Suche:cut up

John Devecchi is The Owl and is well known to disco and funk heads for several great EPs and his superb Concrete Funk album from 2021. This one opens with 'I Can't Stop', which is a playful number with a deep funk vocal and big horns. 'Bad Bad Feelin' has a country feel with guitar picking and harmonica that infused the low slung beats, and last of all is a deep cut sound that is enriched with jazzy horns and lively funk vocals a la Parliament and Fatback band. All three of these will bring colour and charm to grown-up dance floors.

With CAPTAIN, BNXN takes the wheel. The Nigerian singer-songwriter has always blurred the lines between afrobeats, R&B, and soulful introspection—but this time, he’s driving with full control, no co-pilot. The album marks a defining moment for BNXN (pronounced "Benson"): a confident, fully-formed statement from an artist who’s learned to trust his instincts, sharpen his pen, and follow his own creative compass.

From the cinematic opener to the late-night confessionals tucked between glossy hooks, CAPTAIN feels like a diary written at cruising altitude. BNXN threads personal stories through rich instrumentation—balancing Yoruba and English lyrics, weaving between amapiano pulses, stripped-down ballads, and smoky alt-R&B. Standout moments find him unpacking fame’s isolations, questioning loyalty, and wrestling with what it means to lead without losing yourself. There’s growth in every verse, not just in what he says, but how he says it: sharper, more intentional, and wholly unafraid to take risks. This is BNXN unfiltered—charting new territory without ever losing sight of home.

To celebrate two decades of passion, innovation, and dedication to underground music, Playbeatz Labels Network proudly launches "Tribe", a new compilation project that pays tribute to the artists and sounds that have shaped its journey.
For over 20 years, Playbeatz has been a platform for creative freedom and genre-crossing experimentation—championing independent voices and uncovering unique talents from across the electronic music spectrum. "Tribe Vol. 1" is the first chapter in a special series of releases that reflect the label family’s diversity and forward-thinking spirit.
Kicking off with a limited edition vinyl, Vol. 1 features four carefully curated tracks by long-time Playbeatz affiliates —each bringing their unique sonic identity, from house to melodic textures, tech tools to soulful grooves.

A1. Erly Tepshi – Dreamer Emotionally charged and atmospheric, a deep dive into the melodic house realm, “Dreamer” wraps a haunting male vocal around lush synth lines and hypnotic rhythms.

A2. DJ Simi & Antonio Grassia – Nuestro Fuego With its driving groove and minimal yet powerful arrangement “Nuestro Fuego” is crafted as a peak-time tech and house tool. The track is all about raw energy and club efficiency.

B1. Mind The Gap DJs – Eclipse Of The Soul This old-school house jam delivers uplifting piano riffs, classic drum programming, and a timeless sense of groove. A heartfelt homage to the golden era of house, reimagined for today’s floors.

B2. Giomini & Marcus Raute – Tape Sweat A fresh and summery house cut with shimmering grooves and playful percussion. The track recalls the clean, infectious style of Deetron, blending crisp drums with melodic finesse. A pure dancefloor delight for the warmer seasons.

Biz brings the heat to Subjekt for a second time here with another textured EP of acid-laced techno. Various different moods and tempos are explored, with 'No Way Back' tapping into the original Chicago jack vibes of the track with the same name with prickly 303s and bristling percussion. 'No Turning Back' is deeper and more roomy with eerie distant bells and molten acid lines, 'Feel The Flow' brings some widescreen synth landscapes that are rather serene but for the menacing acid which gurgles in the foreground and 'Charlotte' cuts loose on a more fluid and uplifting slice of deft groove magic. 'Way Too Hard' closes with a mix of punchy drums and reflective chords that encourage your mind to wander.

Welcome to the first release on Acid Lamour
A sub label for Lamour Records started in 2018 with a focus on techno and acid dedicated DJs. Releases are limited to 303 vinyls, no re-press.
Anders Ilar and John H are no newcomers to the electronic music scene.
Born in 1973, Anders Ilar began his explorations of electronic music in the mid 80s. Growing up in the small town of Ludvika in Sweden, Ilar spent all of his spare time playing with synthesizers, drum machines, keyboards and sequencers, learning the ins and outs of analogue and digital sound and music creation. Inspired by the early industrial and EBM wave he formed several bands with friends, started playing live shows
at smaller local parties, and released several demo tapes in very limited quantities. In the 90's he gradually shifted his creative influences towards ambient techno and acid and also started to DJ. He started using computer software to produce his music around 1999 and his first vinyl EP was released in 2001 on the german label Plong!, soon to be followed by
many more releases on labels such as Shitkatapult, Audio.nl and Echocord.
Developing his own flavor of deep minimal dub techno and ambient he gained critical acclaim with his album Nightwidth (2006) for Narita Records in the USA. Followed by highly appraised album Sworn on the german label Level Records in 2008. Ilar has also made remixes for celebrated artists such as Apparat, Mikkel Metal and Ripperton and has
appeared on numerous compilations and DJ-mixes. He's performed live on stage through-out most European countries and Japan, as well as doing a small tour with Notch Festival in China in 2008.
Up to 2018 Anders Ilar has produced 13 albums and 25 vinyl EP's and performed in over 15 countries.
Born in 1984 and based in Gothenburg. John H has been DJing, as well as producing tracks, since the late 90s, with Anders as his mentor and teacher, giving John early musical influences spanning across a wide range of genres, from Swedish techno to IDM, Cologne acid craziness and
the sound of Chicago house tracks. The musical output of his DJ-sets usually varies between techno, house, acid, electro and everything in between, depending on the time and location. John has performed on several locations all around Sweden, but also done appreciated gigs in other European countries at clubs like Tresor and Culture Box, and his music has been featured in sets by DJs such as Sven Väth, Adam Beyer,
Joris Voorn, Dense & Pika, Cari Lekebusch, Alan Fitzpatrick, Karotte,
Gregor Tresher, The Hacker and many more.
Coming For Your Tongue EP is Anders and John's 4th collab release, after
acclaimed releases on Flight Recorder and New York Haunted, recorded
during a jam session at John's studio in Bergsjön outside of Gothenburg,
Sweden, using a small setup of analogue synths and drum machines such as
the Roland TR-606, TR-808, a Devil Fish modified TB-303, Minimoog Voyager
and the Arturia Microbrute. After recording Anders spiced things up by
cutting and puzzling loops as well as adding extra effects and drums.

