quête:di vision

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

After a brief hiatus, Cosmocities returns in 2026 with Tech Rico EP, the final release from longtime collaborator, visionary artist, and producer Erik Rico. Completed shortly before his passing last year, the EP stands as both a creative evolution and a tribute to an artist whose influence crossed genres and generations.

Erik Rico first connected with Cosmocities founder Matt Soulie through Inkswel during the release of Cosmic Love Affair EP in 2022, leading to further collaborations including The Rare Groove Project. Following that release, Soulie encouraged Rico to explore a more techno driven sound, which became the foundation for Tech Rico EP.

The EP sees Rico stepping into new sonic territory while maintaining the rich musicality that defined his career. “Tokyo By Train” marks his first full dive into techno with driving rhythms and atmospheric textures, while “Afro Beatdown (Let’s Go)” blends Afro rhythms and broken beats inspired by the spirit of Fela Kuti. “Summer In Chi Town” pays tribute to Chicago house with warm synths and skippy drums, later reworked by Inkswel with additional vocals from Erin Buku and Marley Love into a soulful bruk infused remix. Closing track “Madrid or Manhattan” delivers a hypnotic house groove layered with trippy vocoder vocals.

A singer, songwriter, multi instrumentalist, producer, and DJ, Erik Rico spent more than two decades shaping a sound that bridged soul, house, hip hop, and Afrobeats. His career included collaborations with Tupac Shakur, Q Tip, Ladybug Mecca, and Jurassic 5, as well as scoring work for HBO, MTV, and PBS.

More than just a release, Tech Rico EP celebrates Erik Rico’s artistic spirit, fearless evolution, and the deep musical connections he built throughout his life. Cosmocities is honoured to share this final chapter with the world.

Die MerKaBa Brotherhood erforscht verborgenes Wissen durch Rhythmus und Klangtextur. Roman Norfleet (The Cosmic Tones Research Trio, Be Present Art Group) und Andre Raiah (Brown Calvin) schöpfen aus esoterischen Texten, sakralen Bildern und mystischem Denken und formen Klang zu Raum, Ton und Puls. Ihr selbstbetiteltes Album ,The MerKaBa Brotherhood" verwandelt Klang in eine Arbeitssprache - Texturen als Diagramme, Melodien als Signale -, die zwischen Rhythmus und Offenbarung mitschwingt.

UK producer Tom Carruthers delivers another masterclass for Skylax, diving deeper into the DNA of house music with Deepline, a 5-track journey that connects the raw futurism of the late ’80s to the deep innovations of the early ’90s. Known for his MPC-driven grooves on L.I.E.S., Clone Jack For Daze and Craigie Knowes, Carruthers has become a true guardian of machine funk — always stripped down, always pure. The title track Deepline captures the very essence of house, hypnotic and driving, right at the crossroads of 80s machine funk and early 90s deepness, a timeless groove that feels like the missing link. Dream 12 unfolds as lush and atmospheric, with pads that instantly recall the golden era of early 90s deep house, a reverie made for afterhours and smoke-filled basements. Experience stands as a raw reminder of the four pillars of house — drum machines, bass, minimalism and repetition — metallic, stripped, relentless, pure underground. On the flip, Fantasy explodes with wild energy, channeling the raw spirit of Trax Records and Armando, dirty and direct, a weapon for uncompromising dancefloors. Finally, Folx closes the record with a cosmic edge, its tough jackin’ drums colliding with spacey synth touches to create a bridge between Chicago basements and interstellar dancefloors. Once again, the visual identity is entrusted to the iconic H5 studio (Daft Punk, YSL, Logorama), whose bold modernist artwork perfectly mirrors Carruthers’ stripped yet futuristic vision. Vinyl only. No digital. No compromise.

1/2 of seminal electronic act The Knife, Olof Dreijer will be releasing his debut album 'Loud Bloom' via dh2 this May following years of drip feeding solo music under various aliases and lending his production talents across the scene. The 14 track (double vinyl) album consists of equal parts dancefloor ready bangers (some of which have been previously released) and more still, ambient moments that highlight Olof's versatility as a producer as well as the sounds from around the globe that he takes inspiration from.


In a burst of colour and rhythm that cuts a distinctive path through modern club music, Olof Dreijer crystallises his solo work around a gleaming debut solo album, Loud Bloom, out 8 May via dh2.

