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Big new release by Peter Van Hoesen! Continuing his exploration of intricate techno systems, their effect and direct perimeter of action, Peter van Hoesen turns in his newest four-track piece, ‘Prime Directive’: a fascinating dive into the artist’s shape-shifting headspace and inner creative chaos.

Fuelled on a furnace-hot mix of abstract-leaning immersion and hi-octane rhythmic thrust, ‘Prime Directive’ looks at contemporary techno from the angle of experimentation and intuitive abandon. The result comes in the form of four distinct movements, each carving out their own logic and associated behaviour out an endless pool of potentialities. Here comes chaology unfolding in all its unadulterated, visceral glory.

‘Definition by Absence’ breaks the trip in to the sound of a faux-random symphony: its train-like swing and fiery bass seesaw coalesce through an elliptic fluttering of sorts, iterative and not, patterns moving in and out of synchronicity as van Hoesen applies more or less pressure on both ends. All in gusty in-your-face-ness, ‘Variables Edit 1’ whirls and swirls like an ominous vengeance of nature; Its puncturing kicks and whistling menace set against stellar winds and rabid machinery on the prowl for its next victim.

An even more unsettling piece of disjointedly arrhythmic, anti-club music for the dance floor, ‘Prime Directive’ will have you zoning out like a bad dream, flush with metronome-faced monsters and molten clocks hanging from dead trees. ‘Morphology’ could be PVH’s attempt at giving his concepts a carnal carcass to hold onto. Here, rhythm becomes somewhat less erratic, offering his 360-degree vision more melodic surface and actual room for dispersion. One to keep the boundaries pushed and status-quo challenged, this is techno at its most entrancingly bold and fearless.

*This new four-track epic from Peter van Hoesen comes draped in a fine piece of artwork courtesy of Atact, and pressed according to our standards in 180g audiophile quality so you get to experience the Belgian master's chiselled sound design in all its glory.

Percussion mastermind Ploy arrives on Dekmantel with a double-pack of unbridled dancefloor heat that sees him reconnecting with his house roots.

Before he made a striking breakthrough as Ploy with wayward broken techno for Hessle Audio and Timedance, Samuel Smith's first releases as Samuel were leftfield house excursions. On this release for Dekmantel he wanted to reflect on a decade of releasing music and the many high-impact dancefloors he's shared with the label, from Selectors to De School, over the years.

The common denominator across these eight tracks is no-nonsense house, offering up grooves that will serve a DJ exactly what they want in the mix. At the same time, Ploy doesn't dilute the distinctive edge of his sound, from the abundance of perfectly balanced percussion to the nagging hooks of an off-key synth line dropped at just the right moment. Wry samples inject the mischievous humour he's always creeping into his craft. This is where dancefloor magic is nurtured, hitting the sweet spot between rock solid reliability and the wild card energy that brings a heads-down set to life.

From 'Admirer's big room peaks to 'It's Later Than You Think's cosmic incantations, this is the sound of Ploy showing exactly what it takes to make laser-focused club bombs without losing one iota of his inimitable style.

The next episode of Coqueto Records returns to the VA format, once again showcasing techno and club music. Expect dancefloor-driven mental sounds with hints of electro, trance, and progressive. This release brings together three South American artists alongside French maestro TC-80, marking the label’s fifth installment.

Dekmantel UFO Series continues its resurgent form with a new album of bruising, industrial wave and techno from Broken English Club. UK techno mainstay Oliver Ho debuted his dark and brooding alias more than 10 years ago with a release on Jealous God under the guidance of the late, great Juan Mendez (Silent Servant) — Songs Of Love And Decay is explicitly dedicated to Mendez, whose influence runs deep in this seductively sinister corner of underground, independent electronic music.

Within the overarching aesthetic of the Broken English Club sound, Ho finds the freedom to deliver a full spectrum album as diverse as it is consistent. You can sense the shadow of his roots in 90s tribal techno punching through on 'Crawling' and 'Death Cult', while 'England Heretic' leans on thick swathes of analogue synthesis indebted to Giallo soundtracks and the ever-compelling lure of 80s synthwave. In its grinding layers of distortion and dubbed out vocals 'Vessel Of Skin' speaks more to the post-punk influences which have set Broken English Club apart since the outset. This isn't a purely retro-fetishist expedition, though — 'Pacific Island Kill' and 'Lost Gods' exude stark modernism in their sharply-angled sequences and dramatic sound design, moving beyond the functional demands of 4/4 dance music to reach to more cinematic zones.

These are but some of the approaches Ho burrows into as he shapes out the depth and breadth of his muse on Songs Of Love And Decay. It's marked by the undeniable impact of his production, perfected over a decades-deep career at the bleeding edge of machine music. At times the album celebrates the addictive thrust of the dancefloor, while elsewhere it relishes the tension of suspended animation. Throughout, the gritty veneer binds together this accomplished, uncompromising body of work as both a fierce artistic statement and a loving tribute to Mendez — an artist who equally embodied the darker side of the dance.

‘SUN SHONE’ is a multidisciplinary music and art project of Istanbul-born, Amsterdam-based Deniz Omeroglu AKA Loradeniz,. ‘SUN SHONE’ marks the arrival of her debut full-length album: eight tracks of ambient electronic music painted masterfully with a palette of synthesizers, effects, percussion and ethereal voice.

‘SUN SHONE’ was conceived in two parts: the first tracks coming spontaneously to life in the aftermath of heartbreak, with Omeroglu trusting the creative flow and using it as a method of self- healing. What was initially planned as an EP release grew into a full-length album as she spent one month consciously working on the perfect B-side to complement the music.

Omeroglu wrote, performed and produced everything on the album, drawing on her deep knowledge of music theory and production; in addition to studying classical piano in the Conservatory from an early age, she holds both a Bachelor’s degree in Composition Studies and a Masters degree in Sound Design.

Many of the compositions on ‘SUN SHONE’ centre around interplaying synth arpeggios, oscillators expertly tuned for an equal degree of menace and sweetness that balances on a knife-edge. This ambiguity is echoed lyrically across the record, with its recurring themes of love lost and memories revisited. From the spoken word of opener ‘Saint Odds’ and ‘Swimmer’ to the layered choral swells of ‘No Moon’ and the melodic hooks of ‘Brick House’, Omeroglu’s voice is central to ‘SUN SHONE’, employed with impressive versatility. At times, it feels simultaneously fragile and powerful, perhaps nowhere more so than in the yearning swells of “Cloud Sofa’, a healing lullaby for lost love that offers up one of the most delicate moments on the album. 


Whilst this may loosely be referred to as an ‘ambient’ album, Loradeniz’s knowledge of modern day production techniques and experience as both a sound designer and seasoned DJ (both in clubs and on radio) makes its presence felt throughout; echoes of Artificial Intelligence-era IDM appear in the dancing arpeggios and rhythmic pulses of ‘Sea Serpent’ and ‘Waterbear’, while the album closer ‘Aftersun’ could easily be imagined working as the euphoric last tune of a club set at sunrise. 


