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Balancing dub techno depth, Detroit spirit and peak-time functionality with class and precision. Parallel 41 Records returns with P41005, a powerful statement built for the darker edges of the dancefloor. On Sakura EP, Manuel Di Martino lays the foundation with two hypnotic originals and remixes that move between stripped-back pressure, dub-soaked depth and raw Detroit-inspired drive.

The second VA release from Méchante Recording continues with a new identity, bringing together a refined selection of artists across different generations. At its core, a reissued and repress of a 1994 track by Jay Tripwire creates a timeless bridge between past and present.

Alongside this piece, UK producers Quidders and Ferg deliver fresh and captivating productions, as well as Arion, a prodigious talent from Lyon, who charms us with each of his tracks and brings depth and character.

This Various Artists blends dub tech house and progressive minimal, offering hypnotic, groove-driven tracks designed for both listening and the dancefloor, while affirming the evolving sonic identity of Méchante Recording.

Luis Ripa is already making big waves, with a number of his tracks receiving support from someof the most respected DJs in the underground house music scene. As part of Amsterdam’s Naked collective, he is one of the most promising talents carrying theflag for raw, stripped-back grooves and drum aesthetics. Pisco Slap EP marks his debut on Salty Nuts and showcases his ability to create energy and atmosphere without overproducing. Elegant yet edgy drum programming, combined with innovative sample chops, adds a special essence to his outstanding grooves. The title track, Pisco Slap, is already gaining support from some of the biggest names in the scene and has already caused serious damage on dancefloors worldwide. Accompanied by two more high-end grooves, A10 and Hippie Joint, the release is completed on the flip side by Fabe’s twist on Pisco Slap - a deeper stomper that delivers the well-known signature groove Fabe is known for.

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Tessellate presents a VA featuring label favourites Marius Acke, Lewis Taylor and Midas Field. The Trip also provide a brand new track. All tried and tested on the dancefloor.

2026 Repress

"To make authentic Jungle you’ve got to get the breaks right sonically and LMajor does that without effort. Something in the tone of his drums really spoke to me and I knew immediately I wanted a record for Astrophonica. Authentic UKG is also all in the drums and it turns out he can do those too. Throw in some killer hooks and riffs and it’s the perfect combination - full of vibe and character” - Fracture

‘Can’t Do It’ is raw dance floor Jungle in a drawn out and journey like fashion. They don’t make ‘em like this anymore. Incredibly fun to mix - can you do it?

‘Spinnin’ is all blissed out UKG with dizzying chord stabs and vocal ticks. Wait for the irresistible walking bass line to take you by the arm and go for a stroll.

The drums in ’Feelin’ are so in the pocket that there’s no space for your wallet and keys so forget them and just bubble. Heavy sub bass will have the rest of your jeans flapping.

‘Hush’ closes the EP on a high with trademark LMajor breaks and drawn out arrangement. No need to rush this one, just tune out to the rhodes and Think break workout before the lashing and metallic Amen ramps up the excitement. Shhh, just listen.

2026 Repress

Jack Stevens aka Sully has become somewhat of a cult figure in the jungle world with his output being in high demand. His work is unmistakable. It’s always true to it’s origins while simultaneously adding new takes and juxtapositions in palette and composition. A true artist that excels in his field.

Stevens returns to Astrophonica with Swandive, a body of work presented in dual energies - dark & light, body & mind, Yin & Yang. In Werk you’re put to the test physically as es- ki-like percussion stabs grab the attention and demand a response. A staple in Fracture’s DJ sets for the last year or so.

Poison demonstrates a side to Stevens’ production that is harder, meaner, cruder and all together more brutal than he is known for. The result is an infectious mix of venomous bass and corrupted drum breaks fit to kill any dance.

The title track Swandive begins to counterbalance the fierce energy and bring some harmony opening with calming strings and trademark icy melodies before elevating to an intense state of amen divinity that twists and turns in a story like fashion.

Memories completes the balance with euphoric bass stabs and emotional strings culminat- ing in a searing and conclusive anime-like solo. Some of Stevens’ most daring work. The cycle is complete.