Across the album, Dreijer toys with the tension between pure pleasure music and his tireless thirst for the new. You might hear the structure of a Chicago house beat or a classic drum machine hit, but at every turn these tropes are remoulded into dazzling new forms. Taking inspiration from Nigerian author Akwaeke Emezi and their ability to deliver bold, progressive themes and visionary sci-fi through the accessible lens of romantic fiction, Dreijer makes vividly unconventional dance music utterly instinctive and easy to love.

1/2 of seminal electronic act The Knife, Olof Dreijer will be releasing his debut album 'Loud Bloom' via dh2 this May following years of drip feeding solo music under various aliases and lending his production talents across the scene. The 14 track (double vinyl) album consists of equal parts dancefloor ready bangers (some of which have been previously released) and more still, ambient moments that highlight Olof's versatility as a producer as well as the sounds from around the globe that he takes inspiration from.


In a burst of colour and rhythm that cuts a distinctive path through modern club music, Olof Dreijer crystallises his solo work around a gleaming debut solo album, Loud Bloom, out 8 May via dh2.

Across the album, Dreijer toys with the tension between pure pleasure music and his tireless thirst for the new. You might hear the structure of a Chicago house beat or a classic drum machine hit, but at every turn these tropes are remoulded into dazzling new forms. Taking inspiration from Nigerian author Akwaeke Emezi and their ability to deliver bold, progressive themes and visionary sci-fi through the accessible lens of romantic fiction, Dreijer makes vividly unconventional dance music utterly instinctive and easy to love.

You wake up abruptly on cold floorboards, your body aching as if from a great fall. White light floods your vision. Where are you? Last thing you can remember you were hurtling through the Genesis Domain at breakneck speed, but this is definitely somewhere different. As your eyes come into focus you see the hall is grand, intimidatingly opulent. A full house of seated onlookers peers at you expectantly. You’re on a stage, you realize. Flames creep up the walls, engulfing the room and lighting the faces in the audience; the heat is oppressive, but nobody seems to notice. A voice booms out.

“And now, ladies and gentlemen, the moment you’ve all been waiting for! Presenting: a performer of great renown all across the land, yours for one night only… introducing—”

Tiny bells jangle around your head as you shift your weight, obscuring whatever name the announcer just called out. You try to sit up. The jester’s hat tumbles off with a clatter. Not this again, you groan. Your head spins with vertigo. You grimace, trying to remember something. You had just gleaned an urgent and existential truth in the Genesis Domain, but it’s slipping away now… what was it?

Off to your left, a whip cracks. The impresario glares at you from the wings, fist clenched around a diamond-encrusted whip, mouthing at you to get up.

You try to run, but the weight of an incorporeal authority bears down upon you. The impresario cracks his whip again, an impish smirk forming on his lips.

With resignation, you begin to work the room. What else can you do? Tendrils of giggling and gossip creep through your periphery. The heat is suffocating and the smoke stings your eyes, but the show goes on. Remembering your bag of tricks as if from a dream, you raise your hands in the air, invoking the universal call to audience participation. The crowd goes wild. You feel the rush of a familiar thrill. Being the Fool comes naturally to you, you realize, as the palace burns around you.

2026 Repress

ANNE & SERA J return for the second edition of their Symbiosis series on Mutual Rytm.

ANNE, known for potent techno on the likes of Soma and Hardgroove, and Nechto and Life In Patterns associate Sera J, have had standout years that have seen them put out a stream of essential club tracks. They are partners in both life and music, and the first volume of 'Symbiosis' on SHDW's Mutual Rytm imprint was their first release together. Delivering an honest representation of their innermost feelings, having also contributed to the label's 'Federation Of Rytm III' VA in February, this new six-track EP (plus bonus cuts) presents a 'mature and refined connection between their souls'.

The second instalment of 'Symbiosis' reflects not only their deep personal connection, but also their collaborative synergy as musical peers with the same goals. The EP captures the essence of their mutual artistic journey and showcases the strength of their bond both in life and through their shared creative vision - to create a storyline through sounds coming from their souls and convey a narrative that many listeners may find relatable.

SERA J kicks off with the lithe and melodically elegant techno of 'Your Soul Is Art' which will have both heart and heels dancing. 'Illusions' is a more heavy and dubby cut with paired back grooves and pulsing synths, while 'Glacial Pace' is an urgent deep techno roller with turbocharged stabs and huge icy hi hats locking you into a trance.

ANNE steps up on the B-side with 'Floating Waves' exploring physical, chunky drum funk and raw synth textures. 'Planetary Dust' is a dark and moody astral techno journey to the stars, before 'Sweet Seventeen' brings a more melodic cut with a sense of hope and joy in the bright pads that shimmer above the glitchy grooves.