Limited edition of 303, no repress. Vinyl exklusive for 3 months

Next up on The Underground Pulse, we’re thrilled to announce our second vinyl release:

Party Mood EP by the talented Italian artist YU (@ruggieriyuri).



This 5-track release captures YU’s signature versatility and vibrant energy, featuring four deep, club-ready cuts pressed on wax:

- Fantasmagoric
- Selecting Moments
- Party Mood
- Up Rainbow

We’re incredibly excited about this release and deeply grateful to all the DJs and selectors already supporting it in their sets.

The Finnish imprint Vuo Records continues its exploration of deep dub techno textures with Split Dubs Vol. 2, an essential follow-up to the series that bridges timeless atmospheres and dancefloor-focused grooves. This time, Gradient, Star Dub, and label-head Tm Shuffle join forces for four heavyweight cuts that perfectly capture the label’s raw, analog spirit.
Gradient opens the record with “Stone Jungle”, a masterclass in restraint and tension, the kind of dub techno that feels alive in its own pulse, crafted from only the bare essentials yet rich in texture and movement. Tm Shuffle’s Housedubreshapes the original with reverb-soaked accents and elastic low-end energy, turning it into a deep, head-nodding trip tailor-made for late-night systems.
On the flip, Star Dub delivers “Rubber Dub”, a funk-infused roller driven by breaky percussion, floating echoes, and a deep-rooted bassline that vibrates straight through the chest. Once again, Tm Shuffle takes the controls for the remix, pushing the dub dimension even further: thick layers of delay, washed-out atmospheres, and sub-heavy pressure built for those endless outdoor jams and sweaty basement sessions.
Split Dubs Vol. 2 embodies everything Vuo Records stands for, authentic, handcrafted dub techno from Finland’s underground. Warm, analog, and irresistibly groovy, this record continues the label’s commitment to pushing deep frequencies into new, soulful territory.

As Moxy marks an incredible seven years as a trailblazing label, The label unveils Moxy Editions 9 — a four-track collection that captures the spirit of his DJ sets and the global energy of his dancefloor community. Already a highlight of the summer season, these records have been making serious waves across Ibiza and beyond.

At the heart of the release is “Gypsy Woman (Moxy Edit)” — a track that started as a spontaneous edit for Darius’s own sets and quickly took on a life of its own. With re-recorded vocals from Holly Jazz and official publishing clearance, the track has become a defining anthem of the year.

From DC-10 to clubs across Europe, the record has been met with full-room singalongs and explosive reactions. Early support from DJs including Prosper and Liam Palmer has further cemented it as one of the most in-demand edits on the circuit. Now officially released, “Gypsy Woman” arrives on vinyl, just in time for the label’s milestone birthday.

Next up comes a standout comes from Harry Collett “Check up”. A longtime Moxy fan and emerging talent, Collett’s production has already earned support from MK and a growing roster of influential selectors. “Harryette” has been a staple in Darius’s summer sets, marking Collett as one to watch.

Also featured are two more highlights from the summer — “Tengo La Musica (Crackazat Remix)” and “Never Let You Go”, both driven by irresistible samples and undeniable grooves. These cuts embody the energy and emotion of Darius’s signature club sound — upfront and built for the dancefloor.

2025 Repress

The mighty Falsetto voice of Mr Cornell Campbell is another we believe, unsung hero of the Jamaican music scene. Who in our opinion should have broke through to a wider audience, than his cult status currently provides. We have unearthed straight from the master tapes an album that was due for release around the mid 70’s. A few of these cuts, found their way out on limited 7”s, that were mainly for the domestic Jamaican market. But as a complete body of work, never found a release until now. We hope like us, once you have played the tracks, you will feel that this set of cuts, stands up amongst Cornell’s finest work. Cornell Campbell (born 1948, Jamaica), made his first recordings in the early 1960’s for Coxone Dodd at Studio 1. Tracks like ‘Under the Old Oak Tree’, ‘My Treasure’ and later as a duo with Roy Patton ‘Salvation’ and ‘Sweetest Girl’, were local hits on the Jamaican Sound Systems. A short spell with the Uniques was followed by his roll as lead vocalist with the Eternals, under the monicker of Don Cornell. Their finest moment being the classic ‘Stars / Queen of the Minstrels’ cuts which still stand up today as some of Jamaica’s finest.