With her debut album, Loradeniz weaves together an impressive breadth of styles and sounds, all held seamlessly together by a feeling; a cathartic desire to bring out all the melancholia from within. The album opens with the words ‘The search of love continues in the face of great odds’ a suitable mantra for a record that manages to combine melancholy with intense rushes of positivity and hopes for the future.

Mazy Fly, the second full-length by the Bay Area artist SPELLLING, explores the tension between the thrill of exploring the unknown and the terror of imminent destruction. Chrystia Cabral spent the summer of 2018 in her Berkeley studio reflecting on the thresholds of human progress and longing for a new and better tomorrow. She was struck by the way the same technologies that have given humans the ability to achieve utopian dreams of discovery have also brought the world to the precipice of dystopic global devastation. Despite the darkness of this reality, Mazy Fly is defiantly optimistic. It is a celestial voyage into the unknown, piloted by Cabral. Mazy Fly musically traverses the spaces between languid, honey-soaked vocals and distant angelic whispers, from thumping 808 club beats to crunching tape loops, and from silky, smooth R&B to whirling organ sonatas. Cabral became enamored by the idea of flight as a harbinger of both progress and apocalypse, and that was expressed in the textures and compositional techniques she utilized. Swarms, flocks, flies, angels, spaceships, flying saucers - all are represented sonically by Cabral and her Juno-106 synthesizer.

This retrospective is not merely a celebration—it’s a legacy. Sven Väth’s unparalleled life and pioneering spirit, as well as the defining moments that inspired an entire generation, are distilled into a profound tribute. A musical retrospective that captures the evolution of a visionary whose art has defined, inspired, and reimagined electronic music culture and retells it with zeitgeist.

Sven Väth is more than a DJ, he is a force of nature. A trailblazer whose work is not just music, it’s a philosophy of life: ecstasy, freedom, and a fearless pursuit of creativity, all wrapped in a knowing wink of craziness and rebellion.

Spanning over three decades, this carefully curated collection invites listeners to trace special moments of Sven’s musical work. From his electrifying beginnings to modern interpretations that pulse, This collection is a tribute to a life dedicated to music, every beat a moment frozen in time. Beyond the timeless anthems lies an unreleased treasure—a hidden gem by Roman Flügel that promises to surprise even the most ardent followers.

Alongside Sven’s timeless originals, this release showcases visionary remixes by some of the most revered names in electronic music. Beginning with Adam Port’s hypnotic reimagining of Ritual Of Life to Eric Prydz’s cinematic take on The Beauty and the Beast and Roman Flügel’s unique interpretations, each remix pays homage to Sven’s legacy while channeling a bold, contemporary edge. Speedy J, Bart Skils & Weska, and Kölsch further elevate the collection, showcasing the influence of Sven’s work across generations and styles.

More than a retrospective, this is a living contemporary document that makes techno and club culture tangible. It’s a sonic time capsule for those who lived through the golden nights when Sven set dancefloors ablaze - a musical legacy that connects past, present, and future in a shared pulse that transcends boundaries.

For those who want to experience Sven Väth's incomparable energy and passion over and over again. The perfect opportunity to rediscover Sven Väth's legacy in music history or perhaps even experience it for the first time.

It's more than just a look back - it's an experience. A celebration of nights without end, of passion without limits, and Sven himself, of course.

Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.

In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.

Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.

In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.

Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.

Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.

In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.

Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.

In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.

Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.

Label head Len Faki continues his legacy of personalized remixes with this two-tracker, combining a personal favorite of him with a more recent output from his peers.

First up is the euphoric 010X by Benjaming Damage, whose anthemic chords have been ringing in our ears ever since its first release back in 2013. Faki reframes the standout lead and packages it neatly within his own jacking percussion, beefing up the low end and giving the melodic original a pronounced bassy drive.

Rewinding yet another decade, Aquatrax' Stabilize pulsates with the relentless energy of late 90's techno, formative years for Len Faki as an artist and also club regular. His take on the UK classic introduces a hypnotic dubby swirl, one of those perfect loops that is captivating from start to finish. The details ebb and flow with a subtlety unusual for his Hardspace alias, creating an immersive journey that's impossible to tap out of.

Die Berliner Post-Punk-Band The Underground Youth um den Musiker und Autor Craig Dyer meldet sich mit ihrem zwölften Studioalbum „Décollage“
zurück. Das von Dyer selbst geschriebene, aufgenommene und produzierte Album ist eine Übung in künstlerischer Dekonstruktion, sowohl im Namen
als auch in der Form, und markiert eine entscheidende musikalische Wende. „Décollage ist die Kunst, ein Bild zu erschaffen, indem man Teile eines
bereits existierenden Werks herausreißt, abreißt oder entfernt. Meine Idee war es, diese Technik auf die Musik anzuwenden“, erklärt er. „Ich baute
Wände aus statisch überzogenen Hip-Hop-Drum-Samples, Schichten von Streicherarrangements im Stil von Lee Hazlewood und von Serge Gainsbourg
inspirierten Mellotron-Melodien auf, dann begann ich, diese schönen, chaotischen Wände aus Lärm abzureißen und legte einen neuen Sound für The
Underground Youth frei.“
Von Momenten geisterhaften Minimalismus bis hin zu ausladenden Crescendos aus Lärm und Melodie haben die Songs hier eine schattenhafte,
traumhafte Qualität. Neben Dyer besteht The Underground Youth aus der Schlagzeugerin und bildenden Künstlerin Olya Dyer, dem Gitarristen
Leonard Kaage (der auch bei der Postproduktion des Albums mitwirkte) und der Bassistin Samira Zahidi. Ursprünglich als Soloprojekt von Dyer im Jahr
2008 gegründet, hat die Band inzwischen 11 - mittlerweile 12 - Studioalben und 4 EPs veröffentlicht und dabei einen einzigartigen Sound entwickelt,
der im Laufe der Jahre von cineastischer Lo-Fi-Psychedelia über rauen, melancholischen Post-Punk bis hin zu Gothic-Folk-Noir reichte.

ANORAX sticks to its’ #eatsleepcollect mantra with this limited edition 7” by UK Techno pioneers NEXUS 21. Both tracks were stuck in the NETWORK vaults (well a metal box full of DATS) since being recorded in 1991 before greeting the World on the NEXUS 21 MIND MACHINES LP released last December.

Both stood out on that album so much that issuing them on a 300 press run 7” single for collectors seems the obvious thing to do.

SELF HYPNOSIS has long been a signature anthem for early UK Techno but the version here is radically different from the original,and fascinatingly gives a glimpse of the Rave machinations that Mark and Chris would champion as they transformed into ALTERN 8.
The studio recording of SILICON was not released on any format until the recent album.

It was left on the shelf as both label and artist focused on ALTERN 8 instead of NEXUS 21. Part bleep and part clonk it’s a classic snapshot of the North Of London UK soundscape in 199.1. And that makes the fact that this version was recorded live at London’s much loved Brain club in April of that year somewhat ironic. It’s incredibly clear for a live record and incredibly good.

