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2026 Repress
Temudo - Meteora (FUSE06) by Noah Hocker

A leader of the Portuguese wave in techno co-founding Hayes Collective while boasting acclaimed releases on Klockworks, Blueprint, and Soma, Temudo grabs the reins to take club music back to its days of audacity and risk taking. A more than promising up-and-comer turned modern reference, Temudo defends his reputation with a release showcasing depth in his various sonic universes and a deep understanding of his music's history. For its seventh release, Temudo's 'Meteora' is a logical next step for the club's direction - a sweet spot between dancefloor efficiency and enduring aesthetic.

Combining the intrigue of mental soundscapes with the reliability of imposing rhythm, 'Meteora' finds itself collected, expressing effect through restraint. The title track, claiming the EP's A1, is just that - a force of interweaving sound design and powerful micro transitions. Some believe the best techno records are able to express emotion and attitude despite its dissonant and machinelike nature; if that's the case then Temudo has mastered the craft. 'When I Grow Up', however, puts the focus back on the body. What sounds like warbling tape modulation over a percussive lead makes this record an addictively delirious ride from start to finish, fitting in with the track before while shifting to different priorities. Proving his versatility, 'Vrthng' at first seems reminiscent of the minimal Berlin style with a higher pace, but quickly progresses into something intensely euphoric. With experience and measure, an out of the box approach can really pay off, and the added emotion in 'Vrthng' is certainly a turning point in the EP. This mindset is clearly carried over in the project's conclusion : 'It's Always Past'. A surprising use of harmony and storytelling, this final chapter ends with Temudo sealing his style with confidence. The track is mystified by its chords, ending 'Meteora' with a question mark that leaves us in anticipation for what Temudo dares to do next.

2025 Repress

Chris Stussy makes his long-awaited FUSE debut as he drops the heavily-requested ‘Midtown Playground’, with Huerta joining on remix duties.

It’s rare for an artist to command such intrigue and interest across every single release they line up. Yet, the captivating global gaze around Chris Stussy seems to be