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Perro Bueno is back with a sixth volume of edits that will only heighten his reputation in underground circles. Side A's 'BLRF' brings big but raw jazz-funk energy thanks to the blazing horn and that unmistakable Bueno swing. Flip it over, and 'NFSA' unearths a long-lost Afro groove that has been lovingly reimagined with deep respect for its roots and a sharp ear for the dancefloor. The art here is merging crate-digger nostalgia with fresh club energy that cuts through contemporary dance floors. Bueno's groove is also a defining factor and unstoppable as ever as his edit story keeps on rolling and keeps it thrilling.

Milkcrate Mondays always deal in unabashed dancefloor fun, but that never comes at the expense of style and quality in celebration of the party of the same name's open-minded ethos. On the A-side, Spinobi delivers a dancehall-leaning refix of 'My Boo', reshaping the familiar hook with punchy rhythm and bass weight. The flip belongs to Palomo, whose 'My Boo' cumbia edit turns the freestyle classic into a rolling Latin groove built for late-night sets. Mastered by resident DJ Satin, this is another gem that continues the collective's tradition of crate-digger creativity and genre-crossing selections aimed squarely at moving the room.

Part Two of our 'Back To The Old School' series has arrived in full effect. Once again, Mr "Love" Lee updates classic disco-rap cuts for today's dancefloors while preserving their original flavour and integrity. Kicking things off is Xanadu & Sweet Lady's Jamaican version of "Rappers Delight," where Dave refreshes the instantly recognisable percussion track into a captivating jazz-funk workout, perfectly complementing Sweet Lady's luscious rapping and somehow making it even more danceable than ever. Up next, Solo Sound "We Are The Crew (Called Solo Sound)" delivers a swampy, lo-down slice of cosmic funk primed to rock any block party. On the flip is an alternate Philly flavoured take on TJ Swann's 1981 jam "Get Fly." This time Dave Lee re-tracks the MFSB backbone, putting his remixing prowess fully on display and landing squarely in the dancefloor sweet spot. As a bonus, any wannabe disco rappers can hone their skills over the B2 Shepherds Delight (No Rapstrumental Mix).

Black Dot duo returns to Kri Records with six tracks ranging from EBM club domination to electro after-hours relaxation. Duo's signature futuristic melancholia on Lust EP is laced with melodic synth lines, a haunting Slavic vocal, and spiced with club-ready remixes by Innershades and Charlie.

Both CDG Rouge tracks feature duo's trademark mesmerizing electro mood that works both, on the dancefloor and the Autobahn. The darkly playful atmosphere and lyrics might evoke a memory of early Miss Kittin and The Hacker collaborations. The Innershades remix sees the Belgian producer at his top New Beat game, while Charlie reworked the sleazy No Harm Lust into a leather ripper. AI Climax is a self-explanatory EBM club stomper, while What Will It Be Boy rounds the release with a cheeky nod to the 80s.

Christian Kroupa & Le Chocolat Noir (Black Dot) return to Kri 3 years after their debut, picking up the thread where it all began. Since their first release, and outings on Mechatronica and Italo Moderni in between, the duo continues to refine their stripped, nocturnal electro sound— sharp, eclectic, and built for late hours.

Ayô Dele — which means "joy comes to me" in Yoruba — is neither a slogan nor a promised miracle. It is a breath of fresh air. That of an album born in the interstices, where the word find their way between shadow and light, between the disorder of the worldand the impulse to be .
At the heart of the project, Julien Gervaix and Damien Tesson, multi-instrumentalist beatmakers, share a groove language that is both dense and airy, where every detail breathes and finds its place.
With background in Afrobeat, Dub, Funk, Soul, Roots Reggae, and Electronic Music, they treat the studio to be their playground. Their music is a hybrid groove that speaks to the body: round or bouncing basslines, brass oscillating between melodic warmth and funk energy, textured guitars, arpeggios, enveloping Rhodes, clavinet that slides, presses, and embraces. Everything comes together with precision and flexibility, in an inventive and warm composition. The meeting of their experiences and sensibilities gives rise to open, generous music, made for dancing and vibration.
With Ayô Dele , Ireke is embarking on a new chapter: the duo is refining its style,allowing the voices to breathe. The groove remains the driving force but opens up to intimacy. This intimacy is carried by two unique female voices: Nayel Hoxo, a Beninese-Nigerian singer/rapper, and Agnès Hélène, who has already made a name for herself on Tropikadelic with "Petit a Petit". They don't sing side-by-side; they coexist, respond to each other, and sometimes intersect. But each follows her own path: Nayel, with the power of her words in Yoruba, offers songs of elevation, healing, and resistance — a light born in the cracks Agnès explores these cracks themselves: what wavers within us, what reinvents itself in bonds, glances, and gestures.
For one track, Olivya (Dowdelin) joins this dialogue in Martinican Creole. Her sunny soul sketches the contours of gentle resistance and celebrates rediscovered light.
Ayô Dele embodies a quiet yet radical determination: to smooth nothing over, to let plurality, contradictory emotions, and mixed heritage live. An album that moves forward through vibrations, that speaks of emancipation without slogans, love without clichés, anger without uproar.
Two women, two inner worlds: a sensitive complicity, a shared breath. Music that seeks not effect, but echo, weaving a living soundscape between reinvented traditions and contemporary textures. An alchemy faithful to the spirit of Underdog Records, where music unites and brings people together. Ayô Dele : "joy comes to me." A lucid joy, crossed by shadows, patiently regained. Music that welcomes, releases, gives, and in doing so, makes us feel good.
In a saturated world, Ayô Dele chooses nuance: transmission without emphasis, joy without naivety. An album that vibrates more than it demonstrates, that connects more than it imposes, and which, in its quiet clarity, resonates with a deep desire to be fully alive.