The 1970’s saw Mr Campbell move on to work with producer Bunny ‘Striker’ Lee, for whom he cut most

of his big tunes. He and fellow singer Johnny Clarke, would become Bunny’s 70’s equivalent to his 1960’s stable of singers like Slim Smith, Pat Kelly and Ernest Wilson. They would provide the voice to his many hits of the day. Bunny not being called ‘Striker’ for nothing. Cornell also had a series of hits around his theme as the ‘Gorgon’. The mighty figure unbeatable at the dances in the Greenwich Town district of Kingston. ‘The Gorgon’, ‘The Conquering Gorgon’. ‘Natty Dread in a Greenwich Farm’. These were all firm favourites at the dances in Jamaica. He also worked with other notable producers around this time. Winston ‘Niney’ Holness “I Heart is Clean’, Tappa Zukie ‘Follow Instruction’

and culminating in a massive hit ‘Boxing’ in 1979 for producer Joe Gibbs. But it was his time with Bunny Lee that set the levels for his record output. This unreleased album is from this period in time, when Cornell Campbell never sounded sweeter......

Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.

Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.

'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.

'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.

Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.

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

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

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

Nick Beringer comes through with *Out Of Zone*, straight-up Berlin house heat—tight grooves, deep vibes, and cuts built to lock the floor all night. No fluff, just raw energy for the heads. First drop on Phonogramme’s new sub-label, lifted even higher with a killer remix from Janeret.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

Raw booming electro cuts by Dutch Detroit legend Orlando Voorn, who follows up 2023's 'Outerworld' with his second TRUST release.

Now a regular on the label, scene stalwart Chronicle continues his joyful journeythrough a landscape of dancefloor-friendly atmospherics.

A1 - Air Temple

Chronicle opens the EP with Air Temple, an immensely playful track with a superb 2-step hot pants break, programmed superbly with layers of depth generating anenergetic and immensely danceable tone, following the deliciously smooth late 90'sGLO-style intro. Lush female vocal samples perfect for the vibe are present and correctwhile micro melodies pan across the mix adding a wonderful texture.

A2 - Everblue

A delicately ominous intro with pads, whooshing samples and rustic synths precede adensely crafted slew of old-school analogue breakbeats laid in a subtle arrangement,bringing a blend of energy perfect for dancefloors and home listeners alike. Vocalsamples are programmed and twisted like instruments as Chronicle embarks on aspace odyssey with memorable melodies you'll keep discovering listen after listen.

AA1 - Encarta

Next up we have Encarta, which sets out intentions quickly in the introduction with abouncy, clean breakbeat which is quickly bolstered by a superb 2-step old school drumloop to create a pulsating energy. A myriad of samples are collected and fleckedthroughout the mix, while Chronicle's editing techniques mimic a skilled DJ cuttinganother break in and out to satisfying effect towards the back end of the main phases.

AA2 - Angular Momentum

Closing a diverse and uniquely atmospheric EP, Chronicle opens Angular Momentumwith a patchwork of synths and pads, ushering in a serene, simple high note melodyabove the driving breaks - detailed with distinctive cymbals that give the track's nameserious validity. With a slew of samples darting in both the foreground and backgroundfor the listener to enjoy, this is a piece which will live long in the memory.

Words by Chris Hayes (Spatial / Red Mist)

Wasteland EP - debut solo from Tomie - six cuts running from electro to techno - 808drive, rough edges and stripped to its core.

Berlin-based, half Italian and half Moroccan. Runs the /xex label and the project torcidas mentes. Produces electro, techno, and EBM. Plays both live and DJ sets. Upcoming releases on Sismo 005 and XEX 002.

New York-based producer Kurilo opens Tripsitter Records’ debut vinyl with "Take the Excitement", a hypnotic blend of rumbling bass and spacey synths. It's an immersive soundscape, perfect for both psychedelic journeys and late-night afterhours.

Next up, KVRK delivers a mind-bending techno cut—an intense, pulsating ride that feels like crossing an event horizon. Relentless and otherworldly, it transports listeners into uncharted sonic territory.

On the flip, Spain’s T.S.O channels '90s tech house with a bass-heavy roller full of nostalgic flair and modern groove. It's a confident dancefloor weapon, bridging classic vibes with a contemporary edge.

Closing the release, Jubley shifts into darker territory. With punchy percussion and eerie textures, his track oozes tension and atmosphere. A bold departure from his usual style, it’s a gripping end to a standout first release.

Berlin-based Amy Dabbs makes a long-awaited return to Shall Not Fade with Green Room EP - four uptempo club heaters spanning UKG, high-energy house, and breaks.

The EP’s title pays homage to Renate’s Green Room, the floor within the renowned Berlin club where Dabbs has held her residency since early 2023. Each track was both written for and road-tested at her monthly Dabbs Traxx events in this space, where she’s cultivated a tight-knit community of UKG lovers in the heart of Berlin.

“When I started writing this EP, my goal was to create music that would fit perfectly into my nights in the Green Room, bringing in the London sounds I grew up on, across all the genres I usually play at Renate. This EP is a tribute to everything Renate has given me: opportunity, community, and a platform for my authentic UK sound.”

Opening track Take Me High launches straight into peak-time territory, with old-school-inspired rave stabs, staccato vocal flicks, and deep, subby basslines. Over You turns the heat up even further - a track built from choppy vocals and UKG basslines before melting into a warm chord progression; a perfect example of Dabbs’ ability to fuse high-energy rhythms with spine-tingling emotion.

On the flip side, Style & Pattern, featuring the signature tones of London’s Alfie Fraser, is a pure UKG cut - underpinned by lush pads and arpeggiators, topped with Alfie’s unmistakable live vocals to create an uplifting dancefloor heater dripping with London swagger. Closing the EP, The Way delivers a tear-jerking breakbeat finale, layering syncopated percussion, emotive vocals, and an old-school piano breakdown; it’s a sublime end-of-the-night moment and a fitting closing track for an EP which honours one of Berlin’s most beloved clubs.