2026 Repress

Fresh his Keysound D&B opus Blue, Sully returns to Astrophonica with four pristine slabs of breakbeat science. "Flock" places the full strength melodic elements over the faraway amen echoes in a way that's not dissimilar to early Good Looking. "Helios" is a much colder flashback to the darker corners of jungle's formative dance; all breathy minor key chords and vapour trails of paranoia countered neatly by a precision dub vocal sample. "Crystal Cuts" recalibrates the focus to the drums by way of broad jazz chord strokes while "Hours/Miles & Still" concludes affairs on an emotional electronica tip where the breakbeats thanks to a beautifully arresting intro. Powerful.

Mystic Letter K presents Occulimus. Behind this alias stands Cari Lekebusch, one of Europe’s most respected and prolific techno figures, with an undeniable legacy and historic releases on labels such as Missile, Hybrid, and Planet Rhythm, among many others.

With Mystic Letter K, Lekebusch steps into a parallel, more mature and conceptual universe—one where he fully explores a mental, tribal, deeply hypnotic and highly danceable strain of electro. His sound is built on constantly shifting patterns: elements that repeat, reconfigure, and sequence themselves in multiple ways, creating a continuous sense of motion that drives the listener into states of trance and altered perception. Occulimus captures this essence with surgical precision: an unmatched groove, raw yet refined, designed for the dancefloor but equally suited for full immersion. Each side of this double vinyl acts as a powerful and versatile tool, allowing any DJ to build, sustain, and transform energy with a single record in the bag.

A direct, functional, and absorbing work that reaffirms Lekebusch’s forward-thinking vision and his unique ability to sculpt sound in motion.

Claus Voigtmann has built his reputation away from excess, favouring precision, patience, and a deep understanding of the dancefloor over trend-led movements. Emerging from a punk background, his approach to music carries that same raw intent, translated into rolling, groove-led sets that blend movement with a stripped-back sense of pressure and release. As co-founder of the influential Toi.Toi.Musik party series, he helped shape one of London’s most respected underground movements, while later channelling his focus into his label Subsequent - a platform for more exploratory, long-form expression that has found its way into the crates of DJs including Zip, Ricardo Villalobos, and Sonja Moonear.

Having already landed on Enzo Siragusa’s FUSE imprint in 2023, remixing the label boss’s ‘Laughing Tones’, and after featuring heavily across the brand’s global events for years, his ‘Elevate’ EP distils his ethos into four direct, function-led cuts. Built with clarity and intent, the record reflects his commitment to music that works in the room first and foremost, resulting in a collection of tracks shaped by experience rather than excess, and where every element serves a clear purpose.

‘Bass Tool’ brings low-end pressure and tightly wound percussion, setting the tone from the off , while ‘Loading Complete’ leans into a more cosmic roll, layering shifting textures over a forward-driving framework. On the B-side, ‘Sidequest West’ keeps the focus in the sub-bass realms while still maintaining focus on groove and flow, before the title cut closes the release by opening things out, balancing weight and space in a way that reframes the EP’s direction and journeys into the late hours.

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

XPRESS Singles Vol.2 is here, and its a certified dance floor weapon. Here at TDE we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocal of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fesh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these're both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed on a limited run of 300, this is one for the collectors and the selectors alike.

First released in 1976, "Metallic K.O." was the fourth album from IGGY & THE STOOGES, a classic, memorable recording of the Stooges confrontational last gig. The Stooges had not been heard since "73"s "Raw Power", and the sound of kamikaze Iggy in between new songs dodging eggs and glasses thrown by Hell"s Angels gave him a new audience in the embryonic punk crowd. It defined Iggy as a punk originator, sold 100k+ and become the Stooges best-selling album. Previously re-issued as an extended, two-CD set with two complete shows (FREUDCD070), it"s now been condensed down to the exact original album edit that shocked and inspired so many. In the 2007 remastering from the original tapes an original tape-speed fault was found - now for the first time the album can be heard in the correct pitch! As Lester Bangs said: "IT"S THE ONLY ROCK ALBUM I KNOW WHERE YOU CAN ACTUALLY HEAR HURLED BEER BOTTLES BREAKING AGAINST GUITAR STRINGS". Recorded 1973 & 74. Inner bag with historical background.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

Angel Witch is a pioneering British heavy metal band formed in London in 1976. Together with bands like Iron Maiden, Saxon and Diamond Head, Angel Witch is a key part of the New Wave of British Heavy Metal (NWOBHM), they are recognized as a major influence on early 1980s metal, including bands like Metallica, Slayer, and Megadeth.