PAPER ROUTE iLLUMINATi is the compilation album from Paper Route EMPIRE, the label founded by late Memphis legend, Young Dolph, and home to the equally iconic Key Glock and an impressive roster of additional artists including Snupe Bandz & Big Moochie Grape. Including the hit songs, "Talking To My Scale," "I Do This," & "Mister Glock 2," as well as deep cuts like "Broccoli & Cheese," this album is a must have for Southern rap fans and encapsulates a time when PRE was at the height of their game, shortly before Young Dolph's untimely passing. 2xLP pressed on Red Snake Eyes Galaxy vinyl, and housed in a gatefold jacket. Long Live Young Dolph.

There are records that do not so much belong to an era as they pass through it, leaving traces rather than statements, circulating in the margins where function outweighs discourse. World Cup, written at the end of the 1990s by Kiko, emerged in precisely that way — as a techno track whose presence was felt less through promotion than through repetition, carried from booth to booth, absorbed into the working vocabulary of DJs who recognized in it something immediate and self-evident. Its architecture is minimal yet insistent, driven by tension and release, a form of clarity that resists ornament and instead privileges duration, pressure, and movement.

When it resurfaced in 2006, it did not return as a revision but as a continuation, reaffirming its role within the ecology of the dancefloor. The same internal logic remained intact, allowing it to re-enter circulation without friction, as though it had simply been waiting to be picked up again. In both instances, the track operates less as a fixed object than as a tool — something to be used, extended, and recontextualized in real time.

Bringing together these two versions alongside Tainted Life, the release traces a subtle but telling trajectory. If World Cupdefines a certain techno functionalism, Tainted Life reveals another dimension: a proto-Italo sensibility that gestures toward what would later coalesce as electroclash, not through stylistic declaration but through texture, tone, and attitude. Long absent from digital circulation and largely confined to obscurity, it appears here not as a rediscovery, but as a piece whose relevance has simply remained latent.

Nothing has been added, nothing has been altered beyond what was necessary to restore presence. The recordings are allowed to exist in their own continuity, detached from the temporal markers that might otherwise confine them.

The artwork, conceived by H5, extends this approach into the visual field. Its restraint is not aesthetic minimalism for its own sake, but a form of structural clarity, where composition and absence articulate a space in which the record can be encountered without interference, as if resurfacing from a parallel timeline that never fully closed.

After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with People Of The Moon, expanding their sound into a space of creative freedom. The “People of the Moon” are not fictional, but a dimension within us all: a deeply personal yet universal force, an alternative mindset that emerges when freed from social constraints.



Under moonlight, the album explores anxieties and aspirations through groove and rhythm, expressed in Neapolitan, Arabic, English, Spanish, and Portuguese. It moves fluidly from Afro-Cuban influences in “Celavì” to Anatolian textures in “Ma Tu Che Bbuò”, blending highlife guitars with Nu Genea’s signature mandolins-new rhythms filtered through an Italian lens.



The first single “Sciallà” (2025) introduced this direction: dance as catharsis, not escape. The title track reflects a quiet resilience-persistent rather than triumphant. “Onenon”, featuring Tom Misch, channels Mediterranean brit-funk, while “Acelera”, with María José Llergo, evokes a flamenco-tinged pursuit of the unattainable.



“Puleza” recalls Nuova Napoli with driving energy and vintage synths, while “Shway Shway”, sung by Celinatique, captures the album’s orbital flow-measured, rich, and rhythmically complex, echoing afrobeat explorations with Tony Allen.



Melody remains central, as in “Carè”. Across ten tracks, falling, flying, and dancing merge in a suspended groove. Gabriel Prado’s “Ondas Do Mar” embodies this pull: a cyclical motion, like the tides—irresistible, transformative, and alive within us.

Following their acclaimed collaboration with Mad Professor, Sensible Soccers return to 8mm Records with a brand new remix EP featuring three true cult producers: Tolouse Low Trax, Danilo Plessow and Peaking Lights.

Opening the record, Tolouse Low Trax reshapes “Efeito Zandinga” into a mesmerizing journey connecting the hypnotic afrobeat of Fela Kuti with the raw pulse of Detroit techno. Ritualistic, immersive and deeply transportive.

On “Saravá”, Danilo Plessow turns the original track into a powerful acid house banger reminiscent of his recent Rude Futures productions, while preserving the warm and organic sensibility of Sensible Soccers. The result is an explosive blend of adrenaline, groove and uplifting energy, destined to set summer dancefloors on fire.

Closing the EP, Peaking Lights deliver a stunning reinterpretation of “Rosa Mota”, elevating the post-dub and psychedelic side of Sensible Soccers into a cosmic electronic voyage of remarkable depth. A simply beautiful finale that pushes the band’s sonic universe even further into new psychedelic and electronic territories.

Three remixes, three unique visions: a powerful meeting point between psychedelic dub, afro-futurism and forward-thinking club music.