‘3' saw the core Lifted duo of Max D & Matt Papich unravel their visions of excess into their most divergent and wide-eyed collection to date. Presented here by Peak Oil in a vinyl edition featuring the painting of Jordan Kasey (yes, related to Martin Kasey, saxophonist on 2019’s LP 2) and packaged for a seamless listen.

First scene ‘Chefs’ places us squarely off-center, landing in a cinematic environment that feels a bit like steadycam Luis Bunuel , wine bottle whoo-ing and horn fanfare. Its music without a hard surface, defined more by its fluidity and characters, found sounds and performed dialogue. “Cymbecko” shifts gears into blissful ambient dub, and paves the way for a Luke Stewart led excursion into the uncanny that is ‘Trip Tongue’. Stewart’s upright bass never stops seeking, while Jordan GCZs Rhodes barely touches down before lifting back up into and out of Jacob Long’s (Earthen Sea, Esau) liquid tone sheets. An outside world of percussion accompanies.

The mood morphs and the scene cuts in hard with “Born in the Roof”, slacker techno that grows shimmering parts, Perlon for potheads. Voiceover slacks right with it, a half-convo caught in the billowing chorus of fx. “Macarena” snaps things into focus, working almost like an open window to airing out the heady fog. Simplicity in the vignette.

After “Mecha Perfume & Variety”, “Snow Dancing” reignites the drama, with burning guitar by Jonny Nash taking a plucky and sliding lead over wildly fused drums by Max D, we get a test of new depths for Lifted with the somber and exuberant “Whipped Cream”. Crackling like a radio but with modern propulsion in the form of richly evocative pads courtesy of Motion Graphics, it sounds like a dinner, a space trip, a storyboard, a scene, threaded together in bouncing, oblique ways.

"Bobby V" drops refreshingly, timed like a credit roll and leaving an afterglow that feels more tuned-in than ever.

Players on this album include: Luke Stewart (Irreversible Entanglements, Blacks Myths), Jeremy Hyman, Jonny Nash (Melody As Truth), Jordan GCZ, Matt Papich, Josh Levi, Mezey, Hirama, Dawit Eklund (1432 R), Motion Graphics, Max D, Jacob Long (Earthen Sea, Esau)




d 4.Born In The Roof Radio Mix
e 5.Macarena Radio Edit

Quartz is a respected drum & bass head with a precise and minimalist - but always cinematic - production style and that's clear again on this new one for Droogs. The A-side features solo cut 'Duplicity', which is a stark and electrifying trip into drum & bass darkness with tight basslines and subtle shifts that prove less is more. The B-side, 'Black Prism,' sees Quartz team up with Overlook for a throwback to raw 90s techstep and all the tight but manic breakbeat action that comes with it. It's a tune of unrelenting tension that resolves into an unexpectedly serene close. Sophisticated stuff from all.

Turbo Recordings is proud to present the revival of German techno giant Gregor Tresher’s Sniper Mode alias with the Riot Gear LP. We have been promised that this release will usher in a Golden Age of Electro in which we will serve at the right hand of the Lord for a starting annual salary of €43,000. Not bad.

Riot Gear showcases Tresher’s established production genius over 11 cuts of S-tier electro marked by menace, depth, and sharp melodic hooks. Lead single “Blinded by the Dark” is a collaboration with Dave Clarke, the most respected man in electro and perhaps just in general, and features the most punishing drop in recent memory. The album also includes standout vocal contributions from Detroit techno pioneer Jay Denham (“Sanctuary of Vices”), Miami Bass kingpin Exzakt (“Echoes From a Wasted Land”), dance-world enigma Kira (“Phantom Pain”), and Turbo favorite Perel (“Modesty Is a Virtue”). We would argue that this album represents a landmark achievement in the genre, which you have to admit would reflect pretty well on us as a label.

It is not every day that Turbo Recordings embraces the responsibility of husbanding a full-album release, and you should know that it comes as a cost. The additional listening time, track title typing, and intensive download/upload workload have pushed our dedicated staff of 90 to its breaking point. We have a lot going on over here.

Drumcode launches a new V/A series ‘DC4’ inspired by their popular A-Sides compilations. ‘DC4’ showcases a quartet of sure-fire heaters from the label’s extended family of artists. The EP features two mainstays of Drumcode, Timmo and Mark Reeve, while fleshing out the techno sides of Kaufmann and Goom Gum (in collaboration with rising London artists RDNK) after they debuted on Truesoul in recent times. Kaufmann’s curiously titled ‘Broncho’s Sandman’ kicks things off, a punchy slice of dancefloor tackle marked by a catchy vocal line, with a foot in techno and progressive alike. Timmo follows up last year’s tidy contribution to A-Sides Vol.13, with a technicoloured techno cut that bubbles with bags of personality, as any cut titled ‘Miami Vice’ should! The Bulgarian has poured plenty of hours into the creation of the track, which espouses an otherworldly celestial energy. It's been four years since Mark Reeve’s last contribution on Drumcode, with the excellent mini album ‘Breathe’. The Frankfurt-based British producer makes a timely return with the storming ‘Stop, Go’, that fuses together elements of techno, hard trance and pop for an inspired five minute dancefloor workout. Goom Gum & RDNK team up for the first time ‘It’s Time To Get High. The track begins life as a crisp melodic cut, before transforming into a trippy slab of psychedelia in the second half. This is begging to be rinse in an outdoor party setting.