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

Toy Tonics Music Berlin presents "Para Mytho Disco". The 2nd "Kapote" album of label founder and creative director Mathias Modica.
Keyboarder, DJ, producer, music nerd, graphic designer, multi-instrumentalist, sub-culture impressario and artist (formerly known as Munk of Gomma records.)

Kapote & Toy Tonics
In the last years Kapote was in the spotlight mainly for building the Toy Tonics label with his friends. Developing a platform for new positive quality dance music with a human touch. Toy Tonics is the opposite of the dark, druggy Techno and Trance sounds of the last years.
The warm inclusive music of Toy Tonics represents a new vibe that a young generation of diverse, stylish and culturally intersted generation of dancers loves now. Kapote's Toy Tonics became the key label for that vibe. (In 2024 Toy Tonics made 150 Toy Tonics events in 18 countries. With more than 150.000 people dancing. 90 millions streams on their music.)
Toy Tonics is more than a music label: It's a audio - visual universe. A community, almost a movement.
Based on a new positive attitude and aesthetic diversity. Mixing musicianship with DJ culture, analogue music with electronic, ideas from the past with sounds from now. To create something new. Connecting dance music with graphic design, art and underground fashion.
Kapote and his gang release vinyl, posters, shirts, art fanzines and make exhibitions and partys.

Toy Tonics started in Berlin as a underground niche project. But now became the key label of the new house, wild style disco and organic dance music scene.
Probably one of Berlin's biggest electronic music phenomena along with Keinemusik and Live from Earth.

It went fast: 2020 Kapote's crew started to make small parties in Berlin's off spaces. The "Toy Tonics Jams". The parties became "talk of the town", and Berlin clubs like Griesmühle and Panorama Bar invited the crew. Then international clubs and festival called. Toy Tonics were invited to SONAR (playing the mainstage with Kaytranada and DJ Tennis), KALA festival, Montreux Jazz festival.
Now TT has a residency at Panorama Bar Berlin and sold out events in Europe leading clubs like Phonox in London, Rex Club in Paris, Tunnel in Milan.
Toy Tonics now is the reference brand of a new generation of music loving dancers. Similar to Gomma records, Kapote's former label (2003 - 2015) that was one of the key labels of the "indie dance" scene of the Y2K years (along with DFA and Output Records).

Kapote created a multi-cultural movement with graphic designers, photographers, illustrators from the Berlin scene.
They publish the Toy Tonics Pocket Poster magazine, posters and design shirts. They organize the Toy Tonics Pop Up Galleries mixing music and art. In underground venues in Berlin and in new gallery spaces and museums around Europe.
Toy Tonics has been invited by Palais de Tokio museum in Paris, Triennale Museum Berlin, Design week Milano to create events.
The new Kapote album
The 12 tracks have a very own style. Based on dance music, but going much further. "Para Mytho Disco' is a futuristic mix of sounds. It's far away from the dark monotone techno and trance music from Kapote's hometown Berlin. Instead, he creates warm friendly atmospheres full of sonic colours and little musical surprises.
Kapote's knowlege of music history and his backround as a jazz piano student and son of classic music composer is clearly inside this music. Before turning into a DJ and electronic music producer he has been playing in bands since he was 13 years old.
The album is full of emotional chord progressions played by Kapote on various keyboards. Sometimes reminding music from the past, without being retro at all. The basslines and melodies are inspired by jazz fusion from the 1970ies. And he programmed syncopated grooves that come from afro-american dance music. There are influences from Japanese electronic music (Yellow Magic Orchestra), from 1980s Synthwave and from 1990s electronica (like Squarepusher and Luke Vibert).

Kapote plays keys, bass, flutes and percussions, he plays synth solos and sings on a few tracks. The complexity of the arrangements makes this music never boring. Lot of melodies and solos that catch the listener. Colourful soundscapes that make you want to listen or dance to this album more, and discover details also after you heard it several times.

Kapote background

Before starting Toy Tonics, Kapote used to run a label called Gomma. He produced four albums under the name Munk and music for other artists.
He produced music with Peaches, Franz Ferdinand founder Nick McCarthy, with New York street art legend The Rammellzee, Italian actress Asia Argento, the first three albums of WhoMadeWho and worked with LCD Soundsystem (listen to "Kick out the chairs", the Munk song with James Murphy )
In those "Gomma days" Kapote aka Munk was also one of the main DJs for VICE magazine parties and made music for art projects and fashion brands (Margiela, Prada, Colette).
In 2015 he stopped Munk and Gomma and started Toy Tonics. He found young producers and helped to develop their sound (Coeo, Cody Currie, Gee Lane, Barbara Boeing, Sam Ruffillo). Later he founded the sublabel Kryptox to release music by Berlin based bands that make new forms of jazz or neo classical sounds.

Under the name Kapote Mathias didnt release much:
Only his Kapote debut album "What it is" (2019) and an EP called "Electric Slide" (2022) and a collabo EP with Italian producer Sam Ruffillo ("Robot Salsa").

An although his Munk and Kapote music was an underground phenomena his music has always been a favourite of many great people from the scene.
Supported by DJs like Harvey, Chromeo, Moodymann, Jennifer Cardini, Gerd Janson, MYD, Andrew Weatherall to Blessed Madonna, Justice and Laurent Garnier… to name just a few.

Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.

Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.

Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.

Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.

A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.

Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.

The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.

As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.

Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!

Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?

Celebrating 40th anniversary of Yves Deruyter's musical career with this 10 x 12" Vinyl Box Set. Including tracks from F.U.S.E. vs LFO, Tronikhouse, Robert Armani, L.S.G., Edge Of Motion, Plastikman, The Prodigy, Ecstasy Club, and the master himselfYves Deruyter.



Yves Deruyter - 40 Years at the Pinnacle of the Night

Forty years. A rollercoaster of a musical career, meandering through five decades, leaving timeless marks on the collective dancefloor memory. Yves Deruyter is the exception that proves the rule. An icon behind the decks, celebrated far beyond national borders for his legendary sets, impeccable musical choices, and the anthems released under his name. The result of collective effort, where Yves, with his vision and unique touch, consistently left his mark-transforming good tracks into inescapable bombs that still resonate through time.

If you've spent forty years living to the pulse of music, the night is in your DNA. Yves Deruyter, a DJ to the core-the real deal. The man who bent the night to his will, dragging weekend vibes into the workweek like a warrior, a true master behind the turntables who made his people dance. His beats: the oxygen that generations lived on.

Yves sharpened his musical weapons in the early '90s within the iconic afterparty scene of Barocci and The Globe-places that became sanctuaries in Belgium's endless night. Here, die-hard dancefloor warriors, cutting-edge music lovers, and night owls from the four corners of the globe gathered. They willingly followed Yves' masterful mixing and his razor-sharp set construction. Clubs with a more conventional timeframe were the next step, with the iconic Cherrymoon as his home base for years-alongside endless guest DJ spots and global gigs. From there, the underground pulsed through Yves' hands and crates, reaching ever-larger crowds-without ever compromising for commercial or crossover sounds. Yves stayed true to his choices, lifting his audience to euphoric heights like a craftsman, armed with his hits, hidden gems, and freshly unearthed nuggets.