The band lineup back then consisted of Kevin Heybourne, Kevin Riddles and Dave Hogg. Angel Witch's self-titled 1980 debut album is considered a seminal, influential work, and to this day metalheads all over the world sing along to the title track Angel Witch whenever it's played. The album cover features an image of a well-known painting; The Fallen Angels Entering Pandemonium by John Martin.

Angel Witch is available as a limited edition of 750 individually numbered copies on silver vinyl.

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

Irgendwann um das Jahr 2024 tauchte Vorhex Angel scheinbar aus dem Nichts auf: keine Social-Media-Präsenz, keine Identitäten, lediglich ihr Name tauchte hier und da auf einem Flyer in Nashville oder New Orleans auf. Wer neugierig genug war, um ihre Live-Show zu besuchen, konnte mit einer Vielzahl unerwarteter Dinge konfrontiert werden, die die Sinne anregten: aufwendige Bühnenbilder, Stroboskoplichter (oder alternativ völlige Dunkelheit), brennende Gegenstände, vor dem Auftritt eingenommene Rauschmittel. Die Musik bei diesen Auftritten passte zu dem Mysterium. Sie war laut, unberechenbar und verdammt viszeral. Wenn die beiden Live-Veröffentlichungen der Gruppe und ihr Debüt ,Heavenly" tatsächlich viszeral sind (Raven Sings the Blues nannte sie ja ,Erben des Strudels von High Rise"), dann ist der Nachfolger ,Drain" sicherlich ihr intellektuelles Werk. Seine sieben Tracks führen den Hörer vom Morgen bis zur Nacht, ein weitläufiges experimentelles Doppelalbum mit überlebensgroßen Gitarrensoli, spacigen Drone-Exkursionen und Momenten von kraftvoller Intensität durch das gesamte Werk. Zum ersten Mal sehen wir, wie Vorhex Angel ihren hämmernden Klangangriff gegen stimmungsvolle und dramatischere Gefilde eintauschen. Die Band - bestehend aus den Brüdern Jake und Jamin Orrall von JEFF the Brotherhood und Kunal Prakash von Silver Synthetic - erweitert die Grenzen des Vorhex-Angel-Konzepts, lädt neue Musiker in ihren Kreis ein, geht mehr Risiken ein und erntet dafür umso mehr. ,Drain ist keine Musik, die man im Hintergrund beim Kochen laufen lässt", warnt Kunal, bevor er zwinkert: ,Vielleicht ist sie etwas für besonders abenteuerlustige Köche." Vorhex Angel verspricht, dass noch mehr kommen wird. Mehr Jams, mehr unerwartete Wendungen - allein in diesem Jahr können wir mindestens eine Tour und mindestens zwei (!) weitere Alben erwarten. Vorerst gibt es ,Drain" zu feiern, sich damit auseinanderzusetzen, damit der Hörer wie die Musik selbst ein- und ausatmen kann, mit reichlich Raum für gedankliche Kontemplation. SPA Sometime around 2024, Vorhex Angel emerged seemingly out of the ether: no social media presence, no identities, simply their name popping up in Nashville or New Orleans on a flyer here and there. Those with enough curiosity to attend their live show could be met with any number of unexpected things to spike the senses: elaborate stage dressing, strobe lights (alternatively, complete darkness), burning things, pre-performance ingestibles. The music at those functions matched the mystery. They were loud, unhinged, and visceral as all hell. If the group's two live releases and debut Heavenly are indeed visceral (Raven Sings the Blues did name them "heirs to the maelstrom of High Rise"), then followup Drain is surely their cerebral offering. Its seven tracks guide the listener from morning to night, a sprawling experimental double album with larger than life guitar solos, spaced-out drone excursions, and moments of potent intensity throughout. For the first time, we see Vorhex Angel trade their pummeling sonic onslaught for moody and more dramatic pastures. The band-revealed to be brothers Jake and Jamin Orrall of JEFF the Brotherhood and Silver Synthetic's Kunal Prakash-push the parameters of the Vorhex Angel concept outward, inviting new players into their circle, adding more risk and generating more reward. "Drain is not in-the-background cooking-type music," warns Kunal, before winking: "Maybe it is for particularly adventurous chefs." Vorhex Angel promises there will be more. More jams, more left turns-just this year, we can expect at least one tour and at least two (!) more albums. For now, there is Drain to celebrate, to sit and chew on, to allow the listener to breathe out and in like the music does, with ample room for cerebral contemplation.