2025 Repress

"Cake" was a New York band formed in 1973, following a line-up tweak and a change from their previous name "Mixed Company» (referring to the racially mixed personell). At Arabellum Studios in Colony, Albany, NY, the band recorded their only 7-inch single. "Make Up Your Mind" / "Let Your Body Go» was released on Key Records in 1979.



Half a life time later, after appearing in DJ mixes and online auctions in the late 2000s, the single started gaining notoriety among DJs and diggers. Working its way up to "holy grail" status on the modern soul and disco collector scene, original copies of the sought after record would eventually sell for as high as $1000.



In 2012, Hans Jørgen Wærner (Mutual Intentions Co-Founder and notorious disco collector) got in touch with Arabellum studio owner Art Snay who produced the record. This lead him to lead singer Bob Treffiletti who had a cassette tape with unreleased long versions of the songs. The sound quality of the tape was not adequate for what Hans had in mind, and so the hunt for the original master tapes began! Unfortunately, Art Snay later passed away. At one point chances of finding the original recordings seemed so slim, the project was all but abandoned….



Luckily, Bob managed to get hold of the master tapes via Art's wife and they were sent away to legendary disco mixer / remixer John Morales, who transferred the tape to digital format. After several rounds in one of Norway's best mastering studios (Strype Audio), noise reduction and sound surgery were done while retaining the soul of the original recordings. The songs were finally ready to be pressed on the format they have always deserved: the 12-inch disco single!



The 12-inch comes with four 5 min + long songs and can be pre-ordered now. The high-quality lacquer cut pressing is produced at Optimal Media in Germany and limited to 300 copies worldwide.

GATEFOLD VINYL 2LP - TRANSPARENT BLUE + ORANGE, A2 Colour Poster, 5x Film Set Photos, Flexi Disc, Sticker Sheet

Blurring the lines between fiction and documentary, the seminal film Wild Style, directed by Charlie Ahearn and developed alongside Fred Braithwaite aka Fab Five Freddy, offered an iconic snapshot of the emerging New York hip hop scene in the early ‘80s. Considered one of the first hip hop films, it documents the styles, culture, attitudes, and most importantly, the music of this evolving era. The accompanying soundtrack remains one of the most influential in hip hop history, featuring a who’s who of artists who stood out during the movement’s nascent block party days.

“Making hip hop’s first and most beloved feature film, Wild Style, with Charlie Ahearn and creating the original music is one of my proudest accomplishments.” - Fab 5 Freddy

In celebration of Arrow Films restoring the original Wild Style film in 4K, Mr Bongo is proud to present this special-edition reissue package. The release comes as a double LP pressed on transparent blue and orange vinyl, offering a freshly curated tracklist that brings together the finest songs from previous editions, the full sought-after instrumental album, and Kenny Dope’s top edits. Also included are an A2 colour poster, five film set photos, a flexi disc containing Fantastic Freaks Live at the Dixie, and a Wild Style sticker sheet.

Originally released on Animal Records, founded by Chris Stein of Blondie fame, the soundtrack focuses on the hip hop scene as it evolved from the streets to the recording studio. Co-produced by Stein and Braithwaite, it features the Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself Busy Bee, and the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks, to name but a few. The music offers a transportive glimpse into the streets of the South Bronx, capturing the free-form, roaming nature of the film - it’s rough around the edges, but utterly absorbing.

Behind those foundational voices of hip hop’s first wave was a selection of backing beats that have underpinned and influenced the genre ever since. Easily mistaken for lifted breakbeats from old records, the songs on the Wild Style soundtrack are all unique creations. Overseen by Braithwaite and Stein, with Stein also on guitar and effects, they were intended as a homage to those early breakbeats. Drummer Lenny “Ferrari” Ferraro, who played for Aretha Franklin before emerging on the punk scene, and bassist David Harper laid down many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound.

Over time, the Wild Style soundtrack, with its Charlie Chase and Grand Wizard Theodore scratches, recurring sounds and motifs, and indelible lyrics, has become a hip hop touchstone: endlessly sampled and referenced, the bedrock of so much music to follow. It perfectly encapsulated the essence of the film, the scene, and hip hop’s emergence from the Bronx to the attention of the wider world. It was, and remains, the blueprint.

Esteemed soul man of Panama Mr. Ralph Weeks has in recent years been enjoying a much overdue retrospective of his remarkable six decades-long musical journey with the help of Names You Can Trust. Now onto their fifth record release together since 2019, the label has covered both Weeks' original holy grail material as well as re-cuts and reimagining of some of his rarefied and unreleased songs.

One of Mr. Weeks' two iconic 45 releases on Panamanian label Sally Ruth was a funky soul side called "Let Me Do My Thing," originally recorded in 1971 as Weeks' answer to Charles Wright's big tune "Express Yourself," which had just hit the airwaves in 1970. Weeks' musical response would help define his legacy. He was gonna express himself, he was gonna Do His Thing. This golden age ultimatum recorded with the Dynamic Exciters of Panama as the backing band was a simple, straight ahead number with a defining message that would be carried on throughout Weeks' independent career. The funkified air and creative freedom of the original tune is a prime example of the crossover Combos Nationales sound that flourished in the prolific Panama recording industry of the era, and in the ensuing decades Weeks' tune would live on as a cherished rare groove for souleros, funk fans, and bootleggers alike.

