “‘DIZZY’, ‘CRESCENDO’, ‘WANNA GO BANG’, and ‘HYPNOS”, the HILOMATIK boss brings his A-Game for the stunning ‘REESE’ EP, his anticipated annual release on Drumcode. ‘REESE’ epitomises a producer at the top of his game. The title track is a peak-time headrush built around a moreish bass riff and silky chords. A masterful balance of darkness and light that’s been building since Ultra WMC and also featured in Adam Beyer’s Essential Mix. 'FLORESTA FUNK' is a punchy percussive jam that shows his range.

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

BanBanTonTon review:

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

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

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

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

DJ Support: David Morales, Dimitri From Paris, Tedd Patterson, Dj Spen, Terry Hunter, Hector Romero, Dr Packer, Da Lukas, Sebb Junior, Jo Paciello, Shabi and many others.

The friendship between Sarah Jane Morris and Mario Biondi is the basis of this collaboration, born from the desire to pay homage to Roberta Flack. The idea, proposed by Sarah Jane, to reinterpret "Back Together Again" was born a few months before the death of the famous American singer. The original song, published in 1980 on the album "Roberta Flack Featuring Donny Hathaway", included the posthumous participation of Donny Hathaway, who died in 1979. Mario Biondi enthusiastically welcomed the proposal, and considering that the original song had a strong dance component, entrusted the production to Micky More & Andy Tee, one of the most important Soulful Disco House production teams on the contemporary world scene. The duo of DJs and producers from Ancona Italy have been at the top of the charts of digital dance stores for years. The package includes a fantastic DUB version of Jazz-N-Groove, Courtesy Of Brian Tappert & Marc Pomery, The legendary American Dance producers Duo. A MUST HAVE.

R.A.N.D. Muzik Recordings welcomes Melbourne’s Willee to the label for his debut release, an EP of progressive house and breaks, true to the early 2000s sound.

The first chapter of a new series exploring identity, temporality and the many dialects of contemporary techno. Four tracks, four distinct approaches, yet bound by a shared pursuit of tension, texture and transcendence.

Chronicles Diary introduces its identity with WAYF VOL1, the first entry in a series asking when, not where, this music belongs. The answer comes in four club pieces that favour impact over ornament, tracing tension, texture and a sense of forward movement.

Boyd Schidt & Uvall's "Bullet Train" is tensile 4/4, serrated hats and a tunnelling bassline pulling the room into a tight zone. Commissar Lag's "Battle Rites" ups the pressure, all offline bass and percussive rhythm. MMSS pares things back on "Aion_01," a looping, hypnotic figure that blurs time without dropping energy. Time Traveller (UK) closes with "Stud," glitched and driving, a roughcast groove that breathes between the hits. Four perspectives, one intent: functional, underground Techno that works.

DJ Tennis expands the universe of his recent single ‘Playa Paradiso’ featuring vocals by multifaceted British artist Eliza with a deep-diving Club Mix, retooling “Playa Paradiso” into a darker, longer-burning version aimed squarely at the dance floor.
Stripping back the sun-kissed gloss of the original, the Club Mix leans into his precision production instincts; elongating the groove, tightening the rhythm, and letting the low-end shine. With the vocal weaving in and out like a guiding light through the haze, it’s a hypnotic take that trades coastal charm for heady club
elevation. A masterclass in tension and release, the Club Mix underscores DJ Tennis’s ability to balance emotional depth with dance floor functionality. The remix is a reframing of “Playa Paradiso” for the night shift: smoke-filled rooms, peak-time crescendos, and sunrise afterglows. Both versions capture different corners of the
same world, one that basks in the Balearic sun, and the other pulsing in the strobe.
Together, they mark a full-circle return for DJ Tennis’s first solo material in three years as an artist whose sonic world has always defied simple categorization.

The first 5 lives of the cat.
5 lives of computer madness, taking cues from Chicago and the westcoast (NL).

This one is dedicated to Chip, Fritz & Max.

After the release of long player ‘The Gospel Of Jesamy’, Arp Frique & The Perpetual Singers return with a heavy hitting 4-track EP entitled ‘Alpha & Omega’.

