quête:d me

Anthony Hüseyin presents their new album O Geliyor (Making O), in which they return to the rediscovery of their gender, their childhood, and their attachment to Zeki Müren.

Müren is widely regarded as the most important queer exponent in the history of Turkish Art Music (Türk Sanat Müzigi). This genre of music was open to musical hybridism, and Müren himself also included elements of jazz and pop music.
Stylistically, O Geliyor (Making O) is a combination of contemporary discoid electro-pop music, based on Turkish Art Music by Zeki Müren. After successful current re-interpretations of Turkish music styles like neo-Anatolian pop and neo-Arabesk, this album provides a first take on neo-Turkish Art Music.

The album title is referring to the third genderless person pronoun in Turkish called "O", which encompasses all gender possibilities in one word. The album reflects on the memories that haunt us and the indescribable wounds of displacement. Set against the backdrop of Berlin, home to many immigrants and political and queer refugees, it exposes the profound emptiness in a metropolis wishing to imagine itself as a safe haven for the free-spirited, yet always reminding the Other that they don't belong. At the same time, it delivers anthems for the displaced, for the queer migrants who traverse internal and external landscapes in search of a place called home.

Anthony Hüseyin is a non-binary musician and performance artist of Kurdish-Turkish and Arabic descent who works with voice, text, film, dance, and installation. Raised in Urfa in Southeastern Turkey, where they learned traditional local music, they went on to study both classical and jazz singing in Istanbul and Rotterdam. Their works combine the personal and political to explore memory, identity, community, collective consciousness, and the body.

Semi Delicious boss Demi Riquísimo and French underground staple producer Clint join forces once again on four track EP 'Soft Landing', following their standout 2025 collab 'Love State'. Another seamless merging of the two producers analogue sounds, they now dive deep into their complementary styles across this package. With the cuts teased across Demi's recent North and South America tours, and lead track 'Who Wants To Know' a standout from his latest Lot Radio set in NY, this release comes as another exceptional addition to Semi Delicious' catalogue of ever playful and club-ready records.

Planar Traits adds to the Spectral Bounce catalog with SPEC08: Distance EP. Since 2021 the Stockholm-based artist’s creations have combined evocative soundscapes with dancefloor functionality. Here he steps up with four hydrographic cuts spanning the groove-led, the mysterious and the cerebral.

Beginning the expedition with the type of psychedelic and lithe tech-house for which Spectral Bounce is known, the A-side is glistening with aquatic shimmer. “Variations in Hue” and “Distance” are club cuts embellished with mystical melodies and sonar pulses, both propelled by chunky drums and driving sub frequencies.

The B-side goes deeper, revealing a more contemplative zone in which soft echoes of Detroit (“Bloom”) are spliced with 1990s Artificial Intelligence sensibilities (“Never-ending Light”). A perfect soundtrack for living room transcendence, as much as pelagic immersion.

SPEC08 — Dive in!

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

Īlker Soylu returns with third instalment of his Mastering Black alias, marking a decade of Zwart Goud with a special edition LP titled X - an introspective yet adventurous document that blurs the lines between genres, time, and place.

X is a carefully crafted passage through contrast and cohesion. From dusk-lit highways to underwater reveries, this third chapter from Mastering Black unfolds as both continuation and evolution - a cinematic odyssey of sound sculpted inward and outward for introverts and extroverts, for you and me - for us.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Welcome back to a time when Bulletin Board Systems were the social media, it was too dark for influencers, hardware predated plugins, and a home studio was a cumbersome necessity in the absence of ghost producers.

The vinyl-only Kilotoni series returns with another faceless batch of radioactive techno from the previously unreleased tape archives.

A1 The classic acid techno anthem formula is utilized in its purest form for prime time main floor use. Steady build-ups keep the tension going in what is otherwise a simplistic live recording style performance.

A2 Compressed-to-death hard techno and a detuned lead that could have come straight out of late-90s Sweden. A rare cheeky vocal snippet from an old Trax record and submarine sonar pulses provide some relief from the pressure.

B1 Melancholic but funky acid house for warming up the dance floor in your local club basement. A bouncing bassline and flanging chords meet for the sweetest treat.

B2 Cruiserweight ghetto techno meets dubby, modulating chords — perhaps unexpectedly. The last sweat of the morning hours.