Fast forward to 2023, when Ralph Weeks and Names You Can Trust prepared for a Bay Area appearance at the wonderful Latinos Con Soul weekender put on by San Francisco's Discodelic record shop, the groundwork was laid in the studio for a revival, a reawakening of Weeks' funky fan favorite. A spectacular ensemble of NYCT's All-Star artists and alumni was convened in the studio, including Caito Sánchez on drums, Victor Axelrod (Daptone Records) on clavinet and Sam Day Harmet (La Banda Chuska) on guitar. Anant Pradhan (The Skatalites), Eric Biondo (The Budos Band) and Alex Asher (Los Cumpleaños) occupied the brass section, and Ralph Weeks even lent his still formidable chops on electric bass and keyboards, a little OG flare to back up his silky voice with a deft musical touch. What came out of the sessions was a chance for NYCT to pay homage to Weeks' iconic original, without replacing it, and build a brand new version from the ground up with the maestro and composer himself!

Marking its 10th release, Sounds of Sirius Music presents a deep, curated journey from a constellation of close producer friends, each adding their own energy to the label’s evolving sound.

The record opens with Akela's hypnotic Ritual33, followed by Daniel Meister, who delivers his signature minimal groove. On the flip, rising New Zealand talent Isaac Denny teams up with label founder Herman Saiz on a track that blends raw expression with a refined touch.

LUKEA closes the release with a deep, laid-back, galactic cut that lands the record with style. A milestone release shaped for introspective moments and late-night floors alike.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

Sicily's SLV is able to merge technical mastery with emotional resonance. His potent techno sounds have come via the likes of SHWD's Mutual Rytm and Slam's Soma, and unite timeless yet forward-thinking sonics.
On 'Fleeting Dreams', he continues to refine his signature sound while channelling introspection and intensity into a collection of meticulously crafted cuts that balance precision and feeling, energy and space. Each track reveals a different side of his sonic identity: hypnotic rhythms intertwine with evolving soundscapes, while layers of distortion and melody merge into a dreamlike tension between the mechanical and the organic.

'Fading Moments' kicks off with a sleek blend of driving, supple kicks and warm synth ripples, while a euphoric vocal cry is buried deep to amp up the emotion. 'Scenario' then brings icy hi-hats and sinewy synths bring a futuristic feel to the unrelenting, high-pressure drums down low. 'Daruma' has a darker energy with menacing textures and paranoid FX bringing the rolling drums to life, while 'Bass Grit' has a hunched up rhythm, with groaning pads and fizzing static electricity that charge up the party. To close, 'Shimmer' sinks down into a muscular and deep rhythm that's marbled with restless synths and ever-rising tension.

In addition, digital bonus cuts 'Trust' and '1990' offer different perspectives with slamming drums, seductive vocals and feisty synth loops making for two more bold, immersive techno weapons.

Eurovision is a new Icelandic electro supergroup that channels the coldness of their homeland into these icy and futuristic new cuts on Helena Hauff's Return to Disorder, all with hints of masters of the form like Dopplereffekt. 'Driving To Burgertown' begins with a whirring of machine madness, squelchy lines, trippy melodic cascades and snappy drum breaks. 'Animal Flow' then layers up sheet metal textures with dark and dehumanised vocals to make for a gritty post-punk vibe. 'Lunar Cycling' has a happier energy thanks to the crystalline arps up top and the snappier, surging kicks. Last of all is 'Neurolab,' a Kraftwerkian style banger laced up with layers of busy synth progressions.

A Bristol x Paris link-up between SSSLIP and Bamao Yendé delivers with BP028. A label debut for both artists on the BPR original series. All killer no filler ear worms from across the spectrum. “On The Dial” and vinyl only cut “Don Plz” offer something for those sillier hours, while “Brek Stance” and “Kalypso” host the artists' deeper servings. A balanced collection of functional low end tools for the dance.

Bristol-based producer SSSLIP, known for their experimental club hybrid productions and a growing back catalogue of strong outings on No dice, ec2a and their own imprint SSS Audio. Sharing the EP with Parisian DJ and producer, Bamao Yendé, head of Boukan Records, blending inspirations through garage, broken beat, and Kuduro.

BodyParts presents "We Need You" by Fabe, a four-track release that taps into raw club energy and brings a fresh vibe to the label’s Vinyl Series. Fabe delivers stomping grooves, creative vocal work, and vibrant textures that BodyParts fans will recognize, but with plenty of surprises.

'We Need You' opens the EP with a tech-house roller that nods to UK swingers. Slapping bass, processed vocal snippets, atonal melodies, and bit-crushed synths come together in a track that demands movement. 'Ah Gee' keeps the energy going with a spacious, deep-groove feel, filtered melodies, catchy vocals, and a nod of French Touch house, blending classic styles with a modern edge. 'Teach Your Body' brings tension with a breaky, bass-driven house cut, sensual vocal fragments, and sharp drums, all carried by syncopated grooves. 'Down With The Dolphins' wraps up the record with warmth and color, offering deep house and breakbeat energy that lights up the dance floor — perfect for those early morning moments when light cuts through the darkness of the club and new energy breaks through.

Over time, BodyParts has built a reputation for consistency, with a signature fusion of minimal, tech-house, and groove that always feels dancefloor-worthy but never formulaic. With "We Need You," Fabe delivers another peak-time ready record that sits comfortably in the label's legacy while pushing it just enough to keep ears alert and bodies engaged.