The Amsterdam-based multi-instrumentalist, composer and producer follows up his very well received gospelfunk album with a big chunk of funk fuelled, high energy spiritual music featuring some stellar vocals also present on the previous record:Texas born gospel singer Brandon Delagraentiss, longtime collaborator Marissa Nyamekye aka Mariseya and the legendary LA-born vocalist Rocq-E Harrell who - in her career spanning decades - has sung with Stevie Wonder, Patti Labelle, Earth Wind & Fire, and toured with Diana Ross and the legendary Barry White.

As far as disco bangers go, they don't come much better than 'To Be With You Again'. The shock is hits is actually a brand new tune on a new label rather than an unearthed old gem. It's a heart-swelling sound with symphonic strings and swooning energy all finished in magnificent style by the stunning vocals from the Choir of Angelic Disco Angels. Getaway Jones adds the tight bassline and some superb keys to make this a must-cop 12" this is guaranteed to fly off the shelves. An instrumental on the flip is just as moving, but it's the vocal-fuelled A-side that really soars.

Stonie Blue and Stephen Carmona come from house music's true school and combine here for a set of timeless, tough, but emotive jams steeped in Midwest magic. 'Joyful Noise' is a playful tease that rides mid-tempo kicks but is buzzing with little synth details that want you to go faster. 'Embrace The Night' is moody, smoky late-night house swing, 'Max Potential' has analogue drums coated in dust with plenty of room left for the sparse chords to make an impact way beyond their minimal design. 'Stone' ramps up a gear with more dense grooves and 'About Time' is all about pinging kicks and fuzzy pads as conscious spoken words bring the mental heat.

This release documents the legacy of Ranil, the Amazonian singer and bandleader who shaped a distinctive regional style blending cumbia, psychedelic textures and local rhythmic traditions. Born Jorge Raul Llerena Vasquez in 1935, Ranil rose from rural beginnings to front Los Silver's in the early 1970s before founding his own label, Producciones Llerena, to independently record his imaginative, genre-blurring music. His catalogue, long scattered across mismatched pressings, remains a vivid record of Amazonian creativity. Following his later career as a radio voice in Iquitos, this collection preserves key recordings and supports archival efforts that continue to highlight his cultural impact. Check the frisky percussion and euphoric vocals of 'Pueblo', the scratchy guitar and bustling funk of 'Bahia' or the lilting 'Albores De Mi Selva' for proof of just how irresisitble it still sounds today.

defaultbox returns with its 20th release entitled "020".

This various artists compilation brings together five carefully selected tracks by Karenz, Gockel, TIKOA, 10.000 BC, and aem.aze, each rooted in a shared vision of deep, functional techno rhythms and subtle dub-infused textures.

The release comes on a limited run of 50 transparent blue splatter copies alongside the regular black pressing.

Between Faith and Noiz represents the exact point where faith and inner chaos coexist.
It's an introspective journey toward the center of the mind: the space where thought becomes distorted, where sound turns into a reflection of doubt, where faith is tested within one's own noise.

Noiz symbolizes that internal, mental, and emotional noise that distorts reality - the voices, the interference, the overload of stimuli.
Faith, on the other hand, is the thread that keeps direction, the spark that survives when everything vibrates and collapses.

The EP portrays that invisible struggle between believing and falling apart, between the silence that soothes and the noise that purifies.
Each track acts as a stage of that journey: the oath (Faith and Oath), the wound (Ulcerate), the essence (Oxeo), the connection (Captures Spirits), and finally, the release (Noiz).

It's not about finding faith outside, but rebuilding it from within the noise.

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.

* Vintage nuggets from the vaults of The Rootsman and Third Eye Studio
* `Pass The Chalice’ incorporates that heavy UK dub sound of the 1990's while `Tribal Dervish’ employs that middle eastern flavour of which The Rootsman's work became associated with.
* Dating from 1996, three of the tracks have been out of circulation on vinyl for some time while `Tribal Dervish – Dubplate Mix’ appears on vinyl for the very first time.

Visionary producer Ilija Rudman confidently lands into the Black Jukebox catalogue with a truly mesmeric 2-tracker.

Based in Zagreb, Ilija has carved a legacy over more than two decades in the game throughout which he's released over 100 vinyl EPs and 8 studio albums, collaborating with the likes of Robert Owens, Greg Wilson, Faze Action and Ron Trent.