A warm Mediterranean summer night. The day’s heat lingers on the walls as the sea breeze carries fragments of conversation into the dark. Time slows, hearts open, and a melody drifts by familiar, yet impossible to place. Minutes later, you’re humming it. This is Tonight In Tunisia... If you know, you know..
With these remixes for Re:Imagine, the now well-established pairing of Chez Damier and Ben Vedren continues to blur the lines between deep house tradition and contemporary expression.
Built around warm rhythms, sun-drenched melodies, and irresistible vocal hooks, Tonight In Tunisia balances sophistication with immediacy. Rooted in jazzy sensibilities, it offers a version for every mood: open-air dancefloors, late-night terraces, and those summer moments that seem to linger long after the music stops.
Effortlessly uplifting and deceptively simple, it’s the kind of record that slips into your mind on first listen and refuses to leave.

Peach Discs celebrates peak western-hemisphere summer with the perfectly-timed-and-titled "Soft Serve Summer" EP from I. JORDAN. We were delighted when they sent us these tunes, which represent a brighter, housier and more personal side to their sound than many have seen before. Inspired by their recent tour of Australia, the EP (named after the title track that got the ball rolling on the other side of the planet) bottles a loose, sun-kissed feeling across all five tracks that's keen to be unleashed at festivals, beaches and dancefloors worldwide.

Opener "Your Love" boots things off in style, sitting somewhere between Power House and French Touch as layers of oscillating synths, percolating drums and vocal chops take turns in the spotlight – but when all's said and done it's the bassline that gets the flowers, duh.

Things turn a little more introspective on "Little Tinker", as the titular bells sprinkled throughout summon up something…else? Whatever you think that is, the muscular bassline once again keeps us grounded, as washes of dreamy synths lap at the shore and everything is in its right place, before the urgent organ stabs and diva moans of "Soft Serve Summer" pull us straight back to the middle of the floor.

2026 Repress

Chicago deep house pioneer Merwyn “Merle” Sanders needs no introduction to true heads.As one half of the legendary Virgo Four (alongside Eric Lewis) and under a slew of aliases, Merwyn helped shape the sound of late ’80s deep and acid house. Their records, now considered foundational, continue to echo across dancefloors and DJ sets worldwide.In the late ’90s, after years of trying to release more material through Trax Records, Merwyn took matters into his own hands. He self-produced his first 12” under the Merle alias — a record that sadly flew under the radar at the time, with most copies eventually destroyed. But one track survived and thrived: “Fannie Likes 2 Dance.” What started as a quiet release became an underground classic, highly sought after by DJs and collectors alike.

Now, Still Music and Jerome Derradji proudly present the full reissue of this cult favorite — featuring the two original mixes along with a never-before-heard unreleased remix by Merle himself.

This special edition comes housed in a full sleeve, complete with a detailed backstory written by Jerome Derradji about the track’s origins and legacy. A true slice of Chicago house history, back where it belongs — on wax.

Das akustische Instrumental-Album "Daniel" erweitert die Welt jenseits der Betonschluchten und Überführungen von LA hin zum pulsierenden, brodelnden Meer des Lebens, das Mexiko-Stadt ist, bis hin zur kargen, hügeligen Landschaft von Red Cloud, Nebraska. An jedem dieser Orte war der ständige Begleiter eine Nylonsaiten-Akustikgitarre - mit einer eigenen, weitgereisten Geschichte. "Es war die Gitarre meines Vaters", erinnert sich Danny Garcia, der Mann hinter dem Reverend. "Vor ein paar Jahren habe ich herausgefunden, dass sie auch meinem Großvater gehörte." Seit seiner Kindheit allgegenwärtig, hat die mexikanische Akustikgitarre für Garcia mit jedem Jahr an Bedeutung gewonnen. Stunden um Stunden des Spielens, Reisens und des Einhauchens von Leben in ihr Griffbrett haben sie sowohl zu einem Werkzeug als auch zu einem Talisman gemacht. "Da ist diese offensichtliche Abstammungslinie, die Familie und die Verbindung_ diese Verbindung durch die Geschichte", vertraut Garcia an. "Es ist sozusagen das einzige Familienerbstück, das ich habe." In der letzten Zeit hat all dieses Spielen (oder Herumklimpern, wie Danny es nennt) Reverend Baron dazu gebracht, einem Klang nachzujagen - einem, der die Ursprünge der Gitarre Lügen straft. Es ist ein Klang, den er von Zeit zu Zeit hörte, und als es darum ging, "Daniel" aufzunehmen, war dieser Klang sein wahrer magnetischer Nordpol (oder Südpol, sozusagen). Wenn du dich durch "Daniel" hörst, wirst du Anklänge an die Gitarrentöne von Antonio Bribiesca und Luiz Bonfa hören. Wenn du tiefer gräbst, wirst du auch die Grundzüge der Gitarrentexturen von Townes Van Zandt und Nick Drake erkennen. Ohne deren Virtuosität in seinem Spiel für sich zu beanspruchen, ergänzen die Seele und die Verletzlichkeit, die zu Markenzeichen der ersten beiden Reverend-Baron-Alben geworden sind, diese Einflüsse. Es liegt eine Wärme in "Daniel", die in diesen akustischen Meditationen im Mittelpunkt steht. Von kurzen, fließenden Momenten wie "El Monte" und "How Glad" bis hin zum hoch-einsamen "Muchacho" schweben die Songs wie Cumuluswolken über einem tiefblauen Himmel.