From the pounding energy of Rave City to the flippy, epic flashes of Calling Earth-tracks that not only captured the spirit of the times but conquered dancefloors worldwide. This isn't just music; it's a time capsule-a connection between generations and a reminder of the energy from a golden era.

With musical partners like Roel Butzen, Frederico Santini, M.I.K.E. Push, and more recently, Insider, Yves forged a sound that etched its place into rave and dance history. From The Rebel to The House of House, parts of Yves' musical taste have become immortal pillars of dance music heritage. In the early rave days, he topped Belgium's DJ rankings year after year, elevating every club he played to the highest echelons of popularity. The same held true for the records where his name appeared like a badge of honor.

From The Globe to the globe itself-it seemed almost written in the stars. Yves, thestar DJ, became one of the instigators of the electronic music storm that put Belgium on the global map-a storm that never subsided. Festivals like Love Parade, Mayday, I Love Techno, Nature One, and Tomorrowland saw Yves as a trusted force, effortlessly commanding crowds and turning dancefloors inside out. Forty years later, that storm still ignites partygoers, vibrates through dancefloors, and keeps entire generations moving.

Even today, Yves still holds a steady residency with Yves Deruyter and Friends at Club Moustache, where his concept always sells out. Here, both fresh talent and seasoned DJs deliver a killer blend of modern electronic dance music and timeless classics, creating an atmosphere that hooks the crowd every single time.

Because partying doesn't need an excuse. But forty years? That deserves the spotlight-not as a mere milestone, but as a showcase of timelessness. Music mutates, reinvents itself for new generations, yet retains the same impact as that very first time. Yves proves that forty is just a number, and relevance isn't about trends-it's about vision, energy, and an unmistakable touch. His sets? Indestructible. His sound? A heartbeat echoing through time.

And Yves? He doesn't live in the past. Today, Yves distills those four decades into a compilation capturing the essence of his career. Belgian beats, interpreted and refined into a sound that powered raves around the world. Ten vinyls featuring not just a fiercely curated selection that contextualizes the magic of his early days, but also new versions of three unbeatable anthems-potent hits designed to turn dancefloors upside down in wonder, without losing a shred of their soul. Yves remains a beacon in the night, a searchlight for that one perfect beat-always relevant, always chasing that magical moment.

Yves Deruyter-a name spoken in the same breath as the greats of the scene. A ten-vinyl compilation is more than a celebration; it's a well-earned trophy. As unique, indestructible, and uncompromising as the man himself.

Man-of-the-minute Jorg Kuning returns to Facta & K-LONE’s Wisdom Teeth imprint with ‘Elvers Pass’: a new 6-track exposition of his singular sound, and his most accomplished and comprehensive work to date. By now, the Jorg Kuning trademark is well established. Cherrypicking influences from the wiggiest ends of tech house, electro and bass music, his music is instantly set apart by his totally unique sound palette.

In fact, it’s hard to think of another club artist who has emerged with such a distinct and recognisable voice in recent years. Bubbling and funky with that unmistakable dose of wonk, you can tell a Jorg Kuning tune the minute it enters the mix. Since last appearing on Wisdom Teeth with 2022’s ‘Chosta-del-sol’ EP, the Welshpool-based artist has become a cult name on the global club and festival circuit - his must-see live set turning heads wherever he pitches up. Anybody who frequents the summer circuits around Freerotation, Love International, Gottwood and Dimensions will know exactly what we’re talking about. Along the way he has picked up a number of ardent and outspoken fans, including Lukas Wigflex and Koreless - the latter of whom tapped Jorg for a stellar remix on last year’s ‘Deceltica’ EP on Young. On ‘Elvers Pass’, Jorg manages to ring an exceptionally rich diversity of life from the circuitry of his modular machines.

The record’s melodies flutter and swirl like deep-sea creatures, and his synths ooze as if dredged from some primordial swamp. More so than ever, a host of otherworldly voices have begun to creep into his music: ‘Mercedes’ centres around a fluttering chorus of disembodied vocal chops, while ‘Synthetic Squashies’ rocks back and forth on a looping dialog between two AI chatbots. Across the record, synths mimic animal vocal tones, from the belching bass licks on ‘Skudde’ to the amphibious synth groans on ‘Teen Frogue’. Playful, oddball and in a class of its own, ‘Elvers Pass’ is a welcome New Year offering for ravers and club adventurers worldwide.

Kicking 2025 off with a NEW LIFE, Kito Jempere resumes operations retro-outfit shining, all machines blazing, pulling up with a boiling four-trackpackage bound to get dance floors quivering in excitement. A stick ofdynamite flung into the mouth of today's corporate dance music blandness, 'New Life' finds the Saint Petersburg producer spitting multi-strain madnesswith reckless fun and adventurous panache. Take New Order in theirTechnique days, sprinkle with early hip-hop breaks and finish it with a funk-savvy mix of acid, happy hardcore and ghetto tech jack, and you prettymuch have the opening track and lead-single 'New Life' capsulized to a tee.
A blissed-out, choppy ride spinning recklessly into dance-y abandon, 'LoveFilter' takes us on a heavy-lidded trip across dreamy electronic folds andonto vaporous apexes, where drum-heavy jolts and sliced vocals collidewith spacious pads from outer space. As hypnotic as it reveals hard-hitting, 'Killer Line De-Part' deploys a warped kaleidoscope of trancey shades,grunge-y grit and largely '80s informed analogue wizardry, convergingtowards the most hair-raising finale with your feet in the air and a dumbsmile across the face. Rounding off the record, 'Put Love Into Your Heart(Club Mix)' is a luminous slice of trippy, feelgood electronics engineered fordance floor communion and uplifting let-go. Fill your heart with love.

Who is Beatrice? Who is Melissa? Could they be one and the same?

This is the question at the heart of Secret, the duo’s debut album—or at least, that’s what the music seems to suggest. If sound is an extension of ourselves, it can also become a character we shape. The main character of Secret isn’t visible to the human eye, and yet they give off an androgynous and timeless energy, rooted in multiple languages and spaces. As the album unfolds, we sense the fusion of two distinct energies combined into a single, composite being. This constantly shifting, blurred identity comes to life in the album’s profusion of genres: club music, ambient, chanson, trip-hop, UK garage, and tech house. The tracks stretch and contract, following the trajectory of a dual voice.