'Euphonia' opens up with a suave slice that melds deep Detroit shades with the flexible Electro funk of Morgan Geist and Clatterbox. A sawtooth bass climbs steps in the low end while gorgeous synths bend and glide at the groove's core. Crisp, delicate drums kick, snap and shuffle as they guide a low-slung, retro-futuristic trip to the moon.

'Late Checkout' draws for a similar sound palette as rich analogue pads form a magic carpet for Prelude-era synth phrases and another sneaking bass line. The tone is elegant and nothing feels forced as Ilija Rudman traverses the vast sonic territory between Salsoul-era Disco and modern Electro-funk in the most fluent and stylish manner.

2026 Repress

Seattle-based label Soft Spoken Secret (SSS) proudly debuts with "SOFT", setting the tone for a new chapter in dancefloor-driven electronic music.

Adam Collins delivers a stripped-down yet propulsive groove, radiating raw, hypnotic energy. On the remix, UK legend 100Hz reimagines the soundscape with his signature ethereal touch—blending intricate rhythms, fluid textures, and a dreamlike atmosphere.

With SSS001, Soft Spoken Secret asserts itself as a home for cutting-edge sound, timeless artistry, and deep musical storytelling.

Born Bad Records knew exactly what it was doing when it signed this Nantes-based trio, whose sharply defined sound and raw authenticity stand out. With Rage Blossom, Île de Garde unveils an EP charged with palpable tension, somewhere between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like backdrop where Sylvia Plath’s poetry might cross paths with the controlled excesses of Fever Ray.



The EP opens with “Fear The Sun,” its Mike Oldfield-esque soundscapes plunging us into an apocalyptic and unsettling world. “Homicide Volontaire” follows with meticulous narration, a technical exercise evoking the anger and defiant lucidity of a Virginie Despentes. The hallucinatory hit “To Death” snaps like an anthem to collective dancing in the face of the inevitable. Since we’re going to die, let’s dance! On the B-side, “Ageless Woman” weaves together a half-mythological, half-mysterious text, carried by haunting backing vocals. “Birthday Girl,” featuring Kuntessa, radiates an ironic and joyful riot-grrrl energy, an uninhibited celebration of women’s liberation. Finally, “Boy,” a small post-punk jewel, closes the EP with an ending as surprising as it is delicate.

The group’s genius also lies in the complementarity of its musicians. Morgane Poulain anchors the drums with a dynamic that is both subtle and narrative, airy yet jagged. Cécile Aurégan, the architect behind a multitude of synths, builds powerful sonic landscapes, layer upon layer. Klara Coudrais, the band’s poetic figurehead, elevates her texts with a rich and plural vocal palette, giving life to several characters who vibrate with intensity. The band’s writing, hovering between darkness and light, echoes a kind of visceral poetry, exploring the seasons of the soul with authenticity and force.



With this EP, Île de Garde establishes itself as a band to watch closely, capable of translating on stage both the raw energy and the fine craftsmanship that define their music. An immersive journey, full of tension, urgency, beauty, and electric flashes.



Île de Garde, a Nantes-based trio with sharply drawn sonic contours and raw authenticity, unleashes its full arsenal on Rage Blossom, an EP radiating palpable tension between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like setting where Sylvia Plath’s poetry would meet the controlled excesses of Fever Ray. An immersive journey of tension, urgency, beauty, and electric sparks.

Opening track “Fear The Sun” plunges us into an apocalyptic and unsettling landscape. “Homicide Volontaire” continues with meticulous storytelling, a crime vignette evoking anger and the fierce lucidity summoned by a situation with no way out. The hallucinatory trance of “To Death” snaps like an anthem to collective dance in the face of the inevitable. Since we are going to die, let’s dance! “Ageless Woman” blends a half-mythological, half-mysterious text, carried by hypnotic backing vocals. “Birthday Girl,” featuring Kuntessa, releases an ironic and joyful riot-grrrl spirit, an uninhibited celebration of feminine liberation. Finally, “Boy,” a small post-punk case study, closes the EP with a simple, sensitive truth.



The three musicians propel and relay one another in this breathless race. Morgane Poulain drives the drums with a dynamic that is both subtle and narrative, airy yet staccato. Cécile Aurégan, architect of multiple synths, builds powerful sonic landscapes, layer after layer. Klara Coudrais, the storyteller, elevates her texts with a rich and multifaceted vocal palette, giving life to all their characters, both mythical and ordinary. The band’s writing, between darkness and light, proclaims a visceral poetry, exploring the seasons of the soul with authenticity and strength.

