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Cogitat is the debut album by Nils Edte and the first double-vinyl release on PREDAWN Records. Across ten tracks, it blends classic deep techno with hypnotic, tribal rhythms, dub textures, and ambient, experimental elements. Beginning with the ambient Semen and concluding with the nocturnal Nox, the album unfolds as a journey through abstraction, nature, and artistic evolution-unified by a clear sonic vision and a mature, cohesive sound.

DJ Support: &ME, Adam Port, Oliver El-Khatib (OVO Sounds), Moblack, Antdot, Maxi Meraki, Sam Divine, Shimza, Benji B (BBC), SARZ, Kilimanjaro, Boddhi Satva, Jeremiah Asiamah (BBC), The Pete Tong (BBC), Méle, Kid Fonque, Black Coffee, DJEFF, Kitty Amor, Enoo Napa, Fiona Kraft

Sondela Recordings returns with Sondela Selects Vol. 2, a special 12” showcasing four of the label’s most defining moments. From FKA Mash & Sio’s soulful ‘Bumblebee’ to Thakzin’s groundbreaking ‘The Magnificent Dance’, which birthed the global 3Step movement, this package is steeped in history. Henrik Schwarz’s remix of Mike Steva & Stevo Atambire’s ‘Destiny Song’ and Sammi Ferrer & Chaleee’s peak-time cut ‘Champagne’ round off a collection that cements Sondela’s role in shaping Afro-inspired electronic music.

High-definition world building collides with incisive physical urgency around 170 BPM as Pianeti Sintetici makes his first appearance on Samurai Music. Davide Perrone's vivid production style found a more downtempo outlet on last year's release for Samurai sub label Saibai, but he pivots naturally towards the weightier presence of the Exoverse with a richly rendered suite of sonic systems teeming with life and pockmarked with mystery. The spacious drums that lead on 'Agilus' have an acoustic, in-the-room quality that instantly grounds the track before the myriad layers of synthesis start spiralling skywards, pitting twinkling pads against rapid, undulating acid wielded with assured control. By way of contrast 'Mimoide' burrows downwards, using needlepoint marks to puncture the brooding beds of sound looming in the middle distance. At the same time, Perrone weaves lithe, rubbery shapes across the foreground of the mix for a three-dimensional expression you can almost reach out and touch. Opening up a B side tipped towards a mellower pace, 'Living Plasma' leans into a 4/4 meditation as a vessel for another distinctive tapestry of modulating sound design from Perrone's seemingly infinite sonic resources. 'Exoverse' edges towards a more melodic standpoint with its teased flutters of arpeggio that sneak in and out of the mix and a harmonic dimension to the atmospheric layers that shape out the size of the track. Across all four pieces, the sheer detail at play in the Pianeti Sintetici universe is mind-boggling. By rights it should be a busy, stress-inducing experience, but Perrone's gift lies in the ability to take a macro view on these incredibly complex creations, zooming out by boiling the parts down into a symbiotic whole that feels patient and considered. The reward for the listener comes from taking the time to zoom in and marvel at every micro detail writhing across the surface.

Extinction Burst! is the new invocation in album-form by Guttersnipe, Leeds’ premier and pre-eminent XFCER (XFCER: Xenofeminist crisis-energy rock)* duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst! is the most full, hidefinition lurid dream-mare yet spewed out by Uroceras Gigas & Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst! follows 2018’s My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026’s Guttersnipe are evolved, mutated by 8 years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with - Tristwch Y Fenywod, Nape Neck, Petronn Sphene, Yexxen to name a few. On Extinction Burst!, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low end attack.. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas’s guitar + synth storm is by-now similarly an instantly recognised tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it’s an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalise, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. Alive On Tuesday begins with some of the only space on Extinction Burst! Digital crackles and tight-delays blow out into a fullthrottled death-dive into sweet opaqueness, offset by the duo’s vocals. There’s a popular believe that Guttersnipe is chaos, but over 9 mins here the group are clinical in their control of the simulated entropy. Mincing while the Maelstrom Churns’s guitar is modulated into jagged atonal atonement, duetting with the virtuoso drum patterns before it thuds into gear at quadruple the speed. Threads Of Radical Unaliveness veers close to the extreme Metal influences with blast beats and guttural vocalisations until the track exhausts itself into unaliveness. Keep Honking summons a demonic digital panic, with the duo reincarnating in real time as haunted versions of themselves, almost translating the lurid, ultra vivid, simultaneous hell+heaven of being alive in this dimension. Primordial Invagination harnesses No Wave’s dissension of normality before the structured collapse of Skra¨ckblandad Fo¨rtjusning, in which Tipula Confusa’s accelerating drums simulate a bouncing barrel of brimstone descending into a primordial gunky ooze, a respite in the middle before the record splutters to a stuttering finale, both members’ vocals out there in the neon realness, alive with crisis energy. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known Rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synaesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality. Addendum: xenofeminist : proposing and creating a world defined not only by sexual/gender equality, queer empowerment and the toppling of the racist heteropatriarchal hegemony and it’s tyranny of phallogocentric signifiers, but a philosophy of radical queerness that explodes the basic notion of embodied existence itself beyond even the human, where we see bacteria, invertebrates, reptiles, marine life, animalia in general, inanimate objects, quantum phenomena and as yet inarticulated bodies and minds as social and political equals that may inspire and inform our concepts of self, feeling and meaning as we labour to build a collective reality that doesn’t completely suck!! crisis energy : a term borrowed from the weird fiction author china mieville to describe a type of extreme concentration of power which emerges when a system or organism is pushed to it’s absolute limit; the point of rupture, chaos, entropic overload, just before it all breaks apart. rock : Rock ’n’ Roll, rock music, the devil’s music, sex, guitar, drums, voice, rhythm, riffs!

Techno is the game. Realm United is the team. Powerful, direct, uncompromising club vibes.
K S R "collective works".