“Nimm die rosa Brille … sag was Du siehst … alles viel besser”

44 years after its original release, one of the most idiosyncratic DIY minimal electronics / synth / new wave records of the early ’80s returns: the legendary 7” by German group DEUTSCHE SCHÄFERHUNDE (engl. German shepherds)—now remastered and reissued for the first time as a one-sided 12” on Anna Logue Records. Recorded in the winter of 1981/82 between rehearsal space, provincial disco and bar nights, and a humble four-track setup, these tracks capture the raw spirit of a generation that simply started creating—no formal training, but plenty of attitude. Minimalist, uncompromising, and inspired by krautrock, punk, new wave, electronic music and dub, the songs move between raw electronics, percussive noise, new wave experimentation, and sharp social commentary. „Rosa Brille“ (rose coloured glasses) in particular feels as urgent today as it did back then—a track that has lost none of its relevance, „Gasmasken“ tells of gas masks dancing in the woods to the sound of sirens, and a timeless Holger Czukay/Jah Wobble inspired „Mein Herz“ (my heart).

Originally pressed in a small run of just 500 copies and later becoming a sought-after collector’s item now worth 200€, the record now returns in a carefully crafted edition featuring a laser-printed reverse side and additional materials such as original lyric sheets and articles, postcard and poster. DEUTSCHE SCHÄFERHUNDE thrived on paradox—a provocative name paired with a clear stance, and lyrics that still resonate today. Shaped by Cold War tension, political unease, and youthful rebellion, their sound refused to fit into any neat category. Only few other bands, such as Der Musikant, Im Namen des Volkes, Thorax Wach, Klinisch Sauber oder Stephan Eicher spielt Noise Boys come to mind.

This release is more than a reissue—it’s a document of its time that still hits with full force.

12″ features: limited to 400 copies, hand-numbered, one-sided 180g black vinyl, laser-etched B-side, outer sleeve printed on reverse side of the board, printed inner sleeve with original lyrics sheets and original articles, DIN A3 poster, double-sided postcard

What changed between Av. General Roçadas and Junkeira? Seven years in people's lives — yet the team's commitment remains untouched, and the steady hand on the plumb line that keeps dance music (still) upright holds firm. Years of sustained research and field work from both producers, with their own records, mutually independent and independent too in how they brought them to life. Moreno Ácido has been navigating detours through a conceptual yet grounded underground — in sound and in format (two self-released cassettes since 2019) — while keeping one eye on the floor. His post pandemic reawakening carries a clear message: Call to Action is the label that in 2023 put the still-in-demand Trash/Treasure out on vinyl. Diogo keeps Discos Extendes as his shelter, gathering talent and retreating into it. At the same time, a disseminating vocation — that talent turned outward, on a mission to champion the different sensibilities that can converge in music made for dancing.

Junkeira is direct. It hides nothing in its intent, nor does it conceal the origin of its love, nor the way it exercises its fascination with the source. Geography can define movements, described and echoed countless times outside and then inside the net. The signifiers are known to all — it's a matter of applying them with respect and flow. Perhaps the craft in this production really does come down to love, when it comes to it. What is "WTF" if not a declaration of love — at the very least of closeness — to the sonic essence of the English rave? The piano stab, the breaks defining that hardcore state of mind, the string bed lifting feet off the floor. Closing out the EP, "Freak" gathers different emotions — eyes still shut, body in comedown while still moving. Chill. Everything rounded. Bassline, vibes, vocals woven into the rhythm.