Tapper Zukies 'Peace in the Ghetto' album would be the first release as part of his new deal with Virgin Records.This came about through a trip organised by the label to Jamaica in 1978 to sign up the cream of the crop of Reggae artists,for the new Virgin Front Line label.
Personnel on this trip included John Lydon (Rotten) of the Sex Pistols ,whose band had just split up.
The Peace in the Ghetto album deals with the political situation in at the time,the peace initiative between the gangs and Political Parties.
Paying tribute to some of the gang leaders Claudie Massop ,Buckie Thompson and Tony Welsh who helped make this process happen.
But whatever the subject matter Tapper Zukie chose to hang his songs on,you know he always does it in a fine style......Respect

Der australische Progressive-Rock-Gigant Karnivool kehrt mit "IN VERSES" endlich zurück. Das Album ist der Nachfolger ihres weltweit gefeierten und in Australien auf Platz 1 der Charts gelandeten Albums "Asymmetry". Das vierte Album der Band ließ so lange auf sich warten, dass es fast schon legendär ist. Nach einigen Fehlstarts und einem langen, heißen Sommer im Studio in Perth ist es nun endlich da. In Zusammenarbeit mit ihrem gleichgesinnten Produzenten Forrester Savell (Sound Awake, Themata) hat die Band ein musikalisches Meisterwerk geschaffen, das sich frisch anfühlt und gleichzeitig auf ihren beliebten Backkatalog Bezug nimmt. "IN VERSES" erweitert den Umfang ihrer weitläufigen Klanglandschaften und schafft es dennoch, Momente zu kreieren, die nur Karnivool-Songs so beflügeln können. Damit beweist das Album eindeutig, dass es Dinge gibt, auf die es sich zu warten lohnt.

Karnivool haben weltweit über 300.000 Alben verkauft und sind an den meisten Orten aufgetreten, an denen sie spielen wollten. Sie sind eine feste Größe auf europäischen Festivals wie Download, Rock am Ring, Hellfest und Copenhell sowie an weit entfernten Orten wie Südafrika, Indien, Dubai und natürlich Australien.

STRIKER TRAXX proudly presents its very first release — STX101: BALLAN “Chantal Grooves EP”.
Born as the new sub-label of SUPREME STRIKER, itself a direct emanation of the Skylax Records universe, STRIKER TRAXX sets the tone for a new era: raw, uncompromising, and forward-thinking. As always, the visual identity is entrusted to the legendary H5’s exclusive artwork (Daft Punk, Air, Logorama), delivering a striking design that transforms each copy into a true collector’s object.

For this inaugural strike, we welcome Asaf Ballan, aka BALLAN, an artist emerging with force from the vibrant beatscape of contemporary electronic music. With Chantal Grooves EP, he delivers a 12-inch packed with five club-weapons that dive deep into the essence of house and tech house, reshaping them with his own relentless, pumpy twist.

The trip opens with “How Should I Start”, a perfect ignition, teasing anticipation while locking you instantly on the groove. “Goddamnit (Club Tool)” follows as a pure machine workout, echoing Kerri Chandler’s house foundations while pushing them into today’s territory. “Members Only Club” exudes exclusive sophistication, a secret-weapon built for late-night dancefloors. On the flip, “Keep the Frequency Clear” hypnotizes with razor-sharp frequencies, proof of BALLAN’s sonic craftsmanship, before “Futuro” launches us headfirst into tomorrow—where innovation collides with the Romanian sunrise aesthetic, infused with a heavier, raw energy.

Influenced by the minimal masters (Zip, Ricardo Villalobos, Raresh) yet unwilling to compromise on drive and power, BALLAN delivers here a record where every track stands as a killer. Chantal Grooves EP is both a homage to the roots of house and tech house, and a manifesto propelling the genre into its next evolution.

STRIKER TRAXX launches with a statement: this imprint is made for DJs and dancers who still believe in vinyl as a sacred object and in the dancefloor as a transformative space. With H5’s exclusive artwork (Daft Punk, Air, Logorama)and Skylax’s uncompromising vision, each release is conceived as a weapon for the underground, and a jewel for the true collectors.