A closing chapter for Iro Aka: ambient introspection and precise IDM meet in a deeply personal, memory-driven LP.
Barcelona-based duo Iro Aka present "Memories Exploration" (GLOSSY025), a record that marks the closing of a creative chapter. Set for release on May 29th via Glossy Mistakes, the LP unfolds as a personal archive-tracing ideas, influences, and emotional states shaped over time.
The A-side moves through ambient-leaning territories, building meditative landscapes where time seems to dissolve and blur. Through tracks like "Frozen Sun" and "Golden Sea", the duo showcase a refined approach to sound design, shaped by carefully distilled emotion. Meanwhile, "Gendo" and "Intervertert" lean further inward-sketching moments of deep introspection through soft textures and a minimalist sensitivity that invites contemplation.
On the B-side, the record shifts. Rhythmic structures come into focus, drawing from IDM and broken beat patterns with a precise, understated touch. "L", "Ozadene" and "Phased9" introduce movement while maintaining the album's introspective core. Closing track "We Felt in Love with a Loop" brings the album to a gentle, open-ended close.
The artwork by Jack Anderson reflects this sense of fragmented memory and process, complementing the album's emotional tone.
Rather than a definitive ending, "Memories Exploration" feels like a transition-an understated way of closing one chapter before the next begins.
"An autumn evening - without a single tear, things come to an end."

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.

That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.

p:m is delighted to welcome Kumarachi to the fold - a Nottingham-based artist with a deep catalogue steadily built over the past 11+ years. For the label’s first 10” vinyl cut, Kumarachi teams up with his old friend, the wonderful Liam Bailey, for some rudeboy pressure on the a side, while flying solo for the b.

Tracklist:
A. On Sight: snappy snares, snarling bass, and shifting percussion meet the dulcet tones of Liam Bailey, who turns in a different kind of original dancehall style vocal that gets people skanking and swaying.

B. Cast No Shadow: a heavy-hitting track of pummelling breaks and beats, heavy bass, dub fx, and synth stabs, reminiscent of Star Wars’ X-wings in space.

In Kumarachi’s own words: “On Sight was just a loop when I sent it to Liam, then arranged and built around his vocals. I played it to a couple of people for feedback and to test out, it luckily found its way to DJ Flight via Sweetpea, so a big thanks to her too. Both myself and Liam felt play:musik is the perfect label for On Sight, with what Flight stands for musically and culturally, there’s a definite alignment within the lyrical content aswell. It’s a perfect fit. Cast No Shadow was written later and specifically for this release to contrast and complement the flip. It actually came together quite quickly - referencing classic combinations, whilst hopefully sounding fresh for 2026.”

Farron is back on Shaw Cuts with his next EP called ãHuman LanternsÒ - a tale of social jealousy and long-standing rivalry transformed into 4 bass-heavy broken techno tracks.
The two wealthy kung-fu masters Lung and Tan are embroiled in a long lasting game of perpetual one-upmanship. Vowing to show Tan up, Lung enlists the aid of a man he defeated in a duel years ago in fashioning a masterful lantern for the upcoming festival in which both masters will compete. ãWe Are The WaveÒ and its noisy fragments and broken rhythmics led by a hefty stormy bassline, underline the tension and aversion between the two competing masters.
But the eccentric artisan is more interested in seeking revenge for his old defeat, in taking away everything Lung holds dear. The bass-driven ãSwitch OddÒ and its sharp percussions and phat kick underline the ulterior motives of the shady character.
The evil villainÕs plan of revenge contains kidnapping several beloved women of Lung, skinning them alive and using their flaps of skin to create the ordered lantern. ãGX100Ò and its fast-paced drum pattern carried by virulent synth fragments and raucous pads, epitomises the merciless act of violence.
Tan and Lung falsely accuse each other but feel constrained to eventually team up and hunt the criminal together. ãTalking To ThemÒ rings in furiously and chases the enemy with its rolling bass, chopped vocals and stomping drums, but the villain is sneaky and recalcitrant. Silence before the attackÉ

2026 Repress

Marking the anniversary of three decades of career, Dopplereffekt debuts on Tresor Records with Metasymmetry, arriving 12 December 2025. This latest release finds members Rudolf Klorzeiger and To-Nhan in deep inquiry in sound, contemplating structure and pattern in physics and nature resulting in a harmonious audio tessellation.
Metasymmetry itself relates to a kind of second-order reality found not in the structures of life but in the rules that govern these structures; that order exists not only in things but in the relationships among systems of order. It is a structure of structures, a logic of laws, an abstract unity embedded in the act of transformation itself.
Accordingly, the four-track EP reflects this duality. Each side opens with a piece of electronic music at its most precise and immovable: defined, kinetic, architectural. This is followed by a second composition that dissolves into a weightless, atmospheric counter-form.
The shift evokes a higher symmetry: an alignment not of parts, but of principles; a sonic model of the universe’s hidden invariance.
Metasymmetry also echoes across Dopplereffekt’s extended sonic continuum; this stands as the first offering on Tresor under the Dopplereffekt name despite an association with the label and club going back to the start. In this, it becomes the source of an echo that reverberates backwards through time; its own reflection:

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.

Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.
Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.

This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.

Luke Lund is a self-taught producer and sound artist from Finland. Over the past eighteen years, his work has absorbed influences ranging from the darkest fringes of club culture and the most caustic strains of industrial noise, to the subtlety of musique concrète and the rawness of rock.

It all started when he discovered that abstract sound design could stand as music in its own right, a revelation that ignited his enduring commitment to noise, sound art, dub techniques, and experimentation.

“Peel the Scab” emerges from this premise as a visceral and frenetic immersion into his “lo tech” facet, a term the artist himself employs to define the album’s style.

Allergic to programming, these are pure dub-blooded sessions pushed straight to tape, twisted until they yield under their own weight. It is a work constructed upon dense, disjointed rhythms: brutalist grime infused with a suffocating mutation of dub.

Memory Remains unveils a deeply emotional and intimate Unknown Artist release, a record driven by feeling rather than form.
Shaped and refined through careful dancefloor testing across 2025, these tracks revealed a rare sensitivity: minimalist structures wrapped in warm grooves, gentle tension, and soulful, intimate vocals that connect on a subconscious level.