Rewinding, the opening track "100 Planos" is a throwback to Roçadas (2019) — harder on the ground, with a 4/4 beat broken up by claps, a circular structure built for DJs, with mix-friendly entry and exit points. Then "Turbo Love" puts the keys in control, foregrounding them, letting a car alarm ring out and balance the beat — a reverential nod to UK Garage felt as raw material, already part of the lineage that has been the continuous evolution from Disco onwards: an evolution that traces a line and its branches, from which you can isolate any chronological point since at least 1977 and combine whatever elements form a personality. The spirit lives, as summer kicks in.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

After years of building this project quietly and patiently, ISLA004 feels like a reflection of everything that shaped the island along the way.

Between hypnotic techno, trance, electro and synth-pop influences, this release moves through nostalgic melodies, dark textures and emotional tension balancing moments of introspection with the energy of the dance floor.

More than defining a genre, this VA captures a state of mind: late nights, distant memories and the feeling of getting lost in sound.

A new chapter for the island.

Welcome

Budabeats Records is kicking off the summer season with a strictly limited edition EP that blends disco and soulful house vibes. Three razor sharp edits and remixes tailored and fine tuned for the dancefloor by Hungarian producers Mr. Fiel, Grabosky and Chillum Trio.

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

‘In The Bay’ is our 21st release for The Boxmasters. Songs were all inspired by and either written or partially written in the small beach town of Morro Bay, California. It’s a slight departure from our Abbey Road influenced album ‘Pepper Tree Hill,’ but is still in the same wheelhouse. ‘In The Bay’ has a strong Brian Wilson influence in the way the instrumentation is used. It is our humble attempt at making our ‘Pet Sounds’. We’re certainly not The Beatles or The Beach Boys, no one will ever be, but those heroes continue to inspire us.

"4EVER" is a complete and eternal album.
It celebrates friendships, connections, discoveries, travels, and experiences that Buvette has honored over more than ten years of activity around the world. Through 4EVER, he pays tribute to those without whom nothing would exist: loved ones, those who have passed, love itself, and this life, which must be lived as fully as possible. Music remains the universal language, and 4EVER is a kind of Buvette DNA, one he invites you to incorporate into your own.

Rosati continues mapping the sonic identity of Global Pulse with the ‘Sweetest Taboo EP’. Across this collection, he delivers four hard-boiling grooves, engineered to keep the energy on the dance floor high. GP06 explores the duality of contrasts: ‘Red Valve’ and ‘Sweetest Taboo’ focus on bright rhythmic pressure, while ‘Tranquillizer’ and ‘Ignition’ lean into darker, shimmering atmospheres. Melting tradition into the present, this record highlights the interplay of seductive sound design and a refined taste for warm grooves. The sound from Amsterdam, built for the global pulsation.

French label Latency presents ‘Estradas (Versions)’ - a dynamic reimagining of the acclaimed collaboration between drummer-composer Valentina Magaletti and Afro-Portuguese producer Nídia. Following Estradas’ recognition as one of 2024’s Best Albums by Pitchfork, The Wire, Resident Advisor, Artforum, Bandcamp, and more, ‘Estradas (Versions)’ invites a diverse lineup of producers and DJs to deconstruct and reimagine the raw percussive language initially crafted by Magaletti and Nídia. Where the original Estradas channeled their distinct rhythmic sensibili- ties into a bold sonic statement, this collection pushes those ideas further - opening the material to radical transformation across tempo, genre, and mood.

One of the leading baile funk innovators from Belo Horizonte, Dj Anderson do Paraíso opens the release by transforming “Andiamo” into a slow-burning, hallucinatory drift. Mexico-based Rosa Pistola and Freebot follow with “Rapido,” infusing it with syncopated, raw heat drawn from the pulse of underground Latin dancefloors. Lebanese-Australian producer Dj Plead pares “Sicilia” down to its core, distilling its essence into stripped-back, polyrhythmic ten- sion. On “Mata,” Brazilian DJ and producer BADSISTA delivers a fierce, bass-heavy version driven by slicing synths and unrelenting club pressure. Multidisciplinary artist FAUZIA sharpens the rhythmic intricacy of “Nasty” with her signature blend of speed and emotion.