Vinyl only. For devoted believers.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the 60's & 70's, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound.

The fierce Brass of 'Whack, Slap & Blow' and 'Kaye Okay' could both be a Keith Mansfield cut, acting as a theme tune to a glamorous saturday night tv show circa 1972. 'Duck Strut' is a cheeky slice of Bass driven Brit-funk, Muted horns and flute adding an element of Quincy Jones amongst the grooving drums and percussion. 'The Needle Nose', 'Midnight Heist' and 'Wiretap' are amongst the more cinematic tracks on the album. Moody and atmospheric, they conjure up images of dark alleys, shadowy figures and dead letter drops. 'Wigged out' channels the wonky organ weirdness of Italian library legends I Marc 4 while 'Nuclear Wind I & II' use Moog and Mellotron as electronic counterpoint to ethereal voices. 'Siren's sea's' acoustic interlude conjures up images of distant clifftops, gossamer vocals enticing you onto the rocks before album closer 'Planet Nine' traverses the cosmos.

Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’

“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.

We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.

We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.

I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.

The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025

Celebrating his Bleep Album of the Year ‘The Eternal Present’, Mark Van Hoen rounds out a prolific 2025 with further goodies as he joins forces with Clark for a club focussed 7” split release of vinyl only material.
‘Needles’ is an assuredly buzzing, thumping, murky dancefloor cut, with turbulent scribbling frequency shifts adding extra heft to the bristling bass thuds. Following his own triumphant return to rave modes with his latest album Steep Stims, Clark delivers the frenetic ‘Poland RYTM (Live Take 2023 Mix)’, constantly morphing with sharp, snapping sounds, and a curious blend between acid squelch and chiptune beep melodies.
“From gently weaving melody to gale force rips and tears, The Eternal Present shows Mark Van Hoen at all angles of his sonic practice”.
White label with a postcard

Presenting the third thematic volume on the “Aquapelagos" series - a collection of split LPs where selected artists offer their own take into water surrounded cultures and communities. After the initial release of the Anthology compilation Aquapelago in 2022 (Discrepant ,CREP91) and the split LP Atlantico by Lagoss & Banha da Cobra (Keroxen, KRXN027) as well as the direct collaboration LP Índico by Mike Cooper & Pierre Bastien we proudly introduce an the third volume in the series in the shape of no other than two inspiring artists, Vica Pacheco and Pak Yan Lau. Two different sound journeys inspired by the majestic and peaceful Pacific Ocean, the vastest, largest and deepest ocean of our planet.

Vica Pacheco’s composition takes a calm meditation approach where water flutes and synths brush shoulders to create a ever expanding mind journey whereas Pak Yan Lau’s ambitions Neo classical piece, The Ocean in Us, talks about that grand overwhelming feeling, that vast space deep under, on the bottom of the Pacific. Both compositions were recorded and created with the particular wet acoustics of the Tank in Santa Cruz de Tenerife in mind.

From Philip Hayward and Matt Hill’s liner notes: ‘’The Pacific is a complex space, comprising a third of the Earth’s surface. A cascade of islands runs along its eastern flank, down from the Kamchatka peninsula, through Japan, Taiwan, The Philippines, Melanesia and on to Australasia. In its watery heart the islands of Micronesia and Polynesia stretch across huge distances, north-east to the Hawaiian archipelago, south east to Rapa Nui and south west to Aotearoa and Chatham island. Closer to the shores of the Americas lie Tierra del Fuego, the Galapagos Islands, Haida Gwaii and the Aleutians. This is a space that resists easy characterisation. The Pacific laps the shores of Japan and Chile, the beaches of Australia’s East Coast and the cold, damp coasts of British Colombia and Alaska alike. Indeed, the space is so vast that it is a world in itself and one rarely navigated in its entirety. In this manner, strands of genres and the songs that reflect them are components in an intricate mesh of associations.‘’ Philip Hayward and Matt Hill, April 2022

A brainchild of YAKO440 & GODBODY108, 'Dub In Full' began with a series of studio visits between two artist-musicians who saw themselves reflected in each other's work. From those early conversations came an idea rooted in instinct and a shared reverence for musical innovation: a mighty dub reinterpretation of golden-era hip hop classics.