This is music that doesn’t demand attention. It breathes, resonates, and stays.
Free from names and narratives, the release invites the listener into a private emotional space, where sound speaks louder than identity.
The journey is visually completed by an original artwork from Alisa Kirik, capturing the same fragile beauty and timeless mood that defines this release on Memory Remains.

One of electronic music’s most sought-after names, producer and DJ KETTAMA today announces the release of his long-awaited debut album, Archangel, out 3rd of October. The announcement arrives in tandem with new single “Sort It Out” featuring Clouds, and a landmark moment in his career: his biggest ever London headline show, taking over Brixton Academy on Saturday, October 4th, followed by an expansive tour across Europe, North America, and Australia.



A decade in the making, Archangel is the definitive statement from KETTAMA (Evan Cambell), the Galway-born, London-based artist. The 15-track project is a powerful blend of hard-house energy, trance-inflected euphoria, hip-hop sample-based attitude, and unmistakable emotional depth—sonic signatures that have placed KETTAMA at the cutting edge of contemporary dance music.



The album showcases a curated roster of collaborators who reflect KETTAMA’s reach and relevance across today’s underground and mainstream scenes, including Interplanetary Criminal, Fred again.., Clouds, Prospa, DJ HEARTSTRING, Shady Nasty, SØLV and seantommy. Their contributions amplify the project's scope, offering a multi-sided view into KETTAMA’s musical universe.



Among its early singles, the Interplanetary Criminal collaboration “Yosemite” is a high-velocity anthem marrying speed-garage grit with ecstatic rave melodies, while his track “Air Maxes” with Fred again.. And Shady Nasty blends introspective vocal sampling with wide-eyed club emotion. On “If U Want My Heart” with DJ HEARTSTRING featuring KLP, the ensemble channels high-energy trance, breakbeats, and vocal euphoria into a soaring anthem that fuses emotional intensity with peak-time club energy. Meanwhile, his collaboration with Clouds, released today, “Sort It Out” dives headfirst into industrial-techno territory, conjuring a dark, cathartic energy destined for warehouse euphoria. And reigning as one of the undeniable anthems of the summer so far, “It Get’s Better (Forever Mix)” delivers euphoric waves of uplifting synths and relentless rhythm, bringing an irresistible surge of energy that’s become synonymous with this summer’s club moments.



Archangel has already found a home on the world’s biggest stages and radio airwaves, with early support from key tastemakers including Jack Saunders, Danny Howard, Sarah Story, and Tim Sweeney. Simultaneously, a grassroots groundswell continues to bloom across social platforms—where viral snippets and show footage capture the visceral reaction of a fast-growing, global fanbase.



This year, KETTAMA has elevated his status to a full-blown festival phenomenon, performing at major stages including Coachella, Glastonbury, Creamfields, Portola, Seismic, and ARC Festival, to name a few. In June, he played to 20,000 people in Belfast for a b2b with Chris Stussy—one of the UK’s largest DJ events in recent memory—and is currently mid-way through a 16-week Ibiza residency at Amnesia, playing every Monday night throughout summer. Full list of upcoming live dates can be found below.



Perhaps the clearest signal of his surging popularity is the jaw-dropping response to his upcoming Boiler Room live set, with over 15,000 fans signing up to attend— the set’s release is now highly anticipated as a time capsule moment in a breakout year for the artist.



KETTAMA’s rise to prominence has been anything but conventional. Eschewing the traditional gatekeepers of the industry, KETTAMA cultivated an underground following through the likes of SoundCloud and TikTok, where raw uploads, bootlegs, and viral edits generated a tidal wave of grassroots momentum. Over the years, these platforms became launching pads for a fiercely loyal global community, drawn to his unfiltered energy and boundary-pushing sound. This subversive path to recognition has made him not just a fixture of the scene but a symbol of how new-generation artists can forge success on their own terms.



From his humble roots in the Irish underground to the world stage KETTAMA is now pushing the limits of what a next-gen DJ-producer can achieve. With Archangel, he fuses the sound of his native ‘G-Town’ with a futuristic vision that’s unapologetically global—marking a creative milestone that cements his place among electronic music’s most compelling voices.

Obscure disco gem from 1985. Singer Penny Mtya, like many others, journeyed from small-town South Africa to the bright lights of Johannesburg in search of fame. There her path collided with Muntu Semenya, the son of long-exiled stars Caiphus Semenya and Letta Mbulu, who had recently arrived from the US and was making his mark in SA as a producer and keyboardist. There demo secured a deal with the local office of WEA Records and they soon entered RPM Studios with co-producer Thokoza Memela to record three tracks.

‘Cassanova (Stop That Game)’ is a seven-minute Afrofunk workout reminiscent of Kiki Gyan or Sylvester, showcasing Penny’s sultry vocals and Semenya’s stabbing synths. On the flip side, ‘I Feel It’ is a chugging instrumental climaxing in a fuzzed-out solo from session guitarist Jethro Butow. Defying expectations again, the album closes with a Motown-worthy slow jam, ‘Memories’, a duet with Yandy Mgolombane featuring Mike Faure on sax.

Titled Penny’s Groove, the three-track EP received little promotion on its release and quickly disappeared into obscurity, with the label perhaps unsure of how to market the polished ‘international’ sound and diverse components. The tracks were never performed live and everyone involved in the studio project soon parted ways. Semenya and Mgolombane laid low while Penny returned disenchanted to her home in the Eastern Cape, where she remained active in music but never realised her dream of solo stardom.

One of the most innovative and ambitious albums ever made, Genioh Yamashirogumi’s Ecophony Rinne is a sonic masterpiece featuring over 200 musicians that expanded the limits of what music and sound could do.

Before Akira there was Ecophony Rinne. Originally released in 1986, Ecophony Rinne is a four-part symphony of “ecological music” by Geinoh Yamashirogumi that married ancient tradition with technological innovation, and changed the way we listen to music in the process.

Half-speed mastered at Abbey Road by Miles Showell, Time Capsule’s high-tech analogue reissue is the first to reproduce composer Ōhashi’s ground-breaking “Hypersonic Effect” theory on vinyl, cutting frequencies beyond the realm of human hearing into wax to capture the full spectrum emotional impact of this extraordinary work.