Mit Vol. 04: Happy Music For Happy Feet präsentiert Wagram einen weiteren Höhepunkt der beliebten Electronic Music Anthology-Reihe. Auch dieses Kapitel wird von FG Radio, einer der einflussreichsten Stimmen der französischen Electronic-Music-Szene, sorgfältig kuratiert und vereint ein erstklassiges Line-up an House- und Dance-Produzenten, deren Tracks über Jahrzehnte hinweg die Dancefloors geprägt haben. Die Kompilation spannt einen weiten Bogen zwischen zeitlosen Club-Klassikern, funkigen House-Grooves und elektrisierenden Dance-Anthems. Mit einer Mischung aus bekannten Hits, DJ-Lieblingen und stilprägenden Signature-Tracks liefert Happy Music For Happy Feet genau das, was der Titel verspricht: pure, positive, hochgradig tanzbare Energie. Perfekt für DJs, Sammler und für alle, die elektronische Musik in ihrer fröhlichsten, ansteckendsten Form lieben, steht diese Ausgabe für das, was House und Dance seit jeher ausmacht - Leichtigkeit, Euphorie und die Freude am rhythmischen Ausbrechen aus dem Alltag.

The fifth release on Slow-Wave introduces the debut album from pioneer Daniel Poli.

Presented as a double 12”, it brings together seven previously unreleased tracks from a true uk tech house original.

This is an exclusive vinyl series that continues to sell out in pre sale, once it’s gone, it’s gone.

2026 Repress

If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Brutal Archives presents its first EP by BARAT. Built on hypnotic grooves, low-end pressure, this record dives into the darker side of techno.

Across four tracks, the EP moves from high-energy dancefloor cuts to a more emotional and introspective moment, featuring a cracked interlude.

Producing since 2010, BARAT has shared lineups with artists such as Psyk, Markus Suckut, Rebekah, Par Grindvik and more.

- 2026 repress -

Planet Rhythm proudly kicks off its brand new ORIGINALS series with a heavyweight reissue of classic DJ Misjah cuts - essential gems that shaped the hard-edged techno sound of the mid-90s. Remastered with care and pressed on high-quality vinyl, these tracks capture the raw energy and relentless groove that made DJ Misjah a household name in underground techno circles. An unmissable chance for collectors and fans of authentic underground techno to own a piece of techno history, fully restored and ready to devastate dancefloors once again.

2026 Repress

The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.

The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

Punctuality presents its ninth release, Night Time, a potent four-tracker from Irish born, Berlin based producer New Members. Positioned on the spriitzzier end of the label’s canon, the record is a refined exercise in restraint, channeling classic, deep leaning house through a starry eyed, nocturnal lens.

The arrangements are unrushed and uncrowded, with each track built from a small selection of elements deployed for maximum impact. Evoking the deep cuts of early Balance and Global Underground mixes, the EP deftly weaves golden era progressive influences with neoteric production aesthetics. The result is polished, punctual tech house for late nights that stretch seamlessly into the morning light.

Title track Night Time carries a closing track sensibility: cute, catchy vocals glide over bubbling synths, blossoming pad washes, and jazzy chord stabs, recalling the finest Canadian Riviera house releases of the late 2010s: Total eyes closed on the dancefloor energy. Whisper In the Dark comes in trackier and toolier, with a rolling bassline resplendent with attitude and key changes, while trance and euro referencing stabs add a subtle touch of euphoria to the late night feel of the track.

Wishing Well maintains the afterhours feel with subtle atmospherics, gentle pads, and dubbed out acid wiggles, while chopped vocals and a pulsing low end push the groove forward. Hovering between genres, the result is a sleek, highly playable track for savvy selectors. The EP rounds off with Jealousy, a moodier affair with a dub techno feel that maintains the restraint New Members demonstrates throughout the release. Echoed whispers, delayed stabs, and a barely audible sub meld with delicate pad work and beguiling FX to striking effect. The piece as a whole is a luscious meditation on the hours after dark before light arrives.

As the EP suggests, this is once again not to be slept on. More A grade material from Punctuality HQ.

Mit The Drum "n" Bass Session erweitert Wagram die renommierte Electronic Music Anthology um ein weiteres zentrales Kapitel der elektronischen Musikgeschichte. Auch diese Ausgabe wurde von FG Radio, einer der wichtigsten Plattformen für elektronische Musik in Frankreich, kuratiert und widmet sich ganz den energiegeladenen, bassgetriebenen Facetten von Drum "n" Bass. Die Compilation vereint wegweisende Künstler wie Goldie, Roni Size, Calibre, Nookie, DC Breaks, Souljah und DJ Gilb"R - Namen, die das Genre von seinen frühen Jungle-Wurzeln über soulful, deepen Drum "n" Bass bis hin zu modernen, clubtauglichen Produktionen entscheidend geprägt haben. Rasende Breakbeats treffen auf massive Basslines, atmosphärische Flächen und eine unverwechselbare Mischung aus Präzision und Energie. The Drum "n" Bass Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Subkultur. Eine sorgfältig kuratierte Anthologie, die den Stil nicht historisiert, sondern seine zeitlose Dynamik und Relevanz eindrucksvoll hervorhebt - kompromisslos, direkt und absolut dancefloor-erprobt.