MIO: Memories in Orbit is one of 2026 best games so far. With a synthwave-induced melody, blissful choir voices echoing the main theme of the game, buzzing electronic noises and a hint of groovy patterns, this track captures the very essence of the game. Reminiscent of other iconic OST like Power Glove’s Far Cry 3: Blood Dragon and Ben Prunty’s FTL: Faster Than Light.

2026 Repress


The overexcited young men at the Droid factory up the beats per minute and channel the spirit of other sensible chaps a la John Belushi, River Phoenix and John 'I chose the best exit' Entwhistle on our latest audio laboratory assault. Less terminal, with careful use, perhaps, than a fat fully loaded speedball, we hope man and beast find some musical justice or bemusement in the latest hoedown on offer. We have various takes at various tempos, so bar mitzvah's, weddings and indeed acid house events should be covered for those game enough to get on the Droid bucking bronco....

Enjoy the relaxing, meditative sound of Droid !

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
The word 'classic' get's bandied around a lot when talking about certain records, artists, labels etc but rarely is it truly justified. In the case of the monumental slab of NYC deepness that is 'I'll Be Your Friend' we feel the tag is genuinely justified. Originally released in 1991 on the RCA label the track has been one of house music's most enduring anthems. Literally one of the deepest tracks out there, it's combination of Owen's vocals paired with the stellar production techniques of Def Mix's David Morales (and THOSE drums) is such a heady combination that the record crossed over so many scenes and to this day remains an evergreen staple in DJ's of all persuasions bags. Featured here we have all the original mixes (with the exception of the shorter radio edit) in their original forms. The record sounds as fresh as it ever did, the sort of track that never dates and will always fit into a set, the very definition of a classic.
Legitimately re-released with the full involvement of RCA records for 2017 and remastered from the original sources specially for Mint Condition by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!.

Made across 2024 between London and Amsterdam, WITH A VENGEANCE (or WAV for short) is the sound of uptempo catharsis, of SHERELLE making sense of a turbulent and difficult moment in time in her personal life. Determined to write one track a day, the studio became a safe space for SHERELLE to channel anger and feelings of betrayal, her hard and fast club tracks turning darkness into the cerebral joy of overcoming adversity. From those intense daily writing sessions has emerged a sharp, finely-crafted 10-track LP that is powered by fierce feminine energy and reflects the hard/soft and light/dark dualities of the dancefloor and life itself.

WITH A VENGEANCE is also a rally cry for the 160 scene, designed to push the tempo in new, exciting and as yet undiscovered directions. Inspired by SHERELLE’s foundational influences such as Kode9, Scratch DVA, Machinedrum, Lone and SBTRKT as well as the soundsystem-shaking groove of grime’s R&G sub genre, the album is designed to change perceptions of what 160 can be. But don’t get it twisted: this isn’t a concept album. WAV is for the dancefloor, delivering shades of London, New York, Detroit and Chicago in ways that are guaranteed to raise gun finger salutes.

A milestone in electronic music, is finally receiving its well-deserved re-release: Liaisons Dangereuses' legendary self-titled debut album still fascinates today, through its innovative sound and the mystery encompassing it. Since its release in 1981, it has become a classic in electronic music. The 10 electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) - reinforced by Krishna Goineau's French and Spanish Speech-Attack-Lyrics - created a unique style. The album - anything other than a Berlin or Düsseldorf 'thing' - was propelled to an international favourite. Songs such as 'Peut Être... Pas' and 'Los Niños Del Parque' played a decisive role in the development of Detroit and Chicago's house sound, as well as various forms of European techno

Alex Kardo was initially a choreographer and dancer for Riccardo Cioni, with whom he shared his most important successes in the 1980s (he is one of the two dancers dressed in red in Cioni’s legendary video “In America”). He is still very active today as a dancer and singer.

In 1988, he released “Music Flying”.

This 12″ 45rpm, in addition to the original and instrumental versions, includes a powerful Chicago house (Ron Hardy… / Electro Italo remix by Delphi, one of the Tiger & Woods who has a drum machine instead of a heart and who has been setting dancefloors in Rome and beyond on fire for over twenty years. Also included is a house version by Kardo’s loyal friend, DJ Alex Gomma.