London-born DJ, producer, and label founder Sherelle - known for her high-octane 160bpm mix of footwork and jungle - injects “Estradas” with blistering breakbeat energy, reframing its urgency through a razor-sharp UK lens. Chinese musician and sound artist Yu Su offers a fluid, atmospheric reinterpretation of the same track, softening its edges while preserving its momentum. Scottish composer and producer Fergus Jones pulls “No Promises” into hypnotic new rhythmic terrain. Dominican producer and multidisciplinary artist Kelman Duran stretches “Ta A Bater Ya” into a shadowy, reverberant space, while Lebanese composer and multi-instrumentalist Charif Megarbane and its Cosmic Analog Ensemble reimagines it with layered, cinematic textures echoing vintage library music and psych-jazz soundtracks.

These artists treat Estradas as raw material - reframing its structures and reactivating its rhythmic possibilities through entirely new prisms. What emerges is not a conventional remix album, but a vibrant constellation of versions : a response to Estradas’ percussive provoca- tions, and an extension of its spirit of exploration - all while keeping its pulse alive.

With its second release, Fleur Sauvage stays true to its opening premise: no calculated moves, no outside logic, only work that could not reasonably exist anywhere else. Danieli has been part of the La Nature and NoName fabric for years, as co-curator, resident, and crew, one of those people whose presence shapes a space long before a set begins. This album is the natural continuation of that relationship, extended now into a more permanent form.
Where FS001 captured the charge of a live moment, FS002 turns inward. Seven studio compositions, built at a remove from the dance floor, without urgency or performance. The kind of record that needed time to be what it is.


Daniel
The B-side loosens further. Reverie does exactly what the word promises, without apology. Anew carries a quiet kind of relief, not triumphant but settled. Heavenly closes the record differently: a long, unhurried progression, organic sounds swelling and receding in waves, building toward something that never quite resolves, and doesn't need to.
Throughout, the sound is precise without being cold, textured without ornament. Ambient in the truest sense, music that holds a room, and asks nothing back.

Long-time house architect Louie Vega dropped his comprehensive last album, ‘Expansions In The NYC’, as another homage to New York City's 50-year history with dance music. It was full of vocal collaborations and spanned disco, boogie and all forms of house.

'Touch The Sky' feat Tony Momrelle is the latest track from it to get full remix treatment, following on from 'All My Love' late last year.

First to offer his own perspective is Japan's Masaki Morii, a regular on the likes of King Street and Shelter, as well as the founder of his own M2SOUL MUSIC & NU ONE. He bridges soul, deep and Afro house, always with plenty of emotion. His first remix is a lush layering of feathery drums and skyward melodies with the original vocal bringing plenty of heart-aching soul. It's a life-giving work for a moment of pure celebration and release, and shows how musical and artful house can be in the right hands. Extended dub and instrumental remixes all bring out subtly different facets of the original without losing its uplifting essence.

Brandon Weems and Craig Handfield are Musclecars, a duo with a community-first approach to music. From high-profile magazine front covers to gigs at Panoramabar and their residency at Nowadays in New York, they have a fresh and authentic sound that pulls from soul, jazz and disco on labels like BBE, Rhythm Section and their own Coloring Lessons. Their majestic, 10-minute remix is a soulful deep house odyssey designed to nourish and enrich. The soaring vocals come from a place of love, and there is freedom to the jazzy melodies and lavish percussion that warms the heart while pianos and synths are locked in a joyous tussle. The dub shifts things back to chunkier, more bouncy drums, with slightly pared-back, more late-night melodies, while the instrumental is all about giving everything room to breathe.

Smoove returns with the latest instalment of his Multitrack Reworksseries, delivering two fresh, floor-ready reinterpretations of classic Rufus & Chaka Khan cuts.

On the A side, “Heaven Bound” gets the full Smoove treatment. The tempo is lifted for maximum dancefloor impact, driven by seriously funky basslines, razor-tight disco drums, and sweeping strings — all crowned by Chaka Khan’s unmistakable, breathtaking vocal performance.

Flip it over and the energy keeps rising with “Dancing For Your Love”. Crisp drums, lush orchestration, and rich soulful strings take centre stage as Smoove extends the groove into a club-focused workout. Rufus leads on vocals with Chaka Khan providing dynamic backing harmonies.

Two timeless tracks, expertly reimagined for modern dancefloors.