Klappcover Edition, limitiert auf 2,000 Stück. Im letzten Vierteljahrhundert haben Kenner beobachtet, wie sich Shearwater still und leise zu einer der markantesten und experimentierfreudigsten amerikanischen Bands entwickelt hat. Angeführt (wie immer) von Songwriter und Naturforscher Jonathan Meiburg, zeigen die neun fesselnden Songs auf ,The New World", dass die Band weiter als je zuvor vorgestoßen ist und sich in seltener Gesellschaft befindet: Neben Meiburgs Bandkollegen Shearwaters Emily Lee und Dan Duszynski gehören zu den Mitwirkenden des Albums der Instrumentalvirtuose Shahzad Ismaily, der Saxophonist und Klarinettist Doug Wieselman, der Qanun-Spieler Farouz Zriek, der Gitarrist Leo Abrahams, der Ngoni-Spieler Mamadou Kouyate, die Perkussionisten Mahamadou Tounkara und Moctar Kouyate (von Ngoni Ba) sowie den unklassifizierbaren Schlagzeuger Thor Harris. (Es gibt sogar einen Überraschungsauftritt von einem gewissen L. Anderson.) Das klingt vielleicht nach vielen Mitreisenden, aber sie sind alle die ideale Begleitung für eine rasante Reise durch Freude, Verwirrung, Ehrfurcht und Trotz, mit Meiburgs Stimme als anmutigem und doch schwer fassbarem Wegweiser. Sowohl zurückhaltend als auch kunstvoll ist ,The New World" auf eine Weise fesselnd, wie es nur wenige Alben sind; es ist schwer, nicht bis zum Ende zuzuhören, wenn man einmal reingehört hat.

After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with a new album that broadens the scope of their sound even further, sailing beyond the Pillars of Hercules into a constellation of gravity-defying creative freedom.

People Of The Moon is not an imagined cosmic species, but a dimension within us all. Deeply personal yet universally shared. An alternative way of thinking that lays dormant until we find the courage to untether it, helping us experience life more fully. It is that precious sphere of the soul that slips away from everyday life. A form of self-expression free from the social pressures that weigh on each, at every latitude on the planet.

Under the moonlight, these songs trace anxieties and aspirations, guided by the international language of groove and rhythmic motion, articulated in Neapolitan, Arabic, English, Spanish, and Portuguese. It speaks with equal clarity through the Afro-Cuban influences of Celavì (“That’s Life”), with its circular rhythmic energy, and through the Anatolian zurna of Ma Tu Che Bbuò (“What Do You Want?” in Neapolitan), moving from highlife guitars to the mandolins that have become a Nu Genea signature. New idioms and rhythms, filtered through an Italian perspective.

The first single Sciallà (“Go Away” in Neapolitan), released in the summer of 2025, already hinted at what was taking shape in the Nu Genea workshop - a radiant guide to embracing difficulty and finding relief in dance. Not so much an escape, but a form of catharsis. Looking up at the giant mirror ball orbiting above us, we catch a glimpse of our best selves reflected back, and appreciate that the People Of The Moon invoked in the title track are more familiar than we first realised.

There’s a kind of resilience in these voices that isn’t loud or triumphant, but persistent and rooted in the simple act of continuing. The imagery of high-speed motion is central to Onenon (“On and On”), where British singer and multi-instrumentalist Tom Misch helps conjure a Mediterranean brit-funk reminiscent of Pino D’Angiò’s basslines.

The voice in Acelera (“Speed Up” in Spanish) summons the strength to chase the moon as if it were an unattainable ideal, in this Andalusian-tinged track featuring María José Llergo, who also lends her voice to Celavì. Both tracks are among the more languorous arrangements, with flamenco palmas introducing an original fusion into the Nu Genea groove.
With its driving momentum, Puleza (“Clean Up” in Neapolitan) recalls the spirit of Nuova Napoli, albeit with vintage synth textures and wild, unrestrained delays. The track’s protagonist, performed by Fabiana Martone, is another of our lunar dwellers.

Yet even when it leans into forward motion, People Of The Moon doesn’t pulse at a frantic pace, moving instead through shifting states of speed, orbit, and suspension. In fact, the Levantine bossa nova Shway Shway (“Slowly, Slowly” in Arabic), sung by Celinatique, captures the orbital motion of the entire record. Not exactly slow, but measured. Rich in color, and marked by a rhythmic complexity that was also heard on the duo’s rare access to foundational afrobeat on The Tony Allen Experiments.
All the while, the album remains deeply attuned to melody - a Nu Genea hallmark - as heard in the effervescent hook of Carè (“Falling” in Neapolitan). In the lunar microgravity of these ten tracks, falling and flying become interchangeable with dancing as ways of following the beat, suspended yet compelled to move. That compulsion is also invoked by Brazilian percussionist Gabriel Prado, making his vocal debut on Ondas Do Mar (“Waves Of The Sea” in Portuguese). The pull of the waves, a constant interplay of motion and return, steady as a lunar phase, is impossible to resist. One might as well lean into the blue, not to dissolve but to rebuild. “Você vai ver que dentro de nós / vai rolar”: you’ll see that something will happen within us.

Terence Fixmer Reimagines Chris Liebing & Luke Slater's 'Double Split' for CLR. Fixmer's remixes of Liebing/Slater's collaboration from the former's 'Evolver' LP release on 31st July.

Terence Fixmer has delivered two remixes of Chris Liebing and Luke Slater's 'Double Split' track, one of a handful of collaborations on Liebing's first-ever solo LP, 'Evolver', which was released in March this year. Having contributed to the LP as a member of The Alte Stuben Modular Ensemble, a super-group featuring Liebing, Daniel Miller, and Pascal Gabriel, Fixmer is a fitting choice to remix 'Double Split'.

Fixmer has been evolving his sound for more than 25 years. From deep and mind-bending to experimental and soulful, he is a visionary who has been hugely prolific, with many standout LPs and EPs on labels such as Mute Records, Novamute, Ostgut Ton, and Planete Rouge Records.