Stereoblaster launches its journey with a powerful Various Artists release.

More than a compilation, this project defines the sonic identity of the label — blending deep, minimal and acid influences into a cohesive club-driven experience.

Each artist brings a unique perspective, contributing to a shared vision rooted in underground culture and forward momentum.

This is Stereoblaster.
A sound explosion.

Critical Thot ist das kraftvolle neue Kollaborationsalbum der in der Bay Area ansässigen Rapperin und Produzentin Sha Ray sowie der Produzentin und Elektronikmusikerin DJ Haram - zwei kompromisslose Künstlerinnen, die Rap und experimentellen Sound neu definieren. Es ist eine spannende Kombination: Haram ist die eine Hälfte des Duos 700 Bliss zusammen mit der Rapperin und Poetin Moor Mother und hat zudem mehrere Soloalben veröffentlicht - darunter Beside Myself (Hyperdub, 2025), das von der Kritik gefeiert wurde - sowie hochkarätige Kollaborationen mit BbyMutha, Fever Ray, Ghais Guevara und Armand Hammer.Währenddessen handelt es sich bei Critical Thot zwar um Sha Rays offizielles Debütalbum, doch ihr Ruf als aufstrebendes Talent der nächsten Generation eilte ihr bereits voraus. DJ Haram wurde 2022 auf sie aufmerksam, als sie Sha Ray bei einem Auftritt in Brooklyn sah: ,Wir haben uns vor Ort unterhalten, und danach habe ich ihr auf Social Media gefolgt. Sie hat eine unglaubliche Performance abgeliefert, also war ich sofort dabei, als sie mir später eine Nachricht geschrieben und nach Beats gefragt hat", erklärt Haram.Ein Armand Hammer/DJ Haram-Konzert in Los Angeles wurde schließlich zum entscheidenden Moment, an dem sich diese Verbindungen konkretisierten. Sha Ray reiste aus der Bay Area an, um sich mit Haram zu treffen. Auch wenn an diesem Tag noch keine Aufnahmen entstanden, bildete er den Ausgangspunkt für die spätere Zusammenarbeit über große Distanz hinweg, die in Critical Thot mündete. Das gesamte Album entstand remote: Haram produzierte Beats in Brooklyn und schickte sie an Sha Ray, die ihrerseits Demos und Anmerkungen zurücksandte. Während der Arbeit an diesem Projekt lernten sie sich sowohl künstlerisch als auch persönlich besser kennen.,Haram und ich haben viele ähnliche Erfahrungen als Frauen in der Musikindustrie gemacht, was unsere Verbindung enorm gestärkt hat. Außerdem hat mich ihr markanter Produktionsstil stark beim Schreiben dieses Albums inspiriert", sagt Sha Ray.Diese Texte sind messerscharf und erfrischend direkt. Sha Ray beweist schnell, dass sie in ihrer eigenen Liga spielt und selbst die komplexesten Produktionen von DJ Haram mühelos meistert, ohne an Energie zu verlieren. Haram schöpft aus dem Vollen und bewegt sich mit ihren Beats zwischen experimentell-abrasiven Sounds, geschmeidiger Leichtigkeit und dunkel bedrohlicher Atmosphäre. Perkussive Einschläge und Schüsse werden mit feinen Details und weichen Klangflächen kombiniert. Ein traplastiger Banger löst sich plötzlich in einem Strom aus Streichern auf, während eine minimale industrielle Klanglandschaft sich langsam zu einer wuchtigen, kakophonischen Rap-Attacke steigert. Sha Ray navigiert sich souverän und trotzig durch jede Drumstruktur und jeden Synthesizer.,Als Rapperin interessiere ich mich fast ausschließlich dafür, Misogynie und Sexualität in meiner Arbeit zu hinterfragen. Critical Thot ist eine Auseinandersetzung mit unapologetischer weiblicher Autorität und gleichzeitig eine ehrliche Reflexion darüber, wie komplex es ist, an Selbstobjektifizierung teilzuhaben und Sexualität als soziale Währung zu begreifen", erläutert Sha Ray. ,Auf diesem Album geht es stark darum, Macht in weiblicher Sexualität als etwas Relationales und ständig Wandelndes zu definieren - und damit als grundsätzlich unvollkommen. Aber es ist eine Macht, die ich habe, und ich werde sie nutzen."Critical Thot enthält Beiträge von Nappy Nina, JWords und Archangel.