Both artists also offer two digital bonus cuts with SERA J's 'Syncrosonix' and 'Space Velocity' delivering perfectly reduced minimal techno monsters, while ANNE's 'Gentle Loop' and 'Starburst' are interplanetary trips with widescreen cosmic synths.

In-demand AfroColombia Remix Vol. 1 finally repressed!
A collection of Afro-Colombian classics (Champeta, Son de Sexteto, Currulao) revisited by talented producers from the global club scene.
Ten years ago, a sound was born that bridged roots and reinvention. Today, Galletas Calientes Records is proud to announce the official reissue of AfroColombia Remix Vol. 1 on vinyl, in collaboration with legendary Colombian label Palenque Records.
Originally released a decade ago, this project brought together visionary producers and timeless Afro-Colombian rhythms, creating a dialogue between tradition and the global electronic underground. Now, remastered and pressed on wax again, the record returns with renewed depth—warmer, richer, and ready to be experienced the way it was always meant to be heard.
This limited vinyl edition celebrates the legacy of the original release while honouring the artists, communities, and sounds that inspired it. Whether you’ve been with us since day one or are discovering it for the first time, this reissue is an invitation to reconnect with a pivotal moment in Afro-Colombian musical fusion.

ICONYC steps into new territory with Traffk, a spellbinding EP from UVITA, Twiins, and Motip White. Built around two deeply immersive compositions, Traffik operates as a threshold rather than a destination — a carefully measured passage into unfamiliar territory where tension is curated, expectations are subverted, and every detail feels deliberately withheld until the right moment.

At the center lies the title track, “Traffik,” a commanding convergence of three distinct creative voices distilled into a singular, unsettling vision. Suspended between austere minimalism and intricate design, the piece unfolds with a forceful rhythmic backbone that plunges into subterranean depths. Twisting brass motifs flicker and bend like fractured light across polished surfaces, creating an atmosphere that is both tactile and elusive. As the groove locks into a hypnotic oscillation, a spectral vocal presence emerges, injecting a sense of weight and foreboding before the track fractures inward, collapsing into a violent release that ejects us from its vortex with uncompromising intensity.

On our B-side, UVITA and Twiins reconvene for “Lucy Tried For It,” a continuation that trades overt drama for a slow-burning psychological pull. Anchored by a prowling low-frequency current and a relentless percussive drive, the track draws us deeper through carefully placed sonic detonations that expand its spatial dimension. Gradually, malfunctioning mechanical textures and distant, almost feral cries seep into the framework, setting the stage for an introspective spoken-word moment that nudges the piece further into the subconscious. As fragmented melodic elements begin to surface, “Lucy Tried For It” reaches a moment of suspended reflection before surging forward once more, closing the EP on an emotionally charged and resolute note.

After a short break, Vibes and Grooves is back with Collab Grooves Part 2. Following the success of our initial collaborative venture, we continue our mission of uniting visionary producers under a single sonic umbrella. This time Jemaho, Shaka and DFRA come together for another deep collaboration.
With “Joudia’s Groove (Drifting Away – The DAT Version)” on the A side, we are delighted to have Jemaho on board. He delivers an outstanding, warm and soulful vocal house cut driven by a smooth, uplifting groove and rich musical depth. With its unique tape sound aesthetic, a true masterpiece. Certainly a future club classic.
The B side opens with „Sparkling Soul“ from label resident Shaka. A jazzy house affair that blends vibrant piano melodies, a hypnotic lead synth line, and a tight bassline. It radiates warmth, sophistication, and an ever-present sense of romance.
The second track comes from DFRA, the man from Buenos Aires, who is already well known on the label for his outstanding tracks from the latest Collab Grooves. With “New York Style”, DFRA delivers a deep house tune shaped by warmth, restraint, and a steady underground groove. Subtle textures and raw rhythms create a smooth, flowing atmosphere that feels natural and unforced.
Timeless in feel and refined in production, Collab Grooves Part 2 captures an effortless flow that speaks directly to both the heart and the dancefloor.

Kennedy continues to sketch out imaginary worlds where thoughts and sensations are converted into sound via the power of machines. On this fifth instalment of Hi-Tech Soul, the Dutch producer channels fragments of midnight memories and daytime visions into something tactile yet elusive. As with previous chapters, the process remains shaped by surprise as hands and hardware entwine in a quiet, freeform dialogue.