Fixmer's first 'Double Split' remix is inspired by the energy of the original, but focused on dubbier, hypnotic vibes. Strident drums and clattering percussion are stark by design, but smoky vocals and eerie synths hang in the air, bringing a bleak human futurism over all-consuming bass. Then comes the Melting Mind rework, which is boiled down to a handful of key elements, not least the original's penetrating acid line. It's an immersive, late-night dive that locks you in a state of constant motion and unrelenting pressure. The original from Chris Liebing and Luke Slater, a dark and futuristic roller with automated drums and layers of rusty synths encircled by acidic gurgles, completes the package.

Armada Music and PDD are proud to welcome a new series to their ever growing roster of releases with “A State Of Trance Volume 1”. Kicking things off is the legendary Armin van Buuren with one of his classics “Communication” originally released in 1999 on Cyber Records this trance anthem was an instant hit, known for its driving bassline and signature piano melody it served as his breakthrough hit and the lead single from his debut studio album 76. It reached number 18 on the UK Singles Chart and number 2 on the UK Dance Singles Chart.

On the flip are The Thrillseekers (Steven Helstrip) with “Synaesthesia (En-Motion Extended Remix)”. The Thrillseekers have been at the forefront of the global trance scene for 20 years from releasing his first ever single “Synaesthesia” which is now being brought back to life on fresh vinyl for the first time in over 20 years.

Last but not least is “Lange feat. Skye - Drifting Away (Extended Mix)” originally released in 2002 on VC Recordings. Stuart Langelaan, renowned as Lange, has many achievements under his belt such as 20 UK top 40’s and mixing the return of the legendary Trance Nation series for Ministry of Sound.

This release is for any fans of trance new and old, make sure to give trance a chance.

• STRICTLY LIMITED, HAND-NUMBERED COLLECTOR’S BOX — ONLY 350 COPIES
• EXCLUSIVE COLORED BOX WITH REFINED SPOT LACQUER FINISH
• 180G VINYL – EACH RECORD IN AN INDIVIDUAL PRINTED SLEEVE
• INCLUDES OFFICIAL BM BAG, POSTER, AND STICKER — EXCLUSIVE TO THE 20 YEARS BM EDITION
• CELEBRATING 20 YEARS OF BM — 20 SELECTED TRACKS
• AVAILABLE EXCLUSIVELY ON VINYL

20 Years of BM — Anniversary Vinyl Box Set
For two decades, Bondage-Music has stood for timeless underground house music, consistently shaping its own path through deep grooves, warm textures, and uncompromising dancefloor aesthetics. Founded with a clear artistic vision and an enduring passion for vinyl culture, the label has grown into an internationally respected platform for forward-thinking electronic music while always staying true to its roots.
To celebrate its 20-year anniversary, Bondage-Music proudly presents a strictly limited collector’s edition that captures the spirit, sound, and evolution of the label across two remarkable decades.
20 Years of BM brings together 20 exclusive tracks by artists who have played an essential role in the label’s journey, alongside close friends and longtime companions of the BM universe. Carefully curated across five heavyweight vinyl records, the compilation reflects the musical identity that has defined Bondage-Music since day one: deep, soulful, dub-infused, and emotionally driven house music designed for both intimate listening and late-night dancefloors.
The anniversary box features exclusive contributions from artists such as Roger Gerressen, Sascha Dive, Mihai Popoviciu, Steve Bug, NTFO, Markus Homm, Tuccillo, Politics Of Dancing, Rhadow, Andre Kronert, and many more — representing different generations and shades of the Bondage-Music sound.
Pressed on heavyweight 180g vinyl, each record is housed in an individual printed sleeve and presented inside a specially designed colored collector’s box with refined spot lacquer finish. The visual identity of the anniversary edition was created by Pete Bombart — BM’s longtime Head of Artwork, close friend, and an integral part of the label since its early days. His unmistakable artistic language has become deeply connected to the Bondage-Music universe over the years, building a loyal following that extends far beyond the music itself.
Strictly limited to only 350 hand-numbered copies worldwide, the release also includes an exclusive BM bag, poster, and sticker set created specifically for this anniversary edition. More than a compilation, 20 Years of BM is a reflection of the label’s history, community, and enduring dedication to underground electronic music culture. 20 tracks for 20 years — available exclusively on vinyl.
Twenty years later, the journey continues — driven by passion, friendship, and a shared love for timeless electronic music.

Tracklist

VINYL 1 (URSUS)
A1 - ROGER GERRESSEN - PATTERNED SHARDS
A2 - SASCHA DIVE - DUB CHRONICLES #10
B1 - RHADOW – RIPPLES
B2 - LOLA PALMER - SLOW DOWN
VINYL 2 (ARIES)
A1 - ALEXANDER MATCHAK – JOURNEY
A2 - ANDRE KRONERT - BLUE DRIFT
B1 - MIHAI POPOVICIU - TIME GOES BY
B2 - PORNBUGS & FRINK - SAVE OUR SOULS
VINYL 3 (MURIS)
A1 - MARKUS HOMM - MISSING PIECES
A2 - DILBY & PORNBUGS – DECADES
B1 - LOLU MENAYED – FLUX
B2 - CRISTINA LAZIC FEAT. LIKA - WORLDS UNKNOWN
VINYL 4 (LEO)
A1 - STEVE KELLEY & PORNBUGS - CANNING TOWN
A2 - DUST YARD – SHADOWS
B1 - POLITICS OF DANCING – PARTY
B2 - NTFO – BORUGA
VINYL 5 (AQUILAE)
A1 - STEVE BUG & PORNBUGS – SHARED ORBIT
A2 - TUCCILLO – FANTASIA
B1 - STEFAN BRAATZ FEAT. VALENCE – MEMORIES
B2 - EL MUNDO & TAL GROENMAN - MORNING LIGHT