Behind Secret lies a mélange of perspectives. Beatrice M., a Franco-British artist at the head of the label Bait, curates an innovative blend of syncopated UK club styles (mostly dubstep) and trancy techno grooves. Melissa Weikart, a French-American songwriter trained in classical piano with a deep passion for jazz, makes intimate avant-pop songs that embody her unique, hybrid approach to music-making. The diverse musical collaborations in Secret reinforce a dynamic that is central to both of their artistic journeys from the start, and these collaborations melt seamlessly into the album’s overall aesthetic. Despite a confluence of influences, the implied development of this obscure, extraterrestrial main character grounds us in a refreshing coherence. Secret is rich in variety and style, but above all, it diffuses a calm and serene atmosphere. Even when the BPM speeds up, we are carried along, suspended in Beatrice Melissa’s uncanny world.

The time has finally come to have Kwartz in this house again and we couldnt be more satisfied with the quality of the work he has delivered. It is clear that his new residency at the best techno club on the planet, Berghain, has helped his inspiration multiply exponentially and this is definitely reflecting in this brand new work that leaves us wanting more.

Four slices of techno with all the letters, which define exactly what the genre should be without seasonal additives, dynamic electronic dance music, without an expiration date, which could be signed thirty years ago or in the distant future.

Mario does not entertain himself with extreme speeds, nor with predictable developments, nor with pre-cooked sounds. His approach to musical creation is slow and artisenal, meditating and maturing each of the ingredients he uses without fear of being left out of the media radar.

This enitre procedure is reflected un the excellent result, The Golden Hour is a perfect example of everything said above. Strong and firm rhythms, constantly evolving arrangements, elaborate sound design and a firm dance attitude.

Enter The Zone turn rhythms towards broken bass drums, slightly presses the accelerator and introduces disturbing atmospheres combined with organic percussion details in a masterful way. A true catalyst for expert mixers.

On side B, Under Control once again breaks tradition with a broken, hypnotic and continuous rhythms, a first-rate brain driller for the clubs peak moments.

The EP ends with Animal Instinct, which does not lower the intensity one bit, adding an overwhelming rhythm with dynamic percussive details, with no room for rest, perfect for the dancers to travel to unknown dimensions.

A heavyweight lineup of dub techno talent comes together for a deep and textured journey. Krystian Shek and Milly James join forces on Promise, delivering two original productions alongside with reworks from Yagya and grad_u. As a bonus, this collection expands even further with digital-exclusive remixes from Raytek and Noosa Sound System that come with the original purchase.

'Glow & Shine' locks into a hypnotic groove from the outset, its analog warmth and weighty percussion forming a solid foundation. A crisp snare and hi-hat pattern provide an irresistible swing, while chords and vocals land together in perfect sync, draped in a rich layer of delay. Spacey breakdowns allow the ride cymbal to subtly emerge, giving the track an evolving energy. The closing moments strip things back, with the chords guiding everything to a natural finish. 'Better That Way' shifts into a more melodic space, balancing intricate drum programming with an emotive vocal delivery. The initial rhythmic stutter adds a unique touch before settling into a flowing beat. As layers build, the chords and voice intertwine seamlessly, evoking a deep, contemplative feel. The breakdown smooths everything out, allowing the track to breathe before a striking bassline shift in the final section brings fresh momentum. The last ambient passage is particularly stunning, offering a moment of reflection.

The legendary Icelandic producer Yagya creates his interpretation of 'Glow & Shine' sees it drifting into dreamlike territory, wrapping the original's elements in a lush, aquatic atmosphere. More of a song than a club tool, it glides effortlessly, capturing a serene, almost weightless mood. On the flip side, grad_u reshapes 'Better That Way' into a crisp, rolling dub excursion. Airy chords swirl above a commanding groove, with well-placed melodic flourishes adding an elegant touch. The arrangement continuously morphs, deepening its hypnotic pull.

Raytek's remix of 'Glow & Shine' injects a sharper rhythmic intensity, pushing the track into darker, more driving territory. The vocal treatment becomes a focal point, cleverly reshaped to make the singing the true hook. Meanwhile, Noosa Sound System takes 'Better That Way' into stripped-down, immersive terrain. The off-kilter drum work and layered percussion create a mesmerizing flow, while the winding structure makes it a DJ-friendly tool.

This well-rounded collection that explores multiple shades of dub techno, this release has both dancefloor energy and introspective depth. With a strong roster of contributors, it delivers a blend of classic textures and fresh perspectives.

Zoetrope Vinyl. Schrank zu klein, Arsch zu groß, blasse Waden, hellgrüne Luftballons in der Steckdosenfrisur - das ist Schwiegermutters Fiebertraum in Reinform, das ist der körperhafte Stinkefinger an die Selbstoptimierer*innen-Gesellschaft, das ist Punk in der Jetztzeit-Version, das ist der "EXTRA"Lifestyle. Paula Carolina zelebriert eben diesen Lifestyle Woche für Woche erfolgreich auf den Festivalbühnen der Bundesrepublik - und hat ihm mit "EXTRA" ein musikalisches Denkmal gesetzt. Paulas neue Single ist eine Musik-gewordene Ode auf die Weirdness und das Besonderssein, ein augenzwinkernd-romantischer Vorstoß gegen Normschönheit, Langweilertum und "Otto Normal"-Standards - "als wär' auf der Tanzfläche jedem scheißegal, was man anhätte". "EXTRA" ist nicht umsonst der Namensgeber des Ende September erscheinenden Paula Carolina-Debütalbums - dieser Song steht exemplarisch für die künstlerische Vision seiner Macherin, die ihren Platz zwischen den Stühlen unlängst gefunden hat: "Fühl' ich mich heute wie ein Punk oder doch nur wie die Göre von Nebenan? Egal!". Paula-Carolina-Musik ist "irgendwie anders" und jedes Mal ein bisschen neu. Zwischen rustikalem Gitarren-Geschrubbel, tanzbar-schiebenden Drums und kaum erwartbaren Airhorn Einschüben blüht die Weltenbummlerin in "EXTRA" erstmals überhaupt mit einer Rap-ähnlichen Stimmperformance auf. Paulas Vocal-Experimente münden zwischendurch in einer Vulkanausbruch-artigen Ohrwurm-Hook und im letzten Drittel des Songs in einer epochalen SingSang-Bridge. Zwischen Punk-Attitüde und Techno-Club-eske Hektik mischt sind also auch die nötige Portion Pop-Appeal. Wer "EXTRA" lieber in einem anderem Genre-Gewand hören will und sich in Jungle-, Dancehall- oder Happy-Hardcore-typischem Tanzstill zum Song bewegen möchte, kann dies übrigens auch tun. Ja, richtig gehört: Ab 3. August - also einen Tag nach Single-Release - wird täglich ein neuer Remix des Originalsongs veröffentlicht. Star-Produzent Marti Fischer, den Paula-Carolina-Fans spätestens seit seinem erfolgsgekrönten "Schreien! - Turbo Remix" kennen dürften, hat ein umfangreiches Begleitwerk zu "EXTRA" realisiert und mehrere, verschiedenartig elektronische Alternativ-Versionen der Außenseiter-Hymne zusammengeschustert. Als wäre das nicht genug "EXTRA" zu "EXTRA", haben auch Großstadtgeflüster eine stilechte Remix-Version der Single gefertigt und der Bonus-EP ihren Stempel aufgedrückt. "Es geht wieder los", im Kosmos Paula Carolina - und zwar so richtig.