The music itself drifts rather than drives, unfolding like shifting cloud forms that never quite settle. Loose, frayed house patterns hover in a state of flotation as basslines anchor just enough to stop everything dissolving completely. Each track has a sense of elevation where melodic synths filter through the mix like heavenly sunbeams breaking overhead. There's a constant progression to something that never comes, instead leaving you free to find your own meaning as textures blur into something soft, indistinct and gently euphoric.

A pure state of celestial suspension, 'Dream 5' is the newest offering in a series that takes you to a weightless world of infinite interpretations.

Renowned Italian jazz master Nicola Conte presents an incandescent limited edition 7" single for Record Store Day 2026. "Terra Em Transe" and "Naquela Base" are brand new tracks from sessions for Conte's forthcoming Far Out Recordings album, drawing deep from early 70s Brazilian jazz and modal hard bossa while underlining the vital role of the arts in social and political struggle.

In Nicola's own words: "Terra Em Transe' is a dedication to visionary director Glauber Rocha and to all free thinkers willing to portray the conflicts, contradictions and lies of those in power around the world." The original composition takes inspiration from Milton Nascimento's vocal harmonies and Tamba 4's sophisticated samba-jazz.

'Naquela Base' is a stunning reinvention of João Donato's classic: pure modal hard bossa recorded entirely live in the studio. Inspired by samba-jazz classics like Tenório Jr.'s "Embalo" and Paulo Moura's "Fibra", the track is carried beautifully by Teppo Mäkynen's masterful drumming, with solos from Gaetano Partipilo on alto saxophone and Pietro Lussu on piano, supported by Ameen Saleem on double bass and Abdissa Assefa on percussion.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out Recordings has produced his acclaimed Umoja project, his five-part Viagem compilation series, and most recently Viaggio, a compilation exploring Italy's library music renaissance from 1970-79.

'Terra Em Transe / Naquela Base' will be released as a limited edition 7" single for Record Store Day 2026 via Far Out Recordings.

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.

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

A phenomenal new vocal talent with uncompromising vision, SIENNA SPIRO is here with her debut album, Visitor, a striking opening statement from an artist of undeniable longevity. Visitor Features Billboard charting & RIAA Platinum & Gold singles “Die On This Hill” & “You Stole The Show”, as well as new hit single “The Visitor”. Having amassed over 1.3 Billion streams ahead of her debut album, SIENNA matches her dazzling musicality with a fierce dedication to crafting music of true substance.

There was a regrettable time in Turbo's history when our email filters would prevent anything called Groovedeep from reaching our senior A&R braintrust. We felt we needed to shield their sensibilities and sanity from demos by acts like The Rhythm Pilgrims and Loop Addict, but it ended up costing us potential stars like SonicVisions and Beatweaver. Someone had to stand up and say no more.

With this benighted era behind us, Turbo is proud of itself for presenting you with this pair of decidedly modern bangers from international supergroup Groovedeep, comprised of Toronto's Ciel and DC's James Bangura and Jackson Ryland.

"Funk Solo" packs 145 beats into each and every minute of a delirious techno mindbeast, with remixes from icons such as Shed, Batu, and Mark Broom taking the vibe in all the right various directions. Meanwhile, the bottom of the B-side is a "Big Bass Mix" for those of us who are compelled to slather ourselves in bass-boost ultrasound gel and nestle into the club sub-woofer where the low frequencies massage our kidneys and sacrum and the twinned demons of treble and vision cannot touch us I mean not even close brother.

Much like the fusion resulting in the output of light and heat within a star, the last seven years for Dave Sumner, aka Function, have been defined by immense change and an outpouring of creative energy. What began in late 2016 as a period of burnout from a relentless touring life became a catalyst for the most prolific recording era of his career. At the time, the studio became the only viable escape, a space to transmute exhaustion into a gestalt work.
Aeternum (Existenz) serves as the missing element in this creative arc. It acts as the final chapter of a cycle, that began with the 2019 album Existenz and moved through Subject f (Transcendence), Awakening from the Illusory Self, and Green EP. Drawing inspiration from the seven stages of alchemy, this mini-album represents a cathartic process; a natural end point of a psychological cycle and the beginning of a new curve.
Across the six tracks on the mini-LP, recorded 2016-2019, Function builds a unique world, one which underlines his place as one of the luminaries of contemporary techno. Opening track, Ascent, traverses the space between ambient and techno; second track City Of Luz almost fades into itself across its twelve minutes before Transmutation brings around a reawakening with a beat that would not have sounded out of place on an early Rephlex or even a Sähko release. Final track on the 12”, Growth Cycle is fittingly a re-version/re-vision of a track on the Existenz LP; Robert Owens’ soulful vocal now Stefanie Parnow's floating Siren-like voice with music that feels reborn: fresh, strong and insistent. The digital pack contains two further tracks, the deep electro of November 29, as well as Rubedo, a spacial ambient track that feels like the final glowing red embers of a fire turning to ash as the sun rises to reveal a new, golden dawn.
Aeternum (Existenz) is the final chapter of the soundtrack to Function’s spiritual awakening, the closing of a door and the clearing of a path. It’s a sonic manifestation of the Magnum Opus completed, a moment of total integration, where the leaden weight of the journey is finally perfected into the incorruptible gold of the spirit.
It is dedicated to John Mendez, aka Silent Servant, Sumner’s dear friend and lifelong collaborator.