Artificial Go’s new 7” for Carpark Records signals the next chapter in the band’s gentle-but-rapid evolution. The Cincinnati-based rock ‘n’ roll combo dials in to their distinct sound while opening the doors wide to newness. In just two songs, they share joyous expression, frustrated anger, and curious exploration.
The 7” follows two beloved albums and loads of talked-about touring. The excitement is easy to connect with as 7” A-side “Triple Ones” spools out its coiled, bouncy lead guitar with a bass part worth following through the kitchen conga line and into the living room dancefloor. On the flipside, “Jane Ate The Apple Seed” provides a mysterious atmosphere and chorus of unusual trance.
The band’s live configuration is often so: lead vocalist Angie Willcutt, drummer Cole G Patrick, guitarist Ryan Sennett, and bassist Micah Wu. But on record, the members swap instruments and play whatever part necessary. For example, Sennett is drumming on “Jane Ate The Apple Seed,” with Patrick playing guitar, Wu on bass, and Willcutt playing an autoharp with a bow.
While the music is undeniably fun and mesmerizing, lead singer Angie Willcutt’s lyrics center serious matters. The story told in “Triple Ones” refers to a person undercut by those running the show. Willcutt calls it “the most blatantly upset Artificial Go song.” “Explain to me your delusional behavior,” she sings. “The world dealt me the cards of presumption/ I’ll play them right and use it to my advantage.” It might be groovy music, but Willcutt says, “When writing that song, I was just pissed off.”
Three of the bandmates live in the same house in Cincinnati. They practice in the basement, record in the haunted attic, and live in between. “Jane Ate The Apple Seed” started as a jam in that basement. The landlord came over to do maintenance and stayed to watch the jam become a song. Its lyrics tell the hidden story behind a well-known tale: “Jane ate the apple seed/ Johnny nowhere to be seen.”

Originally from Patagonia, Aldana grew up deeply connected to the Earth. It was in Buenos Aires, however, that she shaped her musical identity, immersed in a vibrant and inspiring scene. Influenced by the energy of parties and the community around her, she soon felt the urge to channel that intensity into her own music.

Today, she marks a new chapter for Luzerna with the label’s very first EP — a project moving between the emotional and the physical. There are more introspective moments and others that are more direct, designed for the dancefloor. It’s also very versatile and can be experienced in different contexts and moments.

The production is largely driven by intuition, allowing the sound to find its own shape.Although each track has its own identity, they are all connected by groove, like a constant pulse that brings them together.

Komatssu, Lefrenk, Vema Diodes y Celine Arnauld comparten este various artists de cuatro cortes para el tercer disco de Undancel.

La tercera referencia del sello discográfico de Undancel se caracteriza por una fase de transición entre varios sonidos. Representado un punto «ni aquí ni allí» donde la identidad o el estado anterior se disuelve antes de alcanzar uno nuevo, cuyo nombre LIMINAL.
Cuatro cortes en vinilo de 12″ de varios artistas más una canciones extra en formato digital con código de descargas en su interior.

A1_KOMATSSU_DESTRUCTOR DE MUNDOS: En activo desde 2005, Komatssu es el proyecto más personal de Héctor Sandoval (Tensal y 50% del reconocido proyecto Techno Exium). Un proyecto cimentado sobre la fusión natural entre la IDM más melódica, el Electro, el Breakcore y el avant-techno espectral que concibe el sonido como catalizador de emociones, dando lugar a un imaginario sonoro sumamente personal.

A2_LEFRENK_INDECENT: Lefrenk es un productor y DJ coruñés con más de 20 años de experiencia y más de 100 lanzamientos.
También es profesor en Fanzine School.
En el ámbito editorial, destaca como cofundador del sello Deep Different junto a Ikke Alra y fundador de Knerfel, su sello centrado en el techno.
Su trabajo se distingue por la fusión de texturas sonoras orgánicas e innovación digital, lo que refleja una constante evolución personal y creativa. Siempre innovando, Lefrenk ha expandido su influencia a través de colaboraciones dinámicas y actuaciones en directo junto a figuras de renombre de la industria.