Two new faces on the label with the two-faced eagle! Both artists have been much respected forces on the international club circuit for a while. IDA ENGBERG is best known for her affiliation with Stockholm’s Drumcode and Truesoul labels. For her Speicher debut though, she’s tapping into a quite different sound territory. “Nothing Feels The Same” will go down in history as the first 2 Step track ever released on KOMPAKT EXTRA. It’s as sensual as it’s booming. Definitely one for those late morning hours. With “Pink Monkeys” is an EBM/sawtooth trance amalgamation of the highest order with enough psychedelic headroom for the festival season.

MARCO RESMANN’s deep involvement with the late Berlin club legend Watergate has made him one of the German capital’s beacons of house and techno. He’s one half of Lunar City Express and former member of Pan-Pot which speaks volumes about his stylistical versatility.”“RIMA feat. Laatz” he delivers a frenetic rollercoaster ride of a techno track. It’s radical, it’s menacing and super fun all at once – A truly one of a kind techno track. “Dimensions” is a low-slung electro bulwark full of intricate details to keep head and feet going in unison.
Zwei neue Gesichter auf dem Label mit dem doppelköpfigen Adler! Beide Künstler sind seit einiger Zeit angesehene Größen in der internationalen Clubszene. IDA ENGBERG ist vor allem für ihre Zusammenarbeit mit den Stockholmer Labels Drumcode und Truesoul bekannt. Für ihr Debüt auf Speicher betritt sie jedoch ein ganz anderes Sound-Territorium. „Nothing Feels The Same“ wird als erster 2-Step-Track, der jemals auf KOMPAKT EXTRA veröffentlicht wurde, in die Geschichte eingehen. Es ist ebenso sinnlich wie dröhnend. Definitiv etwas für die späten Morgenstunden. Mit „Pink Monkeys“ ist eine EBM/Sägezahn-Trance-Verschmelzung der höchsten Güteklasse mit genug psychedelischem Headroom für die Festivalsaison entstanden.

MARCO RESMANNs tiefe Verbundenheit mit der jüngst verstorbenen Berliner Clublegende Watergate hat ihn zu einem der Fixpunkte der deutschen Hauptstadt in Sachen House und Techno gemacht und weit darüber hinaus. Er ist eine Hälfte von Lunar City Express und ehemaliges Mitglied von Pan-Pot, was Bände über seine stilistische Vielseitigkeit spricht. Mit „RIMA feat. Laatz“ liefert er eine frenetische Techno-Achterbahnfahrt, die gleichermaßen radikal, bedrohlich ist und ungemein Spaß macht – ein wirklich einzigartiger Track für die Ewigkeit. ‚Dimensions‘ wiederum ist ein tiefgründiges Electro-Bollwerk voller komplexer Details, das Kopf und Füße sicher im Einklang hält.

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

All songs recorded and mixed by Pat Lilley at Nexus Recording Studio in Waukesha
Wisconsin between 1998-1999. Songs 1,2, and 4 originally appeared on Parallel
Chlorophyll Regions (Highwater Records 005) 1998. Song 3 originally appeared on
Akarso/Seven Days of Samsara Split 7" (Ricky Schroeder Fan Club 001) 2000. Songs
5-8 originally appeared on Akarso/Faraquet Split CD (404 Records 002) 1999.
Milwaukee's underground scene of the late 1990s harbored many hidden gems, and
Akarso is certainly one of its finest. Blending elements of post-hardcore, math rock,
screamo, and noise rock, the trio quickly made a name for themselves during their
short yet intense existence. Their chaotic and intricate sound earned them a loyal
following within math and post-hardcore circles, and they toured extensively, leaving
behind a legacy that would influence the Midwest's underground music scene for
years to come. With Leave Quietly: 1997-1999, Akarso's complete recorded catalog has
been unearthed, giving listeners a chance to experience the raw energy and innovative
sound of a band that was well ahead of its time. Released through Expert Work
Records, this LP collects Akarso's recorded output from their brief but impactful run.
Featuring Nathan Lilley on vocals and guitar (who would later gain notoriety with Call
Me Lightning), Joe Wong on drums (now a prolific composer for TV and film and host
of The Trap Set ), and Greg Roteik on bass (of Key of Evil fame), the trio's musical
chemistry is undeniable. Their dynamic interplay and knack for combining dissonance
with technical precision is immediately apparent, and this collection serves as both a
time capsule and sheer example of their musical skills.
The songs feel unpolished in the best possible way, full of jagged guitar riffs, off-kilter
rhythms, and aggressive vocals. It's easy to hear why Akarso garnered attention
during their brief career: their music demanded attention. Tracks from the collection
highlight their ability to balance complex structures with visceral energy, reflecting
their post-hardcore roots while pushing into more experimental territory. At the heart
of Akarso's sound is their seamless blending of math rock's technical precision with
the ferocity of post-hardcore and noise rock. The intricate guitar work of Nathan Lilley,
coupled with the driving rhythms of Joe Wong and the powerful basslines of Greg
Roteik, creates a tense and unpredictable musical experience. Time signatures shift
without warning, dissonant riffs collide with frenetic drumming, and Lilley's vocals
pierce through the chaos with a cathartic and desperate intensity.
It's a challenging, chaotic, and emotionally charged album that captures the intensity
of Akarso's live performances and the raw energy of their songwriting. More than two
decades later, Akarso's music remains as vital and relevant as ever, and this collection
that their legacy will continue to inspire future generations of musici

Goodtunes is back and this time with a highly regarded compilation of various artists.

Kicking off this label’s second release we have Mungo Sound Machine. Positioned as the A1, ‘See You Next Thursday’ functions as one of the heavier tracks on the release. With a downright dirty bass line, crisp percussion, and creative arrangement, this track tells a story that will never get old.

On the A2, comes ultra-talented friend of the label and NYC resident, Chuwee. Here he delivers with a magical evening steamer in ‘DX Tornado’. Shuffled drums and a deep rolling bass line accompanied with funky stabs and tripped out Japanese vocals are the perfect combination to start a party or keep it going.

J. Feierabend is no stranger to the punch. Sharp and ripe kicks, snares and a thick bass line drive this clubby groover to great heights. Bright vocoders and tech’d out bleeps take this one step further. When it comes to being simple but effective, the B1 ‘Listen’ knocks it out of the park.

Lastly, worlds collide from the Berlin to Paris link-up between Natebytheway and Local DJ. Crafted on a sunny day during the Olympics in Paris, this collaboration is a gentle taste of the deep and clubby combination the two producers love. Techy, gritty and soft in all the right places. Let ‘PB Saucers’ and the others aforementioned take you and your loved ones to brighter places.