Olindo Records is proud to present the physical edition of Venezuelan drummer, producer and artist Orestes Gómez 2nd solo LP: No Me Fui Porque Quise.

This album is a deeply personal and rhythm-driven project where Orestes explores themes of migration, identity, and emotional resilience. Through a fusion of Afro-Caribbean percussion, jazz, hip-hop, and electronic textures, the album tells the story of leaving home not by choice, but by circumstance.

Featuring a host of exciting guests from his home country and beyond, each track blends organic drums with modern production, creating a sound that is both rooted in tradition and forward-thinking. The music moves between introspective moments and powerful rhythmic expressions, reflecting the complexity of displacement, memory, and cultural identity.

Orestes Gómez is much more than a percussionist; he is an architect of rhythm and a visionary of hybrid production. Originally from Venezuela, he has established himself as a leading Latin American voice by fusing the heritage of Afro-Caribbean drums with the avant-garde of electronic music, jazz, and hip-hop.

The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The Spoiled is an Italian post-punk project led by Giovanni Santolla, blending electronic beats, distorted synths, and reverb-soaked guitars into a dark, romantic, and nostalgic sound.

In 2024, the project self-released the debut EP Time distributed by Manic Depression, followed in 2025 by the full-length Living Ghosts via Swiss Dark Nights—an album that firmly established The Spoiled within the contemporary post-punk scene. Following the album’s release, Giovanni collaborated with international acts including This Eternal Decay, Darkways, Corlyx, Chaos International, and Hinfort, while maintaining a dense touring schedule across Europe and sharing the stage with artists such as Traitrs, Hinfort, Darkways, and Ductape.

The new album When It Rains, set for release on Avant! Records on April 17, 2026, expands The Spoiled’s artistic vision with a focus on intense, romantic soundscapes that delve deeply into human intimacy and interpersonal relationships. Embracing a warmer and more personal sonic direction, the record blends elements of indie rock and electrogaze music that enrich and revitalize the dark, melancholic palette that has defined the project’s earlier works.

Still playing homage to the forefathers of the genre such as Clan of Xymox, The Sound and Pink Turns Blue, When It Rains opens the path of The Spoiled to new soundscapes, exploring broader emotional territories while preserving the atmospheric depth and introspective tone that have become its signature.

FFO: Twin Tribes, Clan of Xymox, She Past Away, Mareux, The Soft Moon, Pink Turns Blue.

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Derailed Records x Planet Rhythm return with a focused new EP from Milo Raad, hailing from Belgrade.

This release sees Derailed adding its own VVS edge to the vinyl saga. Tougher, more direct, and forward thinking. The tracks are stripped back but intentional, designed to lock you in rather than overwhelm. Don't get it twisted though: there's still plenty of depth here, the kind you can lose yourself in if you let it run.

'' I Want VVS's More Than Ever ''

Artwork: Studio ANTM
Mastering: Audiosculpture
Distribution: Triple Vision

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

Fossils in Transit dropping their first EP with diverse club focused features. The label
wants to express their love for timeless pieces and extrapolating it to their own vision.
Brussel based duo Kappen & Latence showing their musical spectrum on the A-side. On
the B-side Ennio Tyson debutes his take on timelessness.
A1 is a warm and slowly building track guiding the listeners through a blissful state. This
percussion driven piece sets the perfect mood for sunrises/sunsets. In A2 the rebellious
nature is defined by punk vocals, an acid bassline and crunchy percussion. Produced for
dark clubs and peak-time slots. B1 ventures into a bass-heavy realm where scattered
perc-like vocals and stabby synths create an ominous atmosphere. Keeping the body in
check while the mind wanders. Closing the EP on B2 with an off-the-wall minimal tech
house roller. Balancing a steady energy level to keep a tight grip on the dancefloor.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

"After being praised as one of the best releases of 2025 by multiple platforms, the highly praised debut album from Obeka lands on vinyl via YUKU.