Critical Thot ist das kraftvolle neue Kollaborationsalbum der in der Bay Area ansässigen Rapperin und Produzentin Sha Ray sowie der Produzentin und Elektronikmusikerin DJ Haram - zwei kompromisslose Künstlerinnen, die Rap und experimentellen Sound neu definieren. Es ist eine spannende Kombination: Haram ist die eine Hälfte des Duos 700 Bliss zusammen mit der Rapperin und Poetin Moor Mother und hat zudem mehrere Soloalben veröffentlicht - darunter Beside Myself (Hyperdub, 2025), das von der Kritik gefeiert wurde - sowie hochkarätige Kollaborationen mit BbyMutha, Fever Ray, Ghais Guevara und Armand Hammer.Währenddessen handelt es sich bei Critical Thot zwar um Sha Rays offizielles Debütalbum, doch ihr Ruf als aufstrebendes Talent der nächsten Generation eilte ihr bereits voraus. DJ Haram wurde 2022 auf sie aufmerksam, als sie Sha Ray bei einem Auftritt in Brooklyn sah: ,Wir haben uns vor Ort unterhalten, und danach habe ich ihr auf Social Media gefolgt. Sie hat eine unglaubliche Performance abgeliefert, also war ich sofort dabei, als sie mir später eine Nachricht geschrieben und nach Beats gefragt hat", erklärt Haram.Ein Armand Hammer/DJ Haram-Konzert in Los Angeles wurde schließlich zum entscheidenden Moment, an dem sich diese Verbindungen konkretisierten. Sha Ray reiste aus der Bay Area an, um sich mit Haram zu treffen. Auch wenn an diesem Tag noch keine Aufnahmen entstanden, bildete er den Ausgangspunkt für die spätere Zusammenarbeit über große Distanz hinweg, die in Critical Thot mündete. Das gesamte Album entstand remote: Haram produzierte Beats in Brooklyn und schickte sie an Sha Ray, die ihrerseits Demos und Anmerkungen zurücksandte. Während der Arbeit an diesem Projekt lernten sie sich sowohl künstlerisch als auch persönlich besser kennen.,Haram und ich haben viele ähnliche Erfahrungen als Frauen in der Musikindustrie gemacht, was unsere Verbindung enorm gestärkt hat. Außerdem hat mich ihr markanter Produktionsstil stark beim Schreiben dieses Albums inspiriert", sagt Sha Ray.Diese Texte sind messerscharf und erfrischend direkt. Sha Ray beweist schnell, dass sie in ihrer eigenen Liga spielt und selbst die komplexesten Produktionen von DJ Haram mühelos meistert, ohne an Energie zu verlieren. Haram schöpft aus dem Vollen und bewegt sich mit ihren Beats zwischen experimentell-abrasiven Sounds, geschmeidiger Leichtigkeit und dunkel bedrohlicher Atmosphäre. Perkussive Einschläge und Schüsse werden mit feinen Details und weichen Klangflächen kombiniert. Ein traplastiger Banger löst sich plötzlich in einem Strom aus Streichern auf, während eine minimale industrielle Klanglandschaft sich langsam zu einer wuchtigen, kakophonischen Rap-Attacke steigert. Sha Ray navigiert sich souverän und trotzig durch jede Drumstruktur und jeden Synthesizer.,Als Rapperin interessiere ich mich fast ausschließlich dafür, Misogynie und Sexualität in meiner Arbeit zu hinterfragen. Critical Thot ist eine Auseinandersetzung mit unapologetischer weiblicher Autorität und gleichzeitig eine ehrliche Reflexion darüber, wie komplex es ist, an Selbstobjektifizierung teilzuhaben und Sexualität als soziale Währung zu begreifen", erläutert Sha Ray. ,Auf diesem Album geht es stark darum, Macht in weiblicher Sexualität als etwas Relationales und ständig Wandelndes zu definieren - und damit als grundsätzlich unvollkommen. Aber es ist eine Macht, die ich habe, und ich werde sie nutzen."Critical Thot enthält Beiträge von Nappy Nina, JWords und Archangel.