B1_VEMA DIODES_MINDNIMALIST: Productor con raíces en el Baix Llobregat, cuya identidad se define por la experimentación técnica. Su trabajo es una exploración constante de la síntesis, donde las máquinas dictan el mensaje.
Desde sus primeras producciones en 2002, ha refinado un sonido que transita del electrobass crudo a estructuras más complejas y horizontales, fusionando la calidez analógica con la precisión digital.
Fundador del sello ÚTIL Records, Gente Seria Viste Chándal y Dialecto Periférico, plataforma desde la que reivindica el sonido de máquinas icónicas como la TR-808, tratadas con distorsiones y texturas de corte industrial.
Entiende el electro no como un género rígido, sino como un proceso de «electrificar» la señal. Su música es un equilibrio entre ritmos sintéticos y pinceladas de IDM, buscando siempre una narrativa sonora avanzada.

B2_CELINE ARNAULD_GLITCHED DANCE SYSTEM: Celine Arnauld es el nombre artístico de Pablo Miranda Caballero, artista y productor de música electrónica especializado en géneros como el IDM y el glitch con texturas ambientales. Recientemente, ha creado los alias DJ Don’t Sleep, donde da rienda suelta a la vertiente más rave del jungle y el breakbeat, y Paul Basscoigne, donde explora el electro, el acid, el IDM y el braindance.
Ha publicado su música en varios sellos, como EVEL, Clean Error, Dynamic Form, Mahorka, Hypnotica Colectiva, EC Underground, Dead Trax, Not 4 Human Consumption, New York Haunted, Point Source Electronics Arts, Moatun 7, Polygon Network, Colorsquad Records, Opal Tapes y Zabra Records.

Mastering by Verbo Studio Mix & Mastering.

Design by Beatriz Albaladejo.

Liminal – Undancel 03

Get ready to move your feet as Charly Records, in association with Screenbound Pictures, announces the release of a special edition, 4-track vinyl EP celebrating the critically acclaimed documentary, Northern Soul Still Burning released on 15 May 2026. This highly collectible vinyl lands just as the film takes UK cinemas by storm this Spring.


A Piece of Soul History — This special edition vinyl is housed in an exclusive, stunning picture sleeve featuring an original photograph shot inside the legendary Wigan Casino in 1976 by celebrated British photographer Red Saunders. It is a visual and auditory time capsule that perfectly captures the sweat, speed, and style of the movement.

Critically Acclaimed Across the UK — earning a staggering string of 4-star reviews:

"Thumping celebration of the legendary underground club scene" ★★★★ Peter Bradshaw, The Guardian

"It really tells you what makes the scene so special... a really interesting bit of social history" ★★★★ James King, BBC Radio 2

“Watching the doc you get the sense that you kind of are there… it works really well” Mark Kermode, Kermode & Mayo’s Take

"Wonderful footage... a soundtrack that will keep your feet tapping, director Alan Byron has captured the energy and power" ★★★★ Dan Carrier, Camden New Journal

From The Times to The Daily Mirror, the consensus is unanimous: this film—and its soundtrack—is a passionate, joyous valentine to a youth culture that refuses to die.

The Greek artist AgainstMe shows his personal vision of techno in 4 tracks where we will touch those moments that often we experience on the dancefloor between darkness and light !

The Sarge Returns: 4 Killer Club Reworks

The Slick One is back with another set of four electrifying tracks. This time, he dives into late ‘70s and early ‘80s classics, giving them a sleek, club-ready makeover. Expect familiar vocals, tightened grooves, and energy perfectly tuned for the dancefloor.

Featuring some of the biggest names in the scene, these mixes are designed to get any crowd moving. As always, this release is limited—grab it now buy or cry!

et for release on June 12, Silence marks the return of Lucie Antunes following Carnaval (2023). The album was born from a desire to clear space — and to rediscover, through dance and collective creation, a renewed artistic momentum.

Developed from a text by poet Laura Vazquez and co-produced with Canblaster, Silence exists at the intersection of record, performance, and immersive experience, in connection with a work created alongside choreographer Mathilde Monnier.

Through an organic and hypnotic sound palette — transformed voices, percussion, vibraphones, and synthesizers — the album explores altered states of consciousness, offering a sensory journey between shadow and light. Surrounded by artists such as Clara Ysé, Halo Maud, and Rebecca Chaillon, Lucie Antunes delivers a collective work that is both intense and deeply inhabited.

Silence is a passage — a crossing between bodies, voices, and worlds — where music becomes a space to feel, to disappear, and to be reborn.