Founded by genius polymath Tsutomu Ōhashi aka Shoji Yamashiro, Geinoh Yamashirogumi is a shapeshifting collective of over a hundred members from across disciplines. Rejecting professional musicianship, Ōhashi cultivated an ethos where neuroscientists, psychologists, doctors, journalists, engineers and students could critique society through artistic expression and pursue their research in ethnomusicological performances that spanned global traditions, Eastern spirituality and Western classical form.

Ecophony Rinne represents the pinnacle of this vision - an expansive orchestral suite made with over 200 musicians that channeled Ōhashi’s thinking about mankind’s relationship with nature, and fundamental questions of life, death and rebirth.

Here pipe organ synths made from sampled Tibetan horns sit alongside field recordings from Central African forests, Buddhist mantras circle dummy head microphones, Javanese Jegog percussion ensembles pulse like verdant ecosystems, and the acoustics of temples, caves and landscapes are conveyed in the mix. Weaving together culture, nature and technology, it is a record that vibrates with the polyphony of life on Earth.

But Ecophony Rinne was not only musically innovative. Noticing the difference between vinyl and CD versions of the album where digital reproduction limited the sound, Ōhashi developed a theory of “Hypersonic Effect”, determining that ultra-high frequencies above 20khz can impact human perception even if they are inaudible. At once a physical and a psychological experience, to listen to Ecophony Rinne is to feel music differently.

The rest is history. After its release, Ōhashi was approached by director Katsuhiro Ōtomo to produce the soundtrack for Akira, the work for which Geinoh Yamashirogumi is best known. Emerging from the shadows at last, Ecophony Rinne was its transcendental blueprint, reissued in its most complete hypersonic form on vinyl for the first time.

Rather than describe nature, Ecophony Rinne embodied it. Rather than reflect culture, Ecophony Rinne defined it. Rather than explore technology, Ecophony Rinne changed it. As a work of art, it is more relevant than ever. You won’t have heard anything like it.

Long Island Sound's new self-titled 6-track EP captures the Dublin duo at their most dynamic yet.

Following heavy rotation on BBC Radio 1, alongside support from industry heavyweights the likes of Marco Faraone and fka.m4a, the new record brings their trademark blend of energy and emotion to new heights.

Marking a defining moment in their trajectory, the EP is a snapshot of a duo stepping fully into their identity. With growing international attention, a forthcoming Irish tour and a sound that continues to resonate across scenes, this EP positions them firmly at the forefront of Ireland’s electronic music wave.

UK bass music mainstay and SK1 Records co-founder, Synkro, links up with composer and sound design specialist, Tom Jarmey, for their debut combined effort on Of Paradise, minting their new musical alliance with North Star, an emotionally charged and lushly melodic collection of detail-driven club cuts.

Deftly joining the dots between drum 'n' bass, jungle, and trip hop, the duo serves up three original numbers, backed by two exquisite remixes from none other than Pugilist and label co-founder Silent Era, who meticulously distil the source material to produce a mixture of swirling breaks, dub techno, and atmospheric ambient stylings.

Available as a limited edition 12” and digital EP, North Star sees Synkro and Tom Jarmey combine to lethal effect, pooling their diverse influences together to fashion a trio of wide-eyed, hypnotic, and high-grade gems that give a nod to the most potent of ‘90s gear whilst being 100% future proofed.

Decibel Place arrives on Dorbachov's Scrap & Delete with the 'Swarm' EP landing on 8th May 2026, coming with a remix from Belgium's Steve Redhead. Known for navigating the darker, more experimental edges of the genre while maintaining driving, floor-focused energy, the Liverpool-based Decibel Place has previously delivered on labels including Materialised, Transition, MASS, and Khazad Records. As a DJ, he continues to earn attention with his tightly constructed sets across the hardgroove circuit, a sensibilitycarried through this latest body of work. The EP opens with the title track 'Swarm', setting the tone through immersive, tension-building arrangements. Undulating sound design and tightly interlocked rhythms draw the listener into a dense, atmospheric space, rich in detail and forward motion. Steve Redhead steps in on remix duties, reworking 'Swarm' into a stripped-back, percussive cut defined by clarity and control, where subtle shifts in rhythm and texture drive a deeper, hypnotic propulsion. 'Infection' follows with a shift into more industrial territory, introducing broken rhythms and raw, mechanical textures that sharply punctuate the groove. Closing track 'Smoking Kills' leans fully into hardgroove territory, with driving drums and visceral energy bringing the EP to a powerful, club-ready finish.
Decibel Place's 'Swarm EP' comes via digital and vinyl on Scrap & Delete on 8th May 2026.

“One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties. P.A.S albums tend to come together in their own time:

“External signals and signs combine until the recipe feels right, both musically and from being ‘out there’,” Slater adds. “10 years since I released Arc Angel on Ostgut Ton, and it’s a fitting pleasure to combine live show ideas and studio work for the new album, served up with raw energy” That patience runs through his whole Ostgut catalogue; since Temporary Suspension brought its machine-tooled weight and alien feeling to the label in 2009, each P.A.S. release on Ostgut Ton has been its own quest for discovery, from The Messenger’s search for sounds not yet present in club music to Arc Angel’s focus on melody to the deep hypnosis of Plantae.

His new album, Planetary People has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.