Erased Tapes are proud to re-issue The Red Book by Penguin Cafe, with an expanded vinyl track list which now includes the CD and digital-only “And Yet…” plus two tracks from the limited-edition Umbrella EP. This new edition will be available on limited translucent vinyl and CD, both with updated art from Studio Torsten Posselt utilising the original drawing from renowned British sculptor and Simon Jeffes’ partner Emily Young.

Penguin Cafe was founded by Arthur Jeffes in 2009, bringing together a talented and disparate group of musicians initially to perform his father Simon Jeffes’ legacy of world-renowned Penguin Cafe Orchestra music, ten years after his untimely death in 1997. Following the release of A Matter of Life shortly after founding, The Red Book was released in 2014 to critical and fan acclaim.

“The name The Red Book comes from the book by Karl Jung of the same name. The book is about, among other things, the way our subconscious interacts with and intrudes into our daily lives. I thought this fitted what we were trying to achieve with the second album quite neatly — namely, exploring musical worlds that are at once both familiar and strange. There is another meaning which is that the main mastered disc you end up with, the one from which all other copies will be made, is called the Red Book Master — so somewhere at some point there will be a disc on which will be written “The Red Book — Red Book Master.”

The tracks on the album all fall on some point along a scale going from gently Apollonian at the one end to perhaps a bit more Dionysian at the other. For our purposes this would be the ‘spacey’ end — with tunes like 1420 and Aurora, and the ‘imaginary folk’ end — with tracks like Odeon, Radio Bemba and Black Hibiscus. The tracks between these extremes are, perhaps with Silent Sun in particular, an attempt to blend these two parts.”

Welcome to the ROCKSTEADY SOUND from Jamaica..

Towards the end of 1965 some say due to the extreme heatwave that was hitting the island, the people that followed the Sound System Dances demanded a slower beat so they could still move and groove to the all night musical affairs.

So sit back and enjoy the tunes that rocked the island between 1966-1968 the Rocksteady Sound that hit the town…..

2023 Repress

Dennis Brown has always been cited as Jamaica's favourite singer.
While Bob Marley set out to conquer the world, Dennis's popularity on the island grew with every year.
His most prolific period is said to be with producer Niney the Observer,who led the singer down a more Roots avenue.He put Dennis on some of his heaviest rhythms.
Throwing also into the pot the fact that these rhythms were also to be mixed by the Dubmaster himself King Tubby we are bound to get one of the best Dub albums around.
Here is where the Crown Prince of Reggae Meets Niney the Observer at King Tubbys.
It's from this period that we have focused on and it's these tracks that were taken to King Tubby's studio to produce this stunning album.
Hope you enjoy the set.......






G a7 | COME AGAIN DUB

J b2 | WOLF AND LEOPARDS DUB

Around 1970, musician, music producer, and entrepreneur Fernando Arias founded the record label Discos Fernando Arias (Difa) in Lima, the capital of Peru. This label was crucial for the musical production, promotion, dissemination, and development of Peruvian tropical music; more specifically, the so-called “carretero style”, so named because it was rooted in the famous Central Highway (Carretera Central) of Peru, which crosses the country from west to east, from the coast to the jungle, through the Andes mountain range. This style is defined by sudden changes from ballad to fast and aggressive tropical music, with electric guitar lines drenched in fuzztone, reverb, and wah-wah. To this must be added the plaintive, melancholic vocal style characteristic of Andean Peruvian music.

Frenzy steps back into the warehouse fog for FRNZYREC012, marking the arrival of Mees Javois with the Eyes Without A Face EP. This six-track collection functions as a raw blueprint of the early hours, where the steady pulse of hardware meets a stripped-back, mechanical soul.

Already turning heads in the underground circuit, Mees brings a fresh yet timeless approach that feels equally suited to intimate basements and peak-time dance floors. His debut on Frenzy introduces an artist with a clear vision and a deep understanding of club music's darker edges.

FRNZYREC012 is a singular vision of the dancefloor, a deliberate sequence of sound that balances cold precision with a visceral human touch.



[c] A3: Mees Javois - Reflection [Matrixxman Remix]

Deaf Center member Otto A Totland’s 2014 debut LP, an intricate work for solo piano.

Otto A Totland's modern compositional elements are most widely recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the 5-minute A-side of Sonic Pieces 7inch Harmony From the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style.