2025 Repress

Two revered dance music institutions come together here as Pye Corner Audio steps up to Emotional Response with his debut EP for the label. What's more, it is a two-parter with the second half also available now. This one from Martin Jenkins finds him making an homage to the acid house he has always loved with opener 'Stegan Acid' starting with slow grocers and foggy moods run through with subtle 303 modulations. 'Magnetic Acid Three' is another deep and stripped-back sound with rumbling drums and bass coloured with soft acid contours and 'Thermionic Acid' gurgles a little more as the icy hi-hats cut through a mutant deep techno swamp. 'Magnetic Acid One' is one final meditation on acidic house depths.

Bread&Butter Records celebrates its 10th EP with a powerful statement from Romanian duo NTFO, a name synonymous with precision minimalism and timeless groove. The release unfolds across four masterfully produced tracks, each one engineered for those moments when the dancefloor turns into something deeper, heavier, and unforgettable.

Calibre sets the tone in classic NTFO fashion. Its stripped-bacb bassline rolls with hypnotic intent, carrying just enough weight to lock the floor in. By the three-minute mark, subtle shifts into a trance-like state, gently elevating the room into waves of euphoric release. It’s understated yet devastatingly effective, the type of cut that DJs treasure for its power to transform the atmosphere without ever shouting too loud.

Electr pares things back even further, pushing into pure minimal territory. Built on a sleek harmonic groove, it’s a masterclass in restraint, every sound feels perfectly placed, every movement precise. This is a track that thrives in the early hours, where tension, patience and subtle shifts in rhythm rule the floor.

Forap flips the script, injecting an upbeat energy that hits with instant impact. Around the three-to-four minute mark, a vocal element cuts through, commanding attention before the groove locks back in with unstoppable momentum. Hypnotic yet uplifting, it’s the perfect peak-time tool a track that lifts the room into a collective high, as though flying on pure feeling.

Nanomos closes the EP with finesse. A deeper, darker exploration, it glides through murky textures and intricate percussive details, carrying an otherworldly atmosphere that keeps the listener suspended in motion. It’s a slow-burner that lingers long after the last note fades, a testament to NTFO’s ability to balance groove and emotion in equal measure.

With this release, Bread&Butter not only cements its reputation as one of London’s most exciting underground imprints but also showcases NTFO at their most refined. Four cuts, four moods, all bound by that unmistakable Romanian touch that continues to set standards worldwide.

Channeling inventive sound design into incisive, characterful techno variations, Jurango returns to Livity Sound with an eight-track double EP — his longest release to date. Taíno Gold captures a moment in time for Bristol-based Nate Reece's continually evolving sound as it draws on the full spectrum of UK club music.

Following a debut for Livity's reverse label in 2021 and last year's An Amorphous Mass EP, Reece is more assured than ever tackling a variety of club-focused cuts. The tracks on the release all came together before, during and after a two-month visit to Reece's grandparents' home — an idyllic tropical environment in a small community at the top of a hill in the northern part of Jamaica.

Taíno Gold refers to the island's indigenous Taíno community and the legend of a witch luring Spanish settlers into a trap on the Martha Brae river. There are no messages explicitly embedded in the music, but the release is both a personal reflection of Reece's own experiences and family heritage, plus a reminder about the enduring sceptre of colonialism and the continued need to fight against it. From absorbing Jamaica's fraught history through museum and plantation visits to the abundant nature in the garden surrounding his grandparent's house, the double EP marks a place in time for Reece, with eight advanced, ear-catching tracks as the end result.

From the cascading arps of 'Black Torches' to the tunnelling chords of 'Waiting For Trelawny', the melodic dimension of the Jurango sound is more confident than ever. 'Hibiscus' is a shimmering celebration of dub techno and crooked drum pressure and 'Chalk On Trees' basks in aqueous, fathoms-deep pads to close out the EP. Elsewhere, Reece brings new textural and tonal detail to his percussive workouts, splashing acidic noise around the angular experimentation of 'Maybe It's Broken' and firing off double-time rhythms to inject 'Double Sevens' with infectious urgency.

With the space afforded by a longer release, Reece widens out the scope of his artistic identity while absorbing the particular scene and setting that surrounded him while making the tracks. Taíno Gold is a vibrant next step for Jurango and a natural continuation of his work with Livity Sound.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

Sealand returns with its fourth vinyl release, bringing together Mykoz, Inqoherent and RVOLT for a fierce and emotional journey through cutting-edge hardcore sounds.
The title track Net runners by Mykoz and Inqoherent has already been tearing up festivals across Europe - a high-impact banger built on distorted energy, razor-sharp percussion and a dark futuristic pulse that defines the Sealand spirit.
Inqoherent's Sense of Touch dives deeper, blending haunting melodies with relentless drive, while Mykoz's I'm Losing My Mind captures the tension between emotion and chaos in pure dancefloor form.
To close the record, RVOLT reshapes Mykoz's There Is A Storm Coming into a powerful, crossbreed/industrial remix - heavy, raw and built to destroy big systems.
Net runners marks a new chapter for Sealand: 12'' format vinyl, high quality full coloursleeve in a protective shrinkwrap sleeve

E23 Records is an independent label from Amersfoort that releases music moving between electro, wave, EBM, and acid—sounds that feel familiar, but not quite at ease. Each release is built with care, made to be both an object to collect and a small joke at the universe’s expense. Patterns appear where they want to, chance plays its role, and sometimes the numbers line up in ways that feel more than coincidental. Tune in, and see what reveals itself.

E23 Records launches its catalog with three dark electro transmissions from Amersfoort residents Son of 8-Bits, Mavanov, and Law Of Fives. Opening with Son of 8-Bits’ “Deliverance”, the record sets an ominous tone: heavy bass pressure and sharp machine rhythms push forward with a cold, driving pulse built for late hours. Mavanov’s “Dark Romanticism” drifts into sparse, hypnotic territory, where cold mechanics meet faint traces of emotion. Law of Fives’ “Primer” closes the trip with an urgent workout that turns rhythm into a labyrinth—metallic strikes, pulsing bass, and restless sequences coiling together, building toward moments where chaos threatens to take over but never quite does.