“Into The Night” creates a haunting, dystopic environment of corroded acid saturated in echo, absorbing from the first second. “Labyrinth” breaks into buoyant tribal percussion, modulated chirps trading off over propulsive drums. “Quadrant 10” is clean, delay-drenched techno, buzzing with noise splatters over saturated thuds. “Sermon Of The Light Tides” scrambles metallic bell sequences that distort and evolve throughout, reminiscent of a dial-up modem crossed with a game of Frogger, squelching between percussive bursts and stripped-back kicks. “Brave Cosmo” is tormentingly menacing, eerie synths panning around buried vocal fragments over frantic percussion. “Retina Burn” rolls on fierce, cement-mixer 909 cycles, rave stabs over a ride that locks you in, the whole track stuttering and repeating before stripping back to a bare echoing kick and building itself again. “Thunder Major” barrels on open hats and reverb-drenched claps ricocheting through twisting wreaths of delay, mesmeric and relentless. “Beton Brut” marches juggernaut percussion stamping through hall reverb so vast you can visualise the room, the darkest and most unrelenting track on the record. “No Ninja” crunches in metallic and immediate, a wiry plucked lead threading through glitch with the bass held low and deep, mixed so precisely you can see every layer stacked in your mind’s eye. “Ha Jam” is danceable techno with plenty of funk and a sophisticated looseness, a vocal laugh bouncing off clanging metal blocks and rave stabs. “Lynx” lowpasses its rave stabs and crystalline beeps, chirpy hats ticking, cold metal repeats, old school and mesmeric. “Generation Slip” closes everything out, ominous and churning, skittering percussion and electrical sparks rattling through steel, a freight train barrelling on into oblivion.

For two decades, Gun Outfit has been a band defined less by genre than by continuity, patience, and a commitment to making music that reflects their lived experience.
Formed in Olympia, Washington in 2006 but long since rooted in Los Angeles, the group has evolved from a raw duo into a quietly formidable five-piece, their sound growing from scrappy post-punk beginnings into something spacious yet intimate, and always underpinned by an experimental edge.
On Process & Reality, Gun Outfit return with their most ambitious and immersive work to-date, a sprawling 80-minute double album shaped by time, environment, and philosophy. Recorded over the course of a single month in the late summer of 2020, on an 80-acre ranch in Pine Flat, California, while a massive forest fire burned less than ten miles away, the seeds of these songs were stark and strange.
Its title, Process & Reality, draws from the central work of philosopher Alfred North Whitehead, whose philosophy places intuition, experience, creativity, and relationality at the center of existence.
The band’s current lineup reflects both longevity and openness. Sharp and Keith remain the band’s primary architects, joined by longtime drummer Daniel Swire, multi-instrumentalist Henry Barnes, and bassist Kayla Cohen. Additional collaborators include Chris Cohen, Warren Lee, and Danny Sasaki all of whom add further depth, leaving subtle fingerprints across the album.
Musically, the album expands the band’s palette without abandoning its core sensibility. Dulcimer, autoharp, sitar, melodica, keyboards, homemade electronics, and a wide range of acoustic and electric textures appear throughout. The sound is mellow yet expansive, songs move between fragility and hefty atmospheric passages.
Influences surface obliquely rather than overtly. Elements of reggae and dub inform the production’s spatial sensibility. Echoes of long-form European jam bands coexist with sharp post-punk. British folk traditions, American country, and classic West Coast songwriting drift in and out of focus; the band is never afraid to lead or follow.

Wind of Oirat is the full length debut by Mongolian independent musician and sound artist Ts Bayandalai. Following his acclaimed 2020 EP Kimel, he now presents a further matured, composed and refined version of his signature sound, which combines traditional Mongolian music and instruments with influences from experimental music and post-rock. Deeply rooted in the cultural traditions of his homeland, Ts Bayandalai, who grew up in a nomadic family in the Mongolian steppe, explores nature and its myths, his ancestral roots, and the relationship between humans, animals and nature.

Artist Bio:

Ts Bayandalai is a Mongolian independent musician and sound artist. His childhood on the steppes shaped a deep sensitivity to natural and ethnic sound. To create his individual, deeply rooted yet modern soundscape, he combines traditional Mongolian musical elements with post-rock, experimental and electronic music, as well as from outernational music influences.

Born into a nomadic family on the steppes, Ts Bayandalai grew up wandering the vast grasslands with shepherds, absorbing the resonances of the horse fiddle and guitar — experiences that remain a primordial source of inspiration in his work.

Founder of the avantgarde band Horse Radio (2012) and the experimental project December3AM (2015), his compositions navigate cultural memory and contemporary aesthetics, reconstructing pastoral landscapes, temporal layers, and emotional spaces through sound.

His EP Kimel, released in 2020, manifested a delicate sculpting of sound, space, and cultural motifs, presenting a listening experience that is at once primal and modern.

Ts Bayandalai’s performances span China, Mongolia, and major independent music venues and festivals across Asia. His artistic vitality and creative autonomy have earned him critical acclaim and a devoted following in the international folk music and experimental music communities.

Francesco Passantino – Ground EP
With Ground EP, Francesco Passantino returns to essentials.
Five tracks that move through time and matter with natural ease. Ghianda and Terreno K resurface as defining points in his catalog, still carrying their original weight. Orlo reaches back to the late ’90s, channeling a raw, direct tension that reflects an attitude rather than an era.
Ground and Tuffata complete the release with minimal, physical structures: solid kick, subtle internal motion, a restrained palette shaped by live execution. The energy unfolds through repetition and breathes within small variations.
An EP designed for the club, grounded in rhythm and intention.
Rooted. Essential. Direct.

Yes folks, it's time to take it back to the roots...GAMM style.

Our very first release was a beautiful gem from Red Astaire titled 'Follow Me' - a track that defined GAMM's identity and helped pave the way for everything we've achieved since.
Now, 23 years later, GAMM has reached its landmark 200th release.

To celebrate this anniversary and honour our dear friend Fredrik Lager (aka Red Astaire), who sadly and unexpectedly passed away three years ago, we are re-releasing 'Follow Me' alongside remixes from some of our favourite producers. The remixes will be released across three separate 7 inch EPs featuring Soul Supreme, DJ Spinna, Ukokos and Kampinos.

The second instalment of the 'Follow Me' remix / rework series comes from GAMM's finest ghost producers, Ukokus & Kampinos. It doesn't matter who is behind the names; what matters is the quality of the production. The Ukokos version transforms 'Follow Me' into a killer Bruk / UK House monster that is guaranteed to make noise in the clubs, check that mad bass-drop!

On the AA side, Kampinos throws 'Follow Me' into a blender of percussive samba and 90's drum'n'bass rhythms...and it's a beautiful marriage.

Hopeful, defiant, effusive, and ecstatic, Radio!! Radio!! is the 20th album from Erasure, one of pop’s most beloved songwriting partnerships.