Initial track Open fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios.

With Pinô, Otto A Totland appears out of the Norwegian landscape, sharing an achievement that will provide a relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland’s compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O’Halloran.

Originally released on Umor Rex on cassette a year ago, “El Sol de los Muertos” deeply shaped the evolution and vision of Mexican producer Concepción Huerta’s sonic work, becoming a reference point for a kind of experimental sound deeply connected to Latin American critical thought. This is the second album in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Crafted entirely through subharmonic structures and tape manipulation, “El Sol de los Muertos” stands as Concepción Huerta’s most abrasive and emotionally charged work to date, rooted in drone, musique concrète, and visceral textures. The album reflects on dispossession, extraction, and colonialism, while connecting deeply with Latin American critical thought and Indigenous resistance across the region. Inspired in part by Eduardo Galeano’s work, it is not a manifesto, but an invitation to reflection, memory, and vigilance against the enduring forms of fascism and colonialism.



Recorded by Concepción Huerta in 2024 between Berlin, The Hague, and Mexico City. Original master and remastered for vinyl by Rafael Anton Irisarri at Black Knoll Studio, New York. Volcano photography by Magaly Ugarte. Design by Daniel Castrejón in Mexico City.

Berlin-based producer and DJ Benjamin Fröhlich returns to his own Pleasure Principle imprint with the long-awaited vinyl edition of The Muv It EP -
Rooted in dusty, dubby house music and inspired by the open spaces and raw energy of a recent desert trip, the EP channels warmth and groove in equal measure. The title track Muv It sits at the heart of the release - a driving, hypnotic floor-burner that showcases Fröhlich's instinctive feel for rhythm and texture.
Alongside it, Get Up raises the energy further, bringing a higher-octane dancefloor urgency to the EP's middle section. Its dub counterpart Get Dub then strips things back - a spacious, reverb-drenched variation that lets the groove breathe and reveals the track's deeper, more meditative side.

The vinyl edition comes with an exclusive bonus track: Gruv It - a stripped-down, atmospheric rework of Muv It that trades hands up moments against a hypnotic rolling vibe.

The debut release by Confusion on Incompetence Records documents an exercise in disciplined spontaneity, a jam session where organic interaction is rigorously shaped into form. Recorded live in Belgrade by Dmitrii Steinberg, Aleksei Siubaev, Viktor Volkovich, Evgenii Piankov, and Leonid Lipelis, the material was subsequently dissected and reassembled with a scalpel like precision reminiscent of Teo Macero’s landmark edits for Miles Davis. What emerges is not a loose improvisational document but a suite of cohesive constructed pieces: weightless structures suspended over a hypnotic pulse, steeped in cosmic vibes and soft psychedelia. There is a slo mo insistence to the grooves, a kosmiche drift that folds jazz funk rituals into something both intimate and expansive. For musicians previously orbiting rare groove, house, indie rock, and modern composition, Confusion expands their explorations into a terrain where genre dissolves into texture and intention. The record’s mesmerizing beauty lies in its restraint, motifs surface, dissolve, and return as if refracted through magnetic tape memory, each fragment locked into place yet breathing with human elasticity. Rather than presenting virtuosity, the quintet channels it into atmosphere, into a patient, glowing continuum that feels less like a jam and more like a carefully mapped inner cosmos, calibrated for deep listening and slow revelation.

“All I can do is make my art from an honest place with an honest intention.” Earth-o-Naut.

Earth-o-Naut is a songwriter, drummer, musician and producer. He was born in Liverpool and raised in one of its satellite towns, Skelmersdale. He was raised by his mum and uncles on music from every genre, falling in love, amazement and awe with the groove and the craft of songwriting. Nothing has changed to this day. Songwriting has also always been a constant. That quest to create something original and use the songwriting process as some form of catharsis. Learning guitar and piano was the next logical step, to help with the creation of new ideas into new songs. A lot of time was spent playing drumming gigs and then taking his own songs on the road, solo with just an acoustic guitar, learning the ropes and serving his apprenticeship. Great songwriters The Beatles, Curtis Mayfield, Bill Withers, Neil Finn and many others inspire Earth-o-Naut to this day.