The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka's ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.

Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London's vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn't understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It's been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC'ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.

On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that's been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.

"Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world." "

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

For our fourth release, we welcome Flits alongside For You founder Line-o.

Flits takes the A-side with two highly effective techno tools. Visionair cuts straight through with gritty textures, crunchy hats, and a driving groove. Kensington follows, tight and punchy, built to hit right.

Line-o returns on the B-side. Liminal opens deep and forward, driven by a steady momentum that locks you into its flow from the start. Fragments shifts into a more percussive direction, rolling and groove-led, rooted in the stripped-back rhythm Line-o is known for.

Die Adult-Punks von DEBT RAG beweisen einmal mehr das explosive Potenzial gemeinschaftlicher Zusammenarbeit. ,It Is Clear What's Going On" gewährt uns einen Einblick in ihr gemeinsames Gedankengut, das auf Band als ein pulsierendes, funkelndes Ganzes festgehalten ist. Diese Platte anzuhören ist, als würde man durch das Schlüsselloch in den Proberaum spähen und auf ein Feuerwerk aus Farben und Experimenten stoßen, gespickt mit schallendem Gelächter. DEBT RAG lachen - nein, nicht über dich, aber auch nicht mit dir. DEBT RAG kümmern sich nur um DEBT RAG und den freudigen Lärm, der entsteht, wenn man mit seinen kreativsten Mitstreitern Musik macht. Diese Songs bergen Möglichkeiten, und zwar nicht im Abstrakten. Was ist der Tonumfang eines einzelnen Beckens? Wie viele verschiedene Lautäußerungen können drei Menschen hervorbringen? Was ist das emotionale Potenzial einer Trompete? DEBT RAG stellt diese Fragen und gibt gleichzeitig die Antworten. Ihre Musik ist weitreichend, völlig frei, aber niemals selbstverliebt. Ob sie nun die langjährige Tradition des Trios mit Anti-Gesellschafts-Hymnen (,Gary's World", ,Syzygy") fortsetzen oder die Überreste einer Bandprobe collagieren (,Drumbo 2", ,Smartest Musicians") - es sind sorgfältige Kompositionen mit einer spannenden Logik, die sie selbst erfunden haben. Jeder Song ist eine kleine Welt, resonant, messerscharf, mit absoluter Klarheit der Vision. DEBT RAG ist, wie DEBT RAG eben ist. Wir könnten alle das eine oder andere davon lernen. - Grace Ambrose

2026 Repress

Initially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics and nang chamber dub. A ghost-like transmission, Hooi's voice serves to anchor an array of sonic abstractions and impressionistic melodic motifs as a sense of purgatorial ambience dominates throughout. Co-produced with alleged fellow Kallista Kult member Tarquin Manek (LST, M. Quake), Untitled's ultimate sensation is its halfway state, as if caught between worlds.

The album's final form speaks of its origins, recorded intermittently over a two year period (2017-2019). The extended time passage seeps into the song structures, spiralling and mutating from the same centre - the elegiac pulse of opener 'Title' presages the hymnal lilt of 'Straight Thru', before birthing the inverted bossa nova of 'W/O Love'. The result is a constantly shifting tableaux of shared liminal spaces. These songs seemingly emerge in plumes of smoke, magician's tricks conjured from the ether. It's a vision that ossifies at Untitled's midpoint with a cover of Love Joys' 'Stranger', the lovers rock original morphed into the transportive intimacy of Hooi's own hazy inner space, a totem of the LP's amorphous and ultimately sensuous qualities.

The sound from both down under and way out there in subspace, Untitled is an inspired masterstroke of experimental mystics. This 2021 Efficient Space edition is remastered and robed in new artwork that honours the Melbourne-based earth dragon's Chinese and Russian heritage.

Huge classic techno history! Echoes originally appeared in 2001 on Kanzleramt, and from the moment it landed, it was clear this was something different. Eleven techno-dub-house tracks, rich in texture and depth, that mapped out a singular vision of Berlin's dancefloor aesthetic at the turn of the millennium. Not a collection of club tools, but a fully realised album statement, one that understood the dancefloor and the living room in equal measure.
Twenty-five years on, Alexander Kowalski reissues Echoes on his own label Cycles Music - remastered, on double vinyl, and presented as it always deserved to be heard. The ten tracks across four sides move through deep, rolling grooves, melodic undertow and the kind of emotional precision that made Kowalski's name in the first place. Echoes are fragments from the past which follow us into the future, the album's original motto reads like it was written for this moment.