The record finds Andy Bell and Vince Clarke continuing to refine and deepen the pop edifice they’ve been building over the past 40 years with a set of 10 songs about love, loss and injustice that speaks, powerfully, to our empathy-starved times.

A uniquely personal album, it was shaped by a period of profound grief. When the duo got together to write the album, it was as much in the spirit of uplifting an old friend as it was work – you can hear this thread of warmth and mutual care throughout.

The album that transposes the dazzling hugeness of the duo’s best work onto avowedly more personal, more reflective songwriting. Bell acknowledges that it would be easier, perhaps, for he and Clarke to go on autopilot, 40 years into their career. But how would that pass as Erasure? “It’s a two-person brain, and everything that we’ve gone through comes into it,” he says. “We have a sense of responsibility. We couldn’t ever do something throwaway.”

Radio!! Radio!! is rooted in Erasure’s unique synth-pop palette with some key augmentation: when working on the sound of this album, Clarke was unusually drawn to piano, as well as acoustic guitar. The use of these instruments adds drama and depth to their sound whilst leaving room for the kind of glassy synth pop that Erasure made their name on.

Hoffnungsvoll, trotzig, überschwänglich und euphorisch: Radio!! Radio!! ist das 20. Album von Erasure, einem der beliebtesten Songwriting-Duos der Popmusik.

Auf dem Album entwickeln Andy Bell und Vince Clarke das musikalische Pop-Gebäude, an dem sie seit 40 Jahren arbeiten, konsequent weiter und verleihen ihm zusätzliche Tiefe. Die zehn Songs handeln von Liebe, Verlust und Ungerechtigkeit und treffen damit auf eindringliche Weise den Nerv unserer Zeit, in der es so oft an Empathie mangelt.

Es ist ein ausgesprochen persönliches Album, geprägt von einer Phase tiefer Trauer. Als sich das Duo zum Schreiben der neuen Songs traf, ging es dabei ebenso sehr darum, einen alten Freund wieder aufzurichten, wie um die gemeinsame Arbeit. Diese Wärme und gegenseitige Fürsorge ziehen sich hörbar wie ein roter Faden durch das gesamte Album.

Das Album überträgt die schillernde Größe der besten Arbeiten des Duos auf ein bewusst persönlicheres und nachdenklicheres Songwriting. Bell räumt ein, dass es für ihn und Clarke nach 40 Jahren Karriere vielleicht einfacher wäre, einfach auf Autopilot weiterzumachen. Aber wäre das noch Erasure? „Es ist wie ein gemeinsames Gehirn zweier Menschen, und alles, was wir erlebt haben, fließt darin ein“, sagt er. „Wir verspüren eine gewisse Verantwortung. Wir könnten niemals etwas Belangloses machen.

“Radio!! Radio!! ist fest in Erasures unverwechselbarer Synthie-Pop-Klangwelt verwurzelt, erweitert diese jedoch um einige entscheidende Elemente: Bei der Arbeit am Sound des Albums fühlte sich Clarke ungewöhnlich stark zum Klavier und auch zur Akustikgitarre hingezogen. Der Einsatz dieser Instrumente verleiht dem Sound zusätzliche Dramatik und Tiefe, lässt aber zugleich genügend Raum für jenen glasklaren Synthie-Pop, mit dem Erasure berühmt geworden sind.

Hopeful, defiant, effusive, and ecstatic, Radio!! Radio!! is the 20th album from Erasure, one of pop’s most beloved songwriting partnerships.

The record finds Andy Bell and Vince Clarke continuing to refine and deepen the pop edifice they’ve been building over the past 40 years with a set of 10 songs about love, loss and injustice that speaks, powerfully, to our empathy-starved times.

A uniquely personal album, it was shaped by a period of profound grief. When the duo got together to write the album, it was as much in the spirit of uplifting an old friend as it was work – you can hear this thread of warmth and mutual care throughout.

The album that transposes the dazzling hugeness of the duo’s best work onto avowedly more personal, more reflective songwriting. Bell acknowledges that it would be easier, perhaps, for he and Clarke to go on autopilot, 40 years into their career. But how would that pass as Erasure? “It’s a two-person brain, and everything that we’ve gone through comes into it,” he says. “We have a sense of responsibility. We couldn’t ever do something throwaway.”

Radio!! Radio!! is rooted in Erasure’s unique synth-pop palette with some key augmentation: when working on the sound of this album, Clarke was unusually drawn to piano, as well as acoustic guitar. The use of these instruments adds drama and depth to their sound whilst leaving room for the kind of glassy synth pop that Erasure made their name on.

Hoffnungsvoll, trotzig, überschwänglich und euphorisch: Radio!! Radio!! ist das 20. Album von Erasure, einem der beliebtesten Songwriting-Duos der Popmusik.

Auf dem Album entwickeln Andy Bell und Vince Clarke das musikalische Pop-Gebäude, an dem sie seit 40 Jahren arbeiten, konsequent weiter und verleihen ihm zusätzliche Tiefe. Die zehn Songs handeln von Liebe, Verlust und Ungerechtigkeit und treffen damit auf eindringliche Weise den Nerv unserer Zeit, in der es so oft an Empathie mangelt.

Es ist ein ausgesprochen persönliches Album, geprägt von einer Phase tiefer Trauer. Als sich das Duo zum Schreiben der neuen Songs traf, ging es dabei ebenso sehr darum, einen alten Freund wieder aufzurichten, wie um die gemeinsame Arbeit. Diese Wärme und gegenseitige Fürsorge ziehen sich hörbar wie ein roter Faden durch das gesamte Album.

Das Album überträgt die schillernde Größe der besten Arbeiten des Duos auf ein bewusst persönlicheres und nachdenklicheres Songwriting. Bell räumt ein, dass es für ihn und Clarke nach 40 Jahren Karriere vielleicht einfacher wäre, einfach auf Autopilot weiterzumachen. Aber wäre das noch Erasure? „Es ist wie ein gemeinsames Gehirn zweier Menschen, und alles, was wir erlebt haben, fließt darin ein“, sagt er. „Wir verspüren eine gewisse Verantwortung. Wir könnten niemals etwas Belangloses machen.