Earth-o-naut has worked hard for many years on his studio chops and is the writer, arranger, recording engineer, mix engineer and producer on all of his own material, and he also works with other artists as a producer. Earth-o-Naut's debut album, 'This Is Nowhere. This Is Everywhere.' will be released on Agogo Records in June 2026. The debut album features UK drumming legend, Steve White and also the vocals of Amalia Estradas and Suzanne Maddock. 2026 will also see Earth-o-Naut take his songs on the road and play some live shows.st singular, emotive, and genre-defying releases of its era.

John Ringhofer, der Mann hinter Half-Canded Cloud, ist ebenso fröhlich und genügsam wie seine Musik. Als sparsamer Mensch zieht Ringhofer die U-Bahn dem Taxi vor, recycelt Plastik, macht sich zwanghaft Notizen und ist ein geborener Optimist. Half-Canded Cloud begann 1999 als Heimstudio-Projekt in Chattanooga, Tennessee. Ringhofer lebte später über ein Jahrzehnt lang in der kalifornischen Bay Area (wo er als Teilzeit-Hausmeister arbeitete), bevor er 2015 mit seiner jungen Familie nach Helsinki, Finnland, zog, um die linguistische Forschung seiner Frau zu unterstützen. Half-Canded Cloud versteht es, komplexe theologische Konzepte in eingängige und erhabene Kinderlieder zu verpacken, die sich weder ihrem Thema noch ihrem Zuhörer herablassend nähern.

Orange Splatter vinyl. "Sermon of Mockery" by Pyrexia is not an album that tries to be accessible - it is built to be heavy, direct, and unsettling, and it delivers exactly that. Released in 1993, it sits right in the middle of a key moment when American death metal was evolving into something more technical and extreme. The sound is rooted in the New York scene: tight, compact riffing, constant stop-and-go structures, aggressive drumming, and deep guttural vocals with no room for melody. It's not about speed alone, but about control - everything feels deliberate, almost surgical in how the songs are constructed. Lyrically, the album revolves around a strongly blasphemous and anti-Christian theme. It's not just shock value; it's more like an inverted liturgy, where religious symbols are twisted into something dark and violent. This concept is consistent throughout the music, lyrics, and visuals, as you can see in the booklet. It may not be a mainstream landmark, but it played a key role in shaping the brutal death metal sound that followed. It influenced many underground bands and is still regarded today as a cult record. Listening to it now, the production may feel dated, but that's also part of its strength - it's raw, honest, and uncompromising. In short, it's a record that perfectly captures a specific era and mindset within the genre.

Quinoa’s 8th reference goes off the beaten track, literally. Carola (f.k.a. Mägitee), comes at us with four stripped-back cuts that invite us into unexplored emotional realms. Consistent, throbbing, and rich in texture, it contains just enough of everything and not too much of anything.

The story starts on the A side with “Siouxsie”’s melee of drums and swells that instantly transport us to the smokey comfort of a dance floor, lost in the ecstasy of intertwining bodies.

It follows with “0863”, with a name that winks at his roots hailing from the Appenine mountain chain in central Italy. Its warm, intimate touch sets a suspended tone to the release.

On the flip side the energy shifts, with escapism-anthem “Getaway” whose strings and dreary vocals invoke a nostalgia of futures-to-be in places that may never exist.

Finally, the EP closes off with the title track “The Observatory”. Named after the Griffith Park Observatory, a place where he regularly used to wander at night in the company of deer, coyotes, and the Los Angeles lights. Its deep bassline and intense echoes aim to captivate the most avid stargazers.

We hope this music will touch you as much as it touched us.

Jay-Jay Johanson's 1998 album Tattoo is a captivating blend of trip-hop, jazz, and electronic music, showcasing the Swedish singer-songwriter's unique melancholic sound.

Tattoo features standout tracks like "Quel Dommage" and "Even In The Darkes Hour," which highlight Johanson's smooth vocals and atmospheric production. The album's moody, cinematic style is characterized by its downtempo beats, lush arrangements, and introspective lyrics, creating an immersive listening experience. Tattoo marks Johanson’s evolution as an artist, blending influences from jazz noir and electronic music to craft a sound that's both haunting and elegant.

Fans of trip-hop and experimental pop will find Tattoo a timeless gem, embodying Johanson’s signature emotional depth and musical sophistication. Listening to it will take you on an evocative journey into one of the most distinctive albums of the late '90s.