RB013 marks Rhythm Buro's 13th release, arriving in the form of a Various Artists compilation titled 'All Things Broken'. Much like its predecessor 'There Will Be Light' - the label's ambient compilation - this project was built around a single unifying idea: bringing together a diverse set of tracks centred on deep breakbeat sounds, for lack of a better term. With that vision in mind, curator Igor Glushko reached out to a dozen like-minded artists - Ukrainian and international, long-time collaborators and fresh faces alike. A year and a half later, 'All Things Broken' is finally here.

Contributing artists (in alphabetical order): Alex Albrecht, Forest On Stasys, Haze, Hidden Element, HVL, Ina Kacz, Na Nich, Orion, Radiant Futur, SI Process, The Sailing Oysterman (aka Shjva and Ilya Semashkevich), Volodymyr Gnatenko.

The compilation comes as a 2xLP and includes an insert poster featuring 'Flame and Water', a drawing by Ukrainian artist Oleksandr Kryzhanovskyi that serves as the centrepiece of the release's artwork. Oleksandr also contributed additional works from the same series, which appear on the labels of both records.

West Hill Music is a new sub-label from Periodica Records dedicated exclusively to productions curated by Mystic Jungle and conceived at West Hill Studio in Napoli, a longstanding creative hub active for more than a decade.
The project aims to reclaim and reimagine the language of mid-1980s music, drawing from both American and European New Wave through a personal filter that freely and instinctively blends elements of Italo Disco, Rock and Funk. The two tracks, moving within a dance-not-dance dimension, stand as a manifesto of this sonic synthesis and a further step in defining the aesthetic vision of the producer. On "Chasing Light", the collaboration with Igor Sekulovic continues, with the guitarist also appearing here as co-writer of the track, weaving together tense guitars, driving disco-rock bass-lines and slapback reggae-style vocals. "Under Pressure", on the other side, unfolds as a late-night electronic suite: minimal, aseptic and hypnotically repetitive.

In discotheques and dark rooms across Europe, Boys’ Shorts have earned the trust of the queer and wider clubbing communities as generous stewards of a timeless sound that, like themselves, never stops moving forward. The duo of Vangelis and Tareq initially met at an underground club in their native Greece. Sensing a rare sonic connection, the pair became friends, forming Boys’ Shorts to meet again and again, travelling from their adopted cities of Thessaloniki and London to appear as far afield as Berlin’s Panorama Bar and New York’s Le Bain, as well as supporting Goldfrapp and Hot Chip on tour. Their motivation? In their own words, “we make people dance!”

Following years of gradual, thoughtful studio sessions, and EP releases on tastemaking electronic labels including Phantasy Sound and Live At Robert Johnson, Boys’ Shorts establish their own imprint, ALL SORTS, in order to deliver a fantastically ambitious debut album, ‘What Does It Take To Make These Men Happy?’

The LP opens with the grandiose, cosmic vista of ‘The Space Between Us’, a classic passage of strings and synthesis, before the shared Boys’ Shorts vision falls back to earthier territory with deep groove of ‘Let’s Fall In Love’, mixing universal sentiment with a patient vision of human potential and the voice of Greek electronic pioneer, K.BHTA. ‘Come’ aligns with NYC’s Michael Cignarale, offering an excitable invitation to the mind and body sculpted by the way of a throbbing, warehouse-sized statement of nineties house sensuality. Channeling heroes Lowe and Tennant at their most introspective, ‘Short Life’ maintains the dance, yet dares to ask, “what if the parties aren’t enough anymore… Can you ask for something more?”

Out of the pet shop and straight into the strobe lights, ‘Disco Romantica’ makes true on the promise of its title, a lovelorn monologue giving way and slipping into rave stabs and whirring synthesis that looks forward to a memorable, emotionally-charged night ahead. Underpinning this feeling of anticipation, ‘Going Out Hoping To See You’ introduces the voice of Justin Strauss to Boys’ Shorts' musical world. A certified icon of club culture, spinning from The Mudd Club to modern day DJ booths, Strauss’s generation spanning experience of nightlife leans into the fundamentals of human connection and the pleasure of musical discovery, wrapped in irresistible chug.

Another transformative figure in club music, Fischerspooner’s own Casey Spooner dips into French for the Motorik cyber sleaze of ‘MECANIMAUX’, their own vocals pitching up and down with playful EBM abandon. ‘Montage’ offers a different kind of composition, conjuring an ecstatic club banger that finds inspiration in nineties indie rock motifs alongside the rave scene, while ‘Run’ promises to blow out sound systems before its weighty electro bassline succumbs to waves of glistening synths.