“Radio!! Radio!! ist fest in Erasures unverwechselbarer Synthie-Pop-Klangwelt verwurzelt, erweitert diese jedoch um einige entscheidende Elemente: Bei der Arbeit am Sound des Albums fühlte sich Clarke ungewöhnlich stark zum Klavier und auch zur Akustikgitarre hingezogen. Der Einsatz dieser Instrumente verleiht dem Sound zusätzliche Dramatik und Tiefe, lässt aber zugleich genügend Raum für jenen glasklaren Synthie-Pop, mit dem Erasure berühmt geworden sind.

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

Chronicle continues his journey through the cosmos on Spatial bringing a stunning array of inspired atmospheric bliss with Aqua Pura. A1 - Pure Alchemy Chronicle opens his latest EP for Spatial with a sprightly track, introduced with purposeful synthwork, echoing effects and a wonderful 808 bassline reminiscent of the late 90's Progression Sessions era. Energetic, layered breaks drive and build throughout Pure Alchemy with joyous vigor, while a cluster of subtle melodies intertwine across a varied and memorable mix from the label regular. A2 - Endless Ocean Next up Chronicle treats us to an amazing array of atmospheric synthwork with Endless Ocean, notes yoyoing across the soundscape through a gorgeous intro. Flecked with shimmering, buoyant melodies and bringing an immediate injection of pace, the breaks drop delivering a driving, distinctively head-nodding energy punctuated by a blippy micro melody and suitably deep bass. AA1 - Shared Consciousness Opening with a playful intro featuring subtle hi hats, twisted bells and a classic film sample, Chronicle deftly juggles excitable effects with his inimitable cheery atmospheric style before a real feast for the ears and the feet arrives - breaks reminiscent of those long lost nights at Shepherd's Bush in 1998 bring an essential hypnotic energy to a track simply dripping with style and rhythm. AA2 - Water World Straight into the action with crisp two-step breaks, Water World needs no introduction as a myriad of atmospheric effects, samples and quirky melodies seize your attention for a decidedly dancefloor-friendly track for 160bpm heads. Beautiful breakdowns play their part as well as the subtle yet room-filling 808 bass, rumbling persistently beneath another remarkable track from one of Bristol's finest.

KKYV09 is a four-track EP by Helsinki-based producer and DJ Valeria Croft, exploring a refined intersection of house and minimal shaped by funky rhythms, rolling grooves, and detailed, tactile sound design. Alongside three original cuts, the release features a remix by Romanian DJ and producer Lumieux. The EP opens with Measured By The Silence, a hypnotic, groove-led track that defines Valeria Croft's sound through subtle progression and layered detail. Floating within a vibrating minimal house framework, the track delivers warm, positive dancefloor energy across its eight-minute journey. Lumieux's remix flips the mood, pushing the arrangement into a tighter, more driving house direction while carefully reworking elements of the original into a fresh, high-impact version. On the B-side, Flex Your Body leans into an old-school minimal feel, enhanced by sensual vocal sampling and a darker, late-night atmosphere. The EP closes with Night Shift Funk, a deep, immersive track that pulses with nocturnal energy, unfolding slowly and methodically as textures stack and tension builds. Together, the tracks form a cohesive, dancefloor-focused release designed for extended DJ sets and late-night sessions.

Sublunar is proud to present the new EP from Georgian talent Pierce.

Already affiliated with labels such as Token Records and WSNWG, and following his contribution to Veil Of Echoes II, Pierce returns with a release that further defines his voice, establishing him as one of the most eclectic and distinctive emerging artists in the scene.
The EP opens with Luminous, driven by a solid groove and a uniquely recognisable vocal, before moving into Sentimento, a direct and powerful cut built around raw, gritty synth work. Cassiopeia follows, darker in tone, carrying a sense of melancholic tension that sets it apart. On the flip side, Gunslinger delivers high-impact energy with a driving groove, while Twisted Fantasy explores a more chaotic and textural approach, shaped by distorted elements and unpredictable arrangements. Delira continues the journey with hypnotic vocals and an intense, immersive groove.

With this release, Pierce firmly positions himself as one of the most compelling emerging voices in the current techno landscape.

The highly respected Swiss producer Deetron steps up to Defected’s acclaimed House Masters series. Known for his deep, groove-driven approach to house and techno, his output has graced the likes of Rekids, Nu Groove, Running Back , Classic and Clone amongst others, earning acclaim for both his original productions and remixes.

This 2LP collection from Defected collates some of his finest productions and remixes to date showcasing his signature deep house sound. From his peak time club focused releases ’Starblazer’, ‘Runnin’ and his remix of Gerd’s ‘Palm Leaves’ to his remixes of Fred Everything, Wallflower and his own ‘I Cling’ highlighting his soulful and vocal-driven depth.

Featuring his most recent collaboration with Seth Troxler and remix of Todd Terje also on the compilation, House Masters Deetron underlines Deetron’s status as one of the scenes most prolific and finest producers.

"We just wanted a kiss that makes you want to kiss..."

From a sample to the most iconic kiss in music video history… When Demon released "You Are My High" at the end of 1999, it created a frenzy. Nominated at the Victoires de la Musique and the MTV Awards, the track was on everyone’s lips—including the CSA's, which tried to censor it. 25 years later, the "You" shines brighter than ever, captivating each new generation in turn.

A Top 10 hit in France upon release and certified gold within months, "You Are My High" skyrocketed thanks to its video—three minutes of a single-shot French kiss. Briefly banned by the CSA (who quickly realized it’s hard to censor something you see in every film), the clip ended up playing non-stop on music channels, defining an entire era.

Today, the "You"—as its creator fondly calls it—is considered one of the crown jewels of French Touch 1.0 (Daft Punk, Stardust, Cassius, Modjo, The Supermen Lovers...). With nearly 150 million streams across platforms, its legacy holds strong and continues to inspire a new wave of artists. Among the most iconic reinterpretations: a lo-fi cover by Agar Agar, remixes by DJ Snake and Central Cee, the You and Me video by Disclosure and Flume, and even a Jean Paul Gaultier campaign.