Earth Running, originally released in 1979 on the Tappa's Stars label, can be considered the Jamaican's toaster's maturity album. Lyrics here are rooted in the "ghetto life" as always. A work with an international flavour: On Side B, two convincing dance tracks, the anthemic funkfest "Freak" and "One More Chance", often championed by DJs in the following years. A work that explored new territories, a mandatory re-issue for all authentic reggae lovers.

“Crazy Funky” marks the official debut of Tommy Soul as a producer — a track born from the desire to blend the groove of 80s funk and disco with a contemporary sonic approach. A warm, dominant funky bassline drives the track alongside a vintage-flavoured, punchy drum groove, supported by modern electronic synths and sound details that firmly place it in the present.The lyrics and vocal melody sung by Tommy Soul, reveal an unexpected falsetto, especially in the harmonic tension of the hook “make me crazy!” The goal was to reinterpret the spirit of original disco productions and bring it into a modern, more electronic and club-oriented dimension, while preserving the analogue soul and authentic warmth of the sound. The result is a track with a strong character: a relentless bassline, gritty vocals, an infectious groove, and an energy built for the dancefloor.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Three entrantRBIserves up a tweaked-out psy-not-psy cut with a built-in spin-back upending the room, beforeUnsolicited Joints- siblingsCousinandBen Fester- slide in with a deep dub techno shuffler. Tokyo mainstayHarukaseals the side withEventide, a serotonin-tipped house curveball made in collaboration with Rotterdam'sCharlton Bakeliet, one of the last internationals to grace the Mercat X booth.

The B-side blooms withOK EG's zoned, psychoactive techno, handing over toHybrid Manto diffuse the tension with their morphing dubwise excursion.Yuzo Iwatacontinues his uncategorisable strain, self-described as EPM (Electronic Psychedelic Music), marked by Japanese ingenuity and free of genre boundaries. Finally,Sleep Dround out the set with a rogue link-up withPosseshot, a raw and adrenalised raver laced with a vocal that snarls closer to The Prodigy than hip-hop.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Melbourne / Naarm stronghold Butter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Two lifts off with recurring contributor Rory McPike's first label outing as Rings Around Saturn, a blissed-out cosmic floater skimming the periphery. Booked in the early days of the label's formative Mania residency, Japanese don Gonno twists freestyle, techno and breaks into pure ecstasy, before the unerringly bold Jennifer Loveless spikes the punch with a hallucinatory mix of drums, disembodied voice and jazz club keys.

On the flip, Boorloo's Guy Contact rolls out Dance In The Grey, a shadowy prog churn pitched between new-romantic vocal sheen and EBM muscle, with Kate Miller completely rewiring the script on Sub Series E - a masterfully minimal, double-time meditation. suki presents his Sniper1 alias to close with a demonic body-jacking groove loaded for the system.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Already in its title, Plume Girl’s debut thoroughly lets things go and takes them in – all at once. “In the End We Begin” is the first solo full-length from Sowmya Somanath, a Hindustani classical singer/composer and half of alt-pop duo Felt Out. Plume Girl’s music takes inspiration from the semi-regular musical form of the rāga (translated as ‘tinting’), invoking mood and atmosphere, each rāga thought to have its own distinct nature and personality, brought to life through improvisation. String swells and Somanath’s searching vocalisations envelop every track’s own blissful chamber. Exploring imagined binaries along the way — eastern vs. western, traditional vs. experimental, acoustic vs. electronic, Sowmya sees music as a curious dialogue between divine Self and an invisible reality. Beneath the illusion of a chromatic world, there remains a blissful oneness.

Plume Girl’s songs sit between ambient Hindustani music and emotionally-encumbered pop. In front of backdrops comprising sundrenched drones or glitches, sketched out beats, and criss-crossing glissandi or flutes, Somanath both murmurs intimately and spirals upwards into soaring choruses. The lyrics ponder innermost thoughts, never more literally than on the blissful emo folk closing track: ‘In my heart I know / what’s in my heart / I know what’s in my…’

“When I began writing this music, I was fresh off of an experience that completely twisted my reality,” explains Somanath. It was the end of a years-long relationship, and the blossoming of a long-buried love hidden in plain sight: “a best friend of a decade, my musical partner, someone who had always seen me completely…At once, I felt grief and loss. At once, excitement and love.”