Tattoo is a limited edition of 500 numbered copies on translucent red coloured vinyl.

Tol & Tol are the Dutch musical duo made up of brothers Cees Tol and Thomas Tol. In the 1990s, they gained wider recognition with their music, featuring melodic pop songs with a distinctive Mediterranean and world-music influence. Their music gives a warm, summery sound which became quite popular in the Netherlands and beyond. The duo is also known for their collaboration with the popular Dutch group BZN (Band Zonder Naam), of which they both have been of part of. This compilation album presents the most popular and succesful songs of the duo, including their popular songs "Eleni", "Sedalia" and "Recuerdos de la Alhambra".

Tol & Tol: The Very Best is available as a limited edition of 500 copies on orange vinyl.

Was für eine schöne und unerwartete Überraschung: 25 Jahre nach der Veröffentlichung von "Die Summe der einzelnen Teile" von Kante liefert Acid Pauli einen grandiosen Remix ab. Seine Uptempo-Techno-Version verleiht dem Klassiker der Hamburger Schule neuen Schwung - einem deutschen Song, der über die Wunder des Musikmachens sinniert: "In manchen Momenten, für eine Weile, entsteht mehr als die Summe seiner Teile". Acid Pauli spielte den unveröffentlichten Track erstmals in seinen Live-Sets und seinem Pingipung-Podcast (#175), und als er Kante fragte, was sie von der dopamingeladenen Interpretation ihres Pop-Hits aus dem Jahr 2000 in seinem DJ-Mix hielten, gab es rundum Daumen hoch und strahlende Gesichter. Als sich herausstellte, dass Acid Pauli noch einen weiteren Kante-Edit in petto hatte, nahm diese 7"-Single schnell Gestalt an. Auf der B-Seite verbindet er seine Kick-Drums mit dem langsamen, sehnsuchtsvollen "California" aus Kantes Debütalbum "Zwischen den Orten" von 1997. Hier ist sie also: Pingipung präsentiert stolz "Kante on Acid" - zwei Knaller für die Festivalsaison, die uns zurück zu den Wurzeln der Hamburger Popmusik führen, gebrochen durch Acid Paulis charakteristisch energiegeladenen, psychedelischen Groove. Kante: Eine einzigartige Band, die die Hamburger Schule mit Jazz-, Post-Rock- und Indie-Elementen verbindet und für ihre ausdrucksstarken, melancholischen Texte bekannt ist. Mit Alben wie "Zwischen den Orten", "Zweilicht", "Zombi" und "Die Tiere sind unruhig" wurden sie um die Jahrtausendwende zu einer der markantesten Stimmen der deutschsprachigen Popmusik. Acid Pauli: Acid Pauli (alias Martin Gretschmann) steht für einen eklektischen Ansatz in der elektronischen Kultur und beschäftigt sich seit über zwei Jahrzehnten mit psychedelischer, experimentierfreudiger Musik abseits der Mainstream-Pfade. Er ist in Techno-Clubs in New York oder auf Ibiza ebenso zu Hause wie bei der Produktion von Hörspielen und dem Schreiben von Filmmusik.

Like a meteor striking earth, two forces hit each other. Merkelbach and Nathan Homan found each other in a shared vision in music, and this is the reason they’ve started the label Beau Brummel. Combine the two and you get the alias Merkoman. If you were to take a look at both of their agendas, you’d see Thursday crossed off because that’s Brummel Day. After two years of Thursday evening Brummel sessions, a big vault of music has been filled. The result is The Story of Brooks Pipe, a two-part story of a refreshing new sound that only Merkoman can achieve. In Part 1 you’ll find four tracks strictly made for all sorts of dance floors. An additional injection of creative artwork was given by Sjeng Schupp.

Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

Ready for a hot summer? It will get hot when listening to the new Mat Chiavaroli EP called "Ammaro"!
Mat has a long time connection with Quintessentials and released his first ever album "No stranger to madness" back in 2017. His new sound is more driving and club friendly, ranging form the mediterrainina inspired "Ammaro" the the UK garage styled "Need" to the classic deep house tune "We can figure it out". To top if off, Quintessentials buddie Ralph Session adds a NY influenced remix to heat things up even more! And yes, artwork provided by Mat's son Divo, a real family affair!