Shimmering Xhosa traditions and deep electronic futures vibrate as South African sonic poet and composer Dumama unveils her groundbreaking debut solo album, Towards An Expanse. Sometimes gospel, sometimes electro-psychedelic space travel, Towards An Expanse unfurls from a languid lament into an ever-expanding sonic universe. Dumama defies conventional genre boundaries while excavating deep personal and cultural histories in this concise but boundaryless collection, recorded between New York, Johannesburg and Berlin. Dumama first gained international attention with her acclaimed 2020 collaborative album, Buffering Juju, created with fellow South African musician and artist Kechou, and lauded as Global Album of the Month by The Guardian. Her new solo work draws on a rich lineage of South African voices. Gugulethu Duma (aka Dumama) is a musician / composer / sonic poet / creative producer from the Eastern Cape Province of South Africa. Dumama is one of the few uhadi players in the world. Her use of the traditional Xhosa bowed instrument guides her profound story-telling, blending ancestral roots into an urgent electro-acoustic palette. The album was born out of sessions with acclaimed musician and producer Shahzad Ismaily in New York and South African powerhouse Nandi Ndlovu in Johannesburg.

øjeRum is the moniker of Danish artist Paw Grabowski. Since 2007, his mostly tape-based works have unfolded like private diaries—intimate, textural, often centered around an vintage pump organ Paw found left abandoned in a dilapidated Danish home, and to which he would return, sometimes in the dead of winter, to play and record on. The works featured on this release are centered around this pivotal engagement and collect some of his earliest releases from around 2014 to 2017. These were then carefully selected and released via Vaagner's sister label in 2018 via a double cassette release, which has since become a coveted collectors item.

Throughout the album, the organ breathes, sighs—the moments of brief silence that follow are almost palpable, then like a sonorous echo, the sound rushes back into the foreground with gentle restraint, submerging the listener into an undulating current of emotional upheaval. In this ebb and flow, øjeRum shapes a space where memory seems to waver and dissolve, and where a fragile, lingering melancholy unfolds with a kind of hushed inevitability.

With the newly minted Vaagner.Archive, this album is now reissued on vinyl for the first time—carefully remastered and housed in a 2xLP gatefold sleeve printed on special cardboard, its tactile presence echoing the material sensitivity that has always defined Paw Grabowski's practice. A love letter to repetition and restraint.

Six hard-hitting tracks, without unnecessary breathing space. The spectrum is wide, the trajectory crystal clear: from muscular Hard Dance to incisive Techno, reaching into the more radical territories of Hard Techno. Each track strikes with precision, alternating massive kicks, abrasive textures, and pressure-building rises that compress the space before impact. Direct, efficient, surgical.

An undeniable classic in Manu Kenton’s catalogue, “Arkanoid” is reborn in a revisited version by Wex 10. The remix injects additional tension, sharper and more cutting, transforming the track into a formidable weapon calibrated for peak-time intensity. A rework faithful to the original DNA, yet propelled into a more explosive dimension.

True to its identity, Mekanik Records delivers an EP that condenses power, tension, and club efficiency. No unnecessary detours, no artifice. Just the essentials: rhythm, energy, impact.

Français

Mekanik Records rallume la mèche et, cette fois, l’étincelle éclate d’un rire nerveux. Avec “Hi Hi Hi Hi Hi Ha Ha EP”, Manu Kenton livre un manifeste en six déflagrations, façonné pour les nuits denses et les dancefloors sous haute tension.

Six titres percutants, sans respiration superflue. Le spectre est large, la trajectoire limpide : de la Hard Dance musclée à la Techno incisive, jusqu’aux zones plus radicales de la Hard Techno. Chaque morceau frappe avec précision, alternant kicks massifs, nappes abrasives et montées sous pression qui compriment l’espace avant l’impact. Direct, efficace, chirurgical.

Classique incontournable du répertoire de Manu Kenton, “Arkanoid” renaît dans une version revisitée par Wex 10. Le remix insuffle une tension supplémentaire, plus tranchante encore, transformant le titre en arme redoutable calibrée pour les pics d’intensité. Une relecture fidèle à l’ADN original, mais propulsée vers une dimension plus explosive.

Fidèle à son identité, Mekanik Records signe ici un EP qui condense puissance, tension et efficacité club. Pas de détour inutile, pas d’artifice. Juste l’essentiel : rythme, énergie, impact.

Sin Hilo celebrates its 10th anniversary with a special compilation featuring some of the label’s most defining artists.

From melodic and immersive IDM to electro, glitch hop and downtempo, the release captures the essence and evolution of the label through a cohesive yet eclectic journey.

Featuring Imtech, Promising Youngster, Sölna, Jailed Jamie, Lost Twin, Burdeos, SKYGAZE, Strucweird, Atico Corp and Not On Earth.

Ten tracks that celebrate a decade of sound and confirm the strength of Sin Hilo and the electronic scene.

Agent By Default In Hybrid Systems' is a deep dive into today’s and tomorrow’s society. Across four tightly constructed tracks, cinematic-surrealist musician and DJ JessyJiggy reflects on how mankind and machine-driven systems coexist and evolve. We act, respond, and adapt as agents by default caught between instinct and structure. Built for movement yet rooted in observation, every progression feels less like a command and more like a suggestion inviting listeners to negotiate their own place inside the grid.

This poetic concept translates into music where analogue and digital tools merge into a hybrid sound. Compositions carry an almost automatic rhythm that drives motion while sound design elements subtly reference modern technology. Raw, bass-driven, minimal and techno showcase the breadth and progressiveness of Rotterdam with its brutalist spirit embedded in every detail.

Carefully mixed and mastered by Simon Lescure, who works at the intersection of sound design, club culture, and contemporary art, the record is optimized for a wide spectrum of sound systems while offering a distinct, full-bodied experience on the dance floor. With his vision of music as a system of memory and tension, a way to hold time and transmit presence, raw energy is brought into focus, shaping JessyJiggy's signature sound with clarity, weight, and intent.

A work committed to pushing boundaries and contributing something lasting to the electronic music landscape, this record is crafted to become a cult classic.