Originally released in 2012 the "Collider EP" by Romanian producer x sound artist YVAT caters a hefty set of six tracks for advanced, yet bass aware and low end loving late night dancefloors. Fractured IDM meets HyperPhonk, dense layers of slightly off-kilter synths, fragmented echoes of Bass Music and Post-Glitchstep, scattered remnants of Drum'n'Bass, cheeky vaporchrome melodies and highly detailed structures, all bound and glued together by gnarly, oftentimes overwhelming sawtooth synth basslines for the braindance crew. This sounds like a WARP Records release that never happened.

Press quote:
".... this one can be best described as a conjunctional work of Autechre and Aphex Twin, teaming up with the likes of Michael Forshaw on a dark'ish, but still melodic structure of Industrial patterns. Heavy, but still accessable and even spiced up with a slice of humour, a release to hunt down and watch out for - hard to find but important for the collection of an open minded spirit." [baze.djunkiii / nitestylez.de / 07/2012]

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

7 Inch Orange Dinked Vinyl in Label Branded Sleeve

Originally issued on Paul Winley Records in 1973, “Smokin' Cheeba-Cheeba”—with Ann Winley on vocals—became a cornerstone of the 1980s UK Rare Groove scene, earning cult-classic status among collectors and DJs alike. On the flip, “Dance Girl”—also released under the Rimshots name—serves up one of the era’s most revered up-tempo breaks. Its unmistakable groove has been sampled by The Roots, Large Professor, and many others, cementing its place in hip-hop production history. The creative nucleus behind both The Mighty Tom Cats and The Rimshots would later evolve into the legendary Fatback Band, adding another layer of pedigree to this essential pairing. With original copies fetching high prices on Discogs, this special-edition Orange vinyl Dinked 7-inch, housed in a branded Paul Winley Records sleeve for Record Store Day, offers a rare chance to own two deep-cut funk/soul essentials on one collectible release.

Diplo—the prolific artist's self-titled album and first full-length of electronic/dance music in 18 years—is the realization of a three-year deep dive into the house music that first blew Diplo's mind as a teenager and that he has now founded Higher Ground to champion worldwide. A titan of electronic music, he’s now turned his focus back to these roots.

The album includes the Grammy-nominated “On My Mind” with Sidepiece, "Don't Forget My Love" with Miguel, “Looking For Me” and “Promises” with Paul Woolford and Kareen Lomax, “Don’t Be Afraid” with Jungle and Damian Lazarus and “One By One” with Elderbrook and Andhim—classic house records that have soundtracked the reopening of clubs worldwide—as well as collaborations with Aluna, TSHA, Leon Bridges, Lil Yachty, Busta Rhymes, Seth Troxler, Amtrac, RY X and more.

A special Australian export edition from Sweat It Out featuring a curated selection of remixes by Barry Can’t Swim, DJ Seinfeld, Andhim, and more. This 3x LP set is the exclusive physical home for these remixes. Each of the three discs comes in a unique color: Green, Red, and Blue.


b A2 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) Sebastian Ingrosso & Desembra Remix
c A3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) Extended

[e] B1 - Diplo & SIDEPIECE – On My Mind (Purple Disco Machine Remix) [Extended]

[g] B3 - Diplo & Joeski – Fortress (feat. Rhye) [Extended]
[h] B4 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [AMÉMÉ Remix]

[j] C2 - Diplo & RY X – Your Eyes (Barry Can’t Swim Remix) [Extended]
[k] C3 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Soulwax Remix]

[m] D1 - Diplo & Miguel – Don’t Forget My Love (John Summit Remix) [Extended]

[o] D3 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [DJ Seinfeld Remix]

[q] D5 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [Andhim Remix] [Extended]

[s] E2 - Diplo - High Rise (feat. Amtrac & Leon Bridges) [Major League DJz Remix]
[t] E3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Kalabrese Troxler Alternative Mix – Edit]
[u] E4 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Extended]

[w] F1 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Extended]
[x] F2 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [Extended]

[z] F4 - Diplo - One By One (feat. Elderbrook & andhim) [Sofia Kourtesis Remix] [Extended]


[b] A2 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Sebastian Ingrosso & Desembra Remix]
[c] A3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Extended]

[e] B1 - Diplo & SIDEPIECE – On My Mind (Purple Disco Machine Remix) [Extended]

[g] B3 - Diplo & Joeski – Fortress (feat. Rhye) [Extended]
[h] B4 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [AMÉMÉ Remix]

[j] C2 - Diplo & RY X – Your Eyes (Barry Can’t Swim Remix) [Extended]
[k] C3 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Soulwax Remix]

[m] D1 - Diplo & Miguel – Don’t Forget My Love (John Summit Remix) [Extended]

[o] D3 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [DJ Seinfeld Remix]

[q] D5 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [Andhim Remix] [Extended]

[s] E2 - Diplo - High Rise (feat. Amtrac & Leon Bridges) [Major League DJz Remix]
[t] E3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Kalabrese Troxler Alternative Mix – Edit]
[u] E4 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Extended]

[w] F1 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Extended]
[x] F2 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [Extended]


[z] F4 - Diplo - One By One (feat. Elderbrook & andhim) [Sofia Kourtesis Remix] [Extended]

12 Inch Vinyl in Manilla Sleeve + Sticker

Classic NYC label NIA have delivered once again, this time lifting the masters out of their vaults releasing the full length versions of this classic track by A High Frequency, a one-off disco moniker of Leroy Burgess & The Fantastic Aleem Brothers, who produced this 1980 dancefloor wonder that finally gets its first deserved re-issue on 12”. Remastered for 2026 RSD on limited edition 180g heavyweight vinyl.