Charles.A.D. presents Luminous, a new release on Avantroots that further defnes his deep and immersive vision of dub techno. Across six compositions, the artist creates a hypnotic journey where echoes, atmospheric textures, and minimalist grooves merge into a warm and contemplative sonic experience.
With an elegant and detail-oriented approach, Luminous explores the relationship between space, depth, and movement, allowing each piece to evolve slowly through layers of reverb, deep pulses, and emotional landscapes. The album balances introspection with dancefloor functionality, revealing a mature and coherent side of Charles.A.D’s sonic identity.

This release also marks the artist’s second LP on Avantroots, strengthening an artistic connection built around the exploration of deep, futuristic, and timeless electronic soundscapes.

Network 23 Recordings proudly unveils its first full digital album release since its revival in partnership with Triple Vision Distribution. It will also release as 3 Vinyl EP's over the course of this year.

Better Than Drugs, the latest album from Crystal Distortion, delivers a high-impact sonic snapshot of both personal upheaval and the turbulent state of the world today. Framed by flashes of media soundbites old and new, the album tackles themes ranging from gentrification in Landlords Hooked On Crack (Breakbeat Version) to the right to protest in Got2StopThem, and the mass manipulation of society in The Chicken Strikes Back.
Launching with a hard-techno surge, the record moves fluidly through a spectrum of tough, mid-tempo rhythms, accented by breakbeats, electro-leaning syncopations, and bass-driven cuts like StepGPT-all while staying firmly rooted in dance-floor intent. Designed for movement and built for impact, Better Than Drugs is a versatile, high-energy release ready to ignite any setting.

Crystal Distortion is a pioneering force in the underground electronic music scene, known for fusing hard-driving techno, breakbeat energy, and improvisational live performance into a signature sound that helped define the European free-party movement. His work blends raw analog textures with relentless rhythmic experimentation, creating high-intensity sets that feel both chaotic and meticulously crafted. As a long-standing member of the Spiral Tribe collective, he has influenced generations of producers and performers, pushing the boundaries of what electronicmusic can be in both form and context.

Of Paradise welcomes Seattle-based artist Hünter with his sophomore album, Mica, a sublime addition to the label’s ever-evolving musical catalogue and one that quickly acquires almost mythical status.

Focused on the relationship between the digital age and the environment, Mica explores the extraction of natural resources, identity, memory, and what remains. A fusion of ambient soundscapes and deconstructed club rhythms, Mica questions erosion as both a physical and cultural consequence of modern consumption, encouraging listeners to reevaluate their relationship with nature, technology, and excess.

Available as a limited edition 12” and digital album, Mica responds to overstimulation; music that breathes slowly, punctuated by occasional moments of tension, provides periods of stillness and reflection interrupted by the intensity of digital life and environmental anxiety. This album isn’t merely a collection of songs; it’s an atmosphere to inhabit.

New Spanish Label by Oscar Escapa, stay tuned.

Check The Description Before Asking For A Track ID is a thoughtfully curated four-track journey through modern deep tech house, balancing forward-thinking sound design with emotional depth and dancefloor functionality. The release unfolds across two distinct yet complementary sides, guiding the listener through evolving textures, moods, and states of energy.

On Side A, A1. Overt – Annular and A2. Third Echo – 31th Session introduce a spacious and immersive atmosphere. Built around shimmering arpeggios, airy melodies, and fluid progression, both tracks explore a subtle interplay between progressive motion, trance-like elements, and dub-infused textures. The result is a weightless yet driving experience — refined, hypnotic, and perfectly balanced for setting a tone that feels both futuristic and deeply engaging.

The B-side shifts into more introspective territory. B1. Eric Louis – Grooving In The Future and B2. Severin – Shiti bring a melancholic edge, focusing on emotive melodies and transitional energy. These tracks are crafted for pivotal moments within a set — where the atmosphere deepens, emotions unfold, and the narrative takes a new direction. Warm, bouncy grooves intertwine with cooler, more restrained tones, creating a contrast that feels both elegant and expressive.

Spanning a wide emotional and rhythmic spectrum, NRP006 is a versatile tool for selectors — designed to navigate the subtle shifts of a dancefloor with precision, intention, and depth.

NOREPRESS is a division of MixCult Records. Limited Edition.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.