Sharpening his modernist, hybridised club sound with the restless energy he’s made his name on, Breaka returns with Aeoui. Nodding to the vowel-only vocal samples he scatters throughout his tracks, this much-anticipated second album reaffirms Charlie Baker’s reputation as a many-sided bass music innovator.

Since 2019, Breaka has been primarily shaping his own destiny by self-releasing most of his music, and it’s afforded him the space to evolve his sound on his own terms. In the wake of his 2022 debut LP We Move, the consistently prolific producer had been looking for a fitting window to channel his work into a second full-length. The opportunity arose when he struck on a fit of jet-lagged inspiration in late 2023 and laid down two of the new album’s key tunes, ‘squashy track’ and ‘yolo bass rewind’. Jutting out at a distinct angle from his other work, Breaka knew he’d found the anchor point around which to build out the next phase of his sonic evolution.

This productive period also aligned with a new studio space to work in, leading to the album’s striking double-dose opening of ‘Aeoui’ and ‘Are We There’. With the flavour of his new album established, Breaka was able to comb back through his reams of existing ideas and find the remaining pieces that fit the emerging puzzle. There are enduring influences which bind together the Breaka sound — footwork, techno and dancehall continue to guide the infectious floor-ready pressure of the record, but he worked free of stylistic concerns to find a vibe that remained true to his independent spirit.

It’s clear the Breaka DNA reaches beyond purist club music — his roots as a jazz drummer from an early age guide the expressive flair in his beat programming, while he took a more direct influence from a mind-blowing Sons Of Kemet gig in 2022 to make psychedelic centre-piece ‘Roundhouse’. Elsewhere ‘Cascara’ pays tribute to the Afro-Cuban rhythm of the same name, which he fused with amapiano’s lithe log drums and shakers, Brazilian percussion and edgy sound design to create a maverick soundsystem wrecker.

The collision of organic and synthetic, crisp forms and chaotic energy are captured perfectly in the cover artwork created with Jordan Core. It’s a savvy sum-up of where Breaka is at right now, continually building out with clear intentions while embracing the unpredictable energy of lived experiences and the ideas that get sparked along the way. That’s why Aeoui sounds like no one else out there but Breaka.

Since its release in March 2024 Perc's album 'The Cut Off' hascontinued to rise in stature with glowing reviews including an 'RA Recommends' award from Resident Advisor , 'Best of 2024' list appearances and tracks such as 'Static' featuring Sissel Wincent and 'Imperial Leather' becoming dance floor hits around the world. The album also spawned a 26 date album tour with shows at festivals and clubs across Europe, USA and South America.
Now 'The Cut Off' returns as two remix EPs containing reworks from a wide range of artists all operating at the cutting edge of forward facing electronic music, with this first EP taking in everything from tough industrial hardcore through deeper sounds all the way to London acid techno.
Opening up the EP is Dutch legend Ophidian, who transforms 'Static' from grinding techno into an epic fusion of hard edged techno and industrial hardcore. Already one of the most requested tracks from Perc's recent sets, this Ophidian remix once heard is never forgotten.
Staying with the Netherlands, Vera Grace shows a relatively new side to her sound moulding Perc's 'Fett23' into a echoing slice of hypnotic techno. Heavy on sound design with a driving synthesised pulse leading the charge Vera's remix constantly builds momentum without ever getting repetitive.
On the B-side Acerbic (aka London acid techno hero Ant) pumps 'Imperial Leather' full of caustic acid with a huge arrangement that never sits still for long. Perc is known as a key supporter of this classic London sound and this remix has been his biggest acid track recently.
Finally Argentina's Zisko becomes the first ever South American artist to appear on Perc Trax. A breakout star of the new wave of groove led percussive techno with multiple recent appearances
at Berghain, Zisko takes deep cut 'Milk Snatcher's Return' and adds swinging hihats and rides and just a touch of dub techno for a perfect example of why his sound is so in demand right now.

Red Motorbike maestro Eddie C drops on the ensemble with an anthemic ode to the most sought-after of desires. We’ve been keeping this secret for far too long; it’s time to bring U Be Mine into the light, complete with remixes from Lex, Da Silva and Marcello Giordani aka Italo Deviance.
It was just over a year ago when Eddie sent us his original demo of U Be Mine. I remember plugging i the speakers in my fat, pressing play. A fash from a place of love that wet, grey day. The lyrical bass, euphoric stabs, the iconic delay, the pining vox. There are times where things seem naturally bound, designed to intertwine. An instant essential. We couldn’t wait to throw it down in the disco. Much like the coveted desire of its vocoder-clad protaganist, we needed a club-ready fx. Eddie, getting the message, sent us over a quick master - the Eddie C ‘Cash’ Version. Over the next year, at parties from Lisbon to Ibiza, I saw how those swirling arps locked onto the foor, how dancers cosied up to its decadent groove. It was peak time, warm-up and wind-down at once. In the true spirit of the ensemble, we got to work curating a cast of balearic technicians to write their distinct shade of depth onto Eddie’s golden letter. And that’s where it lands.
Lex from Athens casts an exotic, eclectic spirit with his Plaka Remix, all shufing percussions and wild, breezy strings, rejigged baselines and NYC disco tackle. Label curator Da Silva ups the ante with his 7-minute club-ready fx: tight kicks and searing acid, all the bells and whistles for your peak-time excursions. Finally, Marcello Giordani shifts into hyperdrive with the ITALO DEVIANCE ACID CONTROL version, conjuring creatures of the night in kaleidoscopic confgurations, a trusted party roller for the most decadent dancefoors.
We’re releasing U Be Mine on 150 pristine discs only. Claim it as yours, forevermore.

Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard

Sub Oscillator AKA Russ Gabriel has been part of the UK dance music scene since 1992, spanning everything from Breakbeat, Hardcore, Techno, Electro, House, Acid, Broken Beat and Ambient. But his first releases were under the guise of Sub Oscillator, releasing 3 EPs during 1992.

This is EP 2 that was originally released on Stu J’s Adrenalin Recordings out of Southampton and was dropped frequently at the legendary Madisons club in Bournemouth, where Stu was the resident DJ.

The most collectable of the 3 EPs under this name, it brings together the sounds of the hardcore rave scene, breakbeat and even some proper hardstyle Euro techno vibes too.

Mannequin Records proudly presents the debut release from Children Of The Night, a dynamic duo whose music is rooted in cinematic soundscapes. The project brings together Mexican techno producer Alejandro Barba, also known as Dellarge, and French documentary/film producer Pierre Labret, forging a distinctive creative partnership. Their collaboration masterfully combines dark, atmospheric elements with driving electronic rhythms, drawing heavily from the worlds of classic horror and psychological thrillers. The result is a collection of soundscapes that are as eerie as they are captivating, creating an immersive and haunting listening experience.



This album stands as an unconventional horror soundtrack for a film that never came to be—a tribute to the legendary Spanish filmmaker Jess Franco, known for his prolific work in the exploitation and horror genres. Born out of the quiet chaos of the pandemic, this project was originally intended to accompany a slasher film that was halted due to financial constraints. Despite the film’s cancellation, the duo pressed forward, turning the unfinished narrative into an imaginative auditory experience. The soundtrack will serve not only as a homage to Franco but also as a nod to Juan Mendez, better known by his alias Silent Servant, whose dark, minimalist electronic productions have left a deep mark on the underground music scene.

Dellarge and Labret’s creative process is shaped by an eclectic array of inspirations, pulling from both literature and cinema. They’ve cited films such as Franco’s "Paroxismus," "Gritos," and "Faceless" as vital to their sonic direction, as well as the eerie black-and-white imagery of F.W. Murnau's "Nosferatu." Additionally, the duo draws on the disturbing psychological tension of Stephen King’s "Carrie" and "Misery," and the surreal dystopian world of Stanislaw Lem's "Congreso de Futurología." The giallo horror aesthetics of Dario Argento's "Deep Red" also serve as a significant influence, merging surreal visuals with nerve-racking, visceral soundtracks—elements mirrored in Dellarge and Labret's own compositions.



The LP is not only rich with atmospheric storytelling but also boasts a range of remarkable remixes by prominent artists in the electronic music scene. Contributions from Alessandro Adriani, David Carretta, Legowelt, and Broken English Club inject new life into the original tracks, offering reinterpretations that span from industrial techno to Italo disco, further enhancing the project’s depth and versatility. Each remix complements the overarching horror theme while adding a modern, avant-garde twist to the duo’s work.



This debut album promises to be more than just a musical release—it's a vivid exploration of the horror genre through sound, creating a sensory experience that brings forgotten films, unrealized visions, and nightmarish stories to life through music. As the lines between fiction and reality blur, Dellarge and Labret invite listeners into a world where the echoes of lost films can finally be heard.

Speckman D.J. & Producer hailing from Hamburg. Co-founder of the tastemaking partyseries Dreamteam and resident at the legendary Golden Pudel Club is finally presenting his new Album titled „NOISEMAKER“ on Public Possession. His eclectic style as a D.J. is perfectly represented in the Music on this record, sitting comfortably between techhouse, indie, new rave and electronica it could probably be best described as a pretty epic take on electroclash in a fully updated, reloaded 2025 version. Fu**in seriously, unserious party music with a nod to the past yet fully in the present. The mellow, deeper episodes are the topping on the bright, pink cake. Speckman is going to jump out of it and right at you. Find him soon in a D.J. booth close to you, no matter if he is supporting „The Dare“ on his EU Tour or holding controls at the Golden Pudel Club. It’s going to be wild and full of surprises.

f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)

Swedish talent Dold drops nuanced techno cuts on 10" via SHDW's Mutual Rytm X.

Stockholm-based Patrik Eriksson, aka Dold, is a cultured producer known for crafting hypnotic loops with a minimalist, emotive touch-bridging underground dancefloors and introspective listening.

As a DJ, producer, and co-founder of Arsenik, Dold has championed raw, unembellished techno since 2015. His releases on Key and Fuse blend Detroit techno's legacy with IDM's intricacy and ambient's ethereal tones, creating a style that is both timeless and forward-thinking. Whether it's crafting tapestry's recorded via hardware in the studio or performing live, Dold continues to innovate, honouring techno's roots while exploring its future, and his talent is on full display across his label debut on Mutual Rytm X.

'Grainy' opens the EP and showcases Dold's ability to craft deep and loopy techno with a stripped-back, emotive
edge. It's deft but enthralling, with innovative synths rising and falling through the minimal drums. 'Surface' is another compelling deep cut with hurried drum funk and subtle synth pulses, adding a futuristic edge to the groove. The fantastic 'Blush' brings smears of warm synth and machine soul to a dynamic dub techno rhythm that bends the
past with the present. Digital bonus cuts 'Dub at Heart (Club Version)' and 'Dub at Heart (Sofa Version)' offer
contrasting perspectives of the same track, with the first aiming directly for peak-time sessions, while the latter closes the package on a laid-back tip.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

The fourth release on Madam X's KAIZEN imprint sees the hotly anticipated return of Manchester heavyweight Biome. The Fargo EP continues along the forward thinking tangent of the label, expertly blending elements of bass, techno and rolling percussion. Early support from Hodge, Loefah and Walton, KZN004 provides 6 club ready, certified weapons fit for the dance.

Vinyl is 180g and contains downloadcode

Wrocław-Toruń noise rock band founded by Szymon Szwarc (swrcfx, Jesień) and Damian Kowalski (SKI). They are currently collaborating with Cezary Rosiński (Młyn) and Krzysztof Rogalski (Pchełki). The band has performed in clubs and at festivals in Poland, Germany, the Czech Republic, Slovakia, Austria, Lithuania, Latvia, and Estonia. So far, two full-length albums by RZWD have been released: POMPY (Fonoradar Records 2020) and GOLD (Fonoradar Records 2022).


Album GAPS Recorded in November 2023, is the result of two years of work that merges classic POST-PUNK GUIDE with a rich electronic influence. On GAPS, RZWD aims to craft DANCE NOISE CLUB MUSIC on their own terms, pushing the limits of what a LIVE BAND can be in achieving this.
Most of the tracks evolved during RZWD's concerts in countries like Lithuania, the Czech Republic, Germany, and Estonia. These experiences and ideas were shaped into the album between November 2023 and May 2024. Live recordings in Szczecin were done by Adam Sołtysiak, while additional recordings and production were handled in Toruń under the supervision of swrcfx.
The core idea behind GAPS was to use developed themes as a starting point for further variations and exploration within DANCE NOISE CLUB MUSIC. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation. Therefore, the album features four brand new compositions alongside four remixes of tracks from previous albums.
The album also features guest appearances by: DANIELIUS PANCEROVAS from the Lithuanian band KANALIZACJIA, adding a saxophone touch to the track DIESEL, and KRZYSZTOF FREEZE OSTROWSKI - a renowned Polish electronic musician and producer, bringing a new sonic perspective to EURO TRACK from the DMO EP.
Among the multidimensional concepts blending environments, genres, styles, and techniques found on GAPS, the pursuit of synthesizing acoustic and electronic sounds stands out. RZWD creates a space where the boundaries between these domains blur and lose their significance.
The result is a groove-driven and noisy mix of dance music styles such as RAVE, TECHNO, HOUSE, and FOOTWORK, played beyond rigid tempo measurements and DAW limitations, relying on natural skills and intuition. It's a soundtrack that works best as a backdrop to movement, whether coordinated or not.
RZWD:
SKI - DRUMS, ELECTRONICS
KRZYSZTOF ROGALSKI - BASS GUITAR
CEZARY ROSIŃSKI - DUBS, SYNTH, MOD. ELECTRONICS
swrcfx - DUBS, SYNTH, GUITAR
ALBUM GUESTS:
DANIELIUS PANCEROVAS - SAXOPHONE in DIESEL V3
KRZYSZTOF FREEZE OSTROWSKI - ELECTRONICS in EURO TRACK V2