Together, the three cuts form a statement of intent: E001 is moody, uncompromising electro with just enough strangeness to keep the floor on edge. A first chapter that hints at many more signals to come.

Two years after making their bow via a fine contribution to the Claremont Editions 3 compilation, Nuremberg’s Neumayer Station are ready to drop their debut full-length excursion, the mesmerising and immersive Crossings.

The brainchild of drummer-turned-producer Michael Kargel, a musician with a bulging CV that includes stints in various German indie-pop and rockabilly bands, Crossings was co-produced and mixed by Frank Mollena (best known to Claremont 56 fans as the man behind the Fürsattl and Bambi Davidson projects), with additional contributions by Alexander Sticht and an impressive roll call of guest musicians plucked from Nuremberg’s vibrant musical underground.

Recorded at different points over the last three years, the eight tracks showcased on Neumayer Station’s inspired debut album draw influence from the hypnotism of classic German ‘kosmische’ recordings, the freewheeling and stoned headiness of CAN, and the gently unfurling beauty of sun soaked Balearica. Kargel, Mollena and their collaborators set the tone with opener ‘Unterführung’, where Sticht’s layered and sonically hazy vocalisations rise above space-rock guitar motifs, droning analogue synth sounds, languid bass and slow-motion drum breaks. With effects aplenty and all manner of melodic electronic flourishes, it’s a deeply psychedelic and mind-expanding affair.

‘Nalut’ follows, with Kargel’s own atmospheric howls and whistles cannily combining with sun-bright tropical guitars, echoing chords and delay-laden saxophone solos riding the dub-flecked, low-slung groove. The collective’s Balearic influences are explored in more sonic detail on ‘A Gentle Flow’, a shuffling and soft-focus affair marked out by emotive piano & jazz guitar, brushed percussion, sunrise-ready synths and pleasingly stretched-out electronic textures. Neumayer Station return to this drifting, morning-fresh and eyes-closed sound later in the LP, via the wonderous ‘Von der Morgenröte’.

The heady influence of spaced-out dub production techniques comes to the fore on ‘Bassrutscher’, an Alexander Sticht co-production rich in Americana-influenced guitar textures, metronomic dub bass, rim-shot heavy drums, mazy organ and orange-hued sundown sounds. It ushers in the more up-tempo shuffle of ‘Zielgerade’, an inner space, out-of-mind affair whose driving but loose-limbed groove provides a platform for exotic, droning and otherworldly guitar, sax and synth sounds. As with all great albums, Crossings gently builds towards a triumphant and memorable conclusion. The spacey Balearic/kosmische crossover of ‘Feeling Forst’, where darting intergalactic synth sounds rub shoulders with gentle acoustic guitars in a hallucinatory soundscape, tees up closing cut ‘Crossings’, the krautrock-rooted, sax-sporting slab of enveloping late-night beauty that first introduced listeners to Neumayer Station back in 2023. It’s a fitting conclusion to a staggeringly good debut album.

‘Made For The Dancefloor’ is Glitterbox’s first vinyl compilation since 2021’s ‘Where Love Lives’ release. Spread over three 12” with four tracks per record, ‘Made For The Dancefloor’ compiles some of the biggest and most loved releases on the Glitterbox label this year. Including the huge Tripolism remix of The Shapeshiters classic ‘Lola’s Theme’, Crackazat’s upbeat take on Ben Westbeech, big main room cuts from Harry Romero, Kiddy Smile, Dave Lee and lots more.

The first ASFON release has been a year-long labour of love that has come into being from what felt like a lucid dream, off in the distance, too crazy to believe was real. From our first meeting in the Freerotation yurt to late-night exchanges in Bristol, Winkles (Jamie Slater) has been sharing tracks that lingered long after the party ended. Their raw textures and warped sense of time found a natural home in our sets, eventually leading to the emergence of ‘The Unavoidable EP’, a collection of four diverse tracks which form a singular, immersive experience.

On A1 journey, The Unavoidable Consequence Of Familiarity, a knocking kick opens the door to this new sound world, introducing us to the granular clicks, crazed telephony and vocoded grunts which populate the deep space of Winkles’ imagination. Machines whir and perception shifts in the space between distant synth stabs, while a pulsating bassline battles to break through the filter and create a throbbing low end. Hallucinatory and deep, this is the perfect introduction to both the EP and the ASFON outlook.

Semi Stretches sees Winkles pick up a signal from beyond the outer rim, fire up the hyperdrive and lock into the rolling hum of intergalactic techno. Juggernaut bass forms the perfect counterpoint to the rapid fire rim shots trembling away up top as this Venusian club craft battles static, drives through the milky cosmic and transports the dancing bodies to a Multicoloured Plasticine Universe.

Cutting the engines and switching to suspended animation, Winkles lets us drift through a hazy dream-space where there’s no up or down, where twinkling arps, insectile electronics and hazy sirens coalesce into a psychotropic swirl.

Out of this multicoloured mirage comes Osaka-based astral traveller Erik Luebs, who translates that peak-time ambient bubbler into a Balearic chugger which emerges from the ether to add another dimension to the EP. Rubberised bass, velvet pads and nuanced percussion ensure this is perfect for poolside play in a land of pink sand and sideways tides.