Dylan Thomas of Patchouli Brothers fame is back with a pair of disco belters for the fifth edition of Dancing In Space's edits series. The opener, 'Sinner Man', is a real floorfiller with strings that reach for the heavens and trill with self-satisfied joy, while belting vocals bring a raw edge and funky bass gets lips curled. On the flip is 'Street Player,' which has a more lithe and jazzy vibe. This one is driven by live drums and big horns with a hooky vocal and majestic solos all sounding brilliantly lush. Two absolute weapons.

DJ Support: Phil Mison (Cantoma/Ambala), Charlie Bones (Do!You!!!), Frank Booker, Trujillo, Alice Palace, CIAN, DJ Aficionado, No Plastic, Jad & The, Leon D, Moe, Sadeedo, Longboss (Strangelove), Tom Kutsche, Marian Tone, Andy Pye (Balearic Social), Soft Rocks, Wrekin Havoc, Alfresco Disco, Manuel Darquart, Tom Bolas, Danny Russell, Craig Christon (Passport to/Beyond Paradise)
Many Hands - Basement Versionz #2, continuing from #1 with further excursions into Basement Balearica. From Bunker to Beach: Wiggy Dread Italo, Rebel Disco Reggae, Thai Boogie Funk and freshly creased 80s Steppers to help clever selectors get out of, or into trouble.

Swiss label Mormorio Records returns with its sixth release.
MOR006 is delivered by Zürich-based artist Aline, presenting two original tracks that move between subtle grooves, reduced textures and a warm, driving flow.
On remix duties, Paul K and Lorik each bring their own perspective to the record, stretching the originals into deeper territories while keeping the essence intact. The result is a balanced release that works as well on intimate dancefloors as it does in late-night sessions.

MOR006 continues the label’s focus on understated, carefully crafted club music, rooted in the Swiss underground scene.

Rotation does not necessarily imply movement. Phase differences open up enough glimpses to mirror themselves in cristal clear waterways, thus appreciating the treasure hidden inside.

Following the critical success of last year’s ‘Cold Feet’ LP, producer, DJ, and multi-instrumentalist Alek Lee returns to Isle of Jura with his most introspective work to date, the ‘Blue Bird’ album. Across eight tracks, the Athens-based artist explores what he describes as a "Peculiar state of minds & Dub Orientated Feelings," blending his signature guerrilla style production with deep, organic soul.

The album’s centerpiece and title track, ‘Blue Bird’ features the haunting vocals of singer-songwriter Keren Ilan. It is a raw, heartfelt exploration of the aftermath of a breakup. The lyrics speak of a "desert heart" and a "loss that grows tall and loud," eventually finding a path toward healing as the "blue bird sings the dawn." Musically, the track is anchored by hazy, sun drenched guitars, a central instrument that weaves a consistent Balearic thread throughout the LP.

The journey through ‘Blue Bird’ is one of shifting shadows and unexpected textures. ‘Treasures’ is a standout instrumental, leaning into a grit-flecked, bluesy "twang" reminiscent of Duane Eddy, while ‘The Beach Road’ sees long time collaborator and ‘Shame On Us’ bandmate, Yovav, lending his magical bass and guitar work to a track that feels like a slow drive toward the horizon.

Side B shifts the energy toward the dancefloor and the sophisticated leftfield pop of the 80s. ‘First Rain’ is a subtle house leaning gem underpinned by a kick drum and lush, synth heavy emotive chord progression. ‘Thanks to Sade’ is a seductive downtempo groove with epic guitar lines shifting through, while ‘Remember the Good’ brings a subtle reggae skank and a French-influenced organ sound into the mix. The LP comes full circle with a smoked out Dub version of the title track ‘Blue Bird’.

A 180 gram pressing in a 3mm spine full colour sleeve and sticker designed by Bradley Pinkerton.

Channels Of Love, the collaboration between Italian duo's Dirty Channels and Eternal Love present their first original release from Dirty Channels featuring Ethiopian-Dutch singer Minyeshu and a remix from Dionisos...

With Harmony, Dirty Channels mark the first official original release on their new imprint Channels Of Love, founded together with Italian duo Eternal Love. Born as a platform for edits and reworks, the label now evolves into a broader vision rooted in global grooves and club energy.

Featuring Ethiopian-Dutch singer Minyeshu, whose spiritual and emotive voice bridges African traditions with contemporary sounds, Harmony blends percussive drive, warm basslines and hypnotic arrangements into a powerful yet soulful peak-time record built for connection.

The release also includes a soulful remix by Dutch producer Dionisos, delivering a deeper, housy reinterpretation while preserving the essence of the original vocal.

With this debut, Channels Of Love sets the tone for its future direction: alternative club music rooted in authenticity, where edits evolve into original productions and the dancefloor becomes a space for shared energy and unity.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.