Such bombast into beauty perfectly sets up the record’s blissful conclusion; ‘The Stars Are Out For You’ is electro-pop so delicate as to heal aching feet (and mend broken hearts), while offering the final tender moments of the album as a form of tribute on ‘Untitled (For Mitsi)’. It’s a thoughtful ending to a thrilling trip through a shared passion for electronic and pop music in all its glorious potential. What does it take to make these men happy? It’s a pleasure to find out.

An’archives presents 'sensitive', a new album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, 'sensitive' is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi. A low-key yet productive artist, Sakaguchi has released banks of solo titles via his own Bandcamp page, and is also an in-demand improvisor for electronics: see, for example, recent collaborations with Yoshiki Ichihara ('TO(R)RI INFRANTA', 'Ftarri', 2025), Tatsuhisa Yamamoto ('non equal mad', self-released, 2020), and the - trio with Yamamoto and Uchihashi Kazuhisa ('self-titled', Modern Obscure, 2023).

'sensitive' is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.”

Indeed, you can hear this see-sawing balance between the electronic and acoustic written across 'sensitive' – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains.

The tender balance achieved by Sakaguchi as he moves between practices, tonalities and temporalities helps manifest the guiding conceptual force behind 'sensitive', where Sakaguchi explores a cleansing reverie. “What I wanted to portray with this album was to create an album of sounds that shattered and reassembled my current ‘sense’ and ‘toxins’,” he nods, “along with the ‘nature’ around me. Electronic sounds, our bodies, the environment around us, and nature all blend.”

From there, Sakaguchi attempts a transformation, or transmutation – an alchemical process of exchange. “I am attempting to explore whether it might be possible for the sounds to come closer to each other,” he concludes, “or perhaps even to interchange places.” On the five pieces that comprise 'sensitive', you can hear this fusing and exchange. Inhabiting similar spaces as the music of Nuno Canavarro, Asmus Tietchens, Omit, and other like-minded visionaries, 'sensitive' traverses curious, quixotic terrain between electronic composition, electro-acoustics, and improvisation.

DJ Ron's forgotten classic 21st Century finally gets the release it deserves, arriving on 12" black vinyl alongside a brand-new Bladerunner remix Originally recorded for DJ Ron's debut album Quintessence back in 1997, Hospital Records proudly welcomes it back into the world in style. The A side carries the original in all its glory. 21st Century is a timeless and futurefacing weapon - analogue at heart, hand-controlled automation and carefully curated sounds take you centre stage, giving it a unique, personal texture and depth that has lost nothing with age. Flip it over and Bladerunner steps in with an equally powerful B side remix, bringing his own vision to a track that was always ahead of its time. Born and bred (and still resident) in Hackney, career-long Rinse/Kool FM DJ, the first jungle/ D&B artist to record an Essential Mix for BBC Radio 1, host of the London Something podcast and more, DJ Ron is a multi-faceted creative and an uncontested foundational figure within jungle and drum & bass. This 12" is long overdue. The first time that DJ Ron's '21st Century,' taken from his unsung debut album, will be available digitally & physically alongside a fresh remix from Bladerunner. One for the heads - this one is all about flying the flag for DJ Ron, one of the foundational figures of jungle and drum & bass.

Auf ihrem zweiten Album erweitern Psyché ihre einzigartige Mischung aus Groove und Psychedelia um eine subtile politische Dimension. In Psychés Vision dient ihre Heimatstadt Neapel als pulsierender Schmelztiegel, in dem Klänge aus Nordafrika und dem Nahen Osten auf die Echos ferner Küsten wie Brasilien und Kolumbien treffen. Ihr Sound bewegt sich zwischen Cosmic Funk und Desert Blues, Cumbia, Dub und Jazz und wird durch den Einsatz analoger Synthesizer und treibender Basslines getragen. Die LP gewinnt dank der Zusammenarbeit mit dem tunesischen Sänger Ziad Trabelsi und der türkischen Sängerin MERVE (Altın Gün) an internationaler und politischer Bedeutung. Psyché II ist die Essenz einer Reise durch Kulturen und Identitäten: ein Album, in dem die gegenseitige Befruchtung und ein nomadischer Geist die Grundpfeiler eines zeitgenössischen Sounds bilden – verwurzelt im Mittelmeerraum und gleichzeitig weltoffen.



b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] A2 | Hurriya (We Must Resist) [feat Ziad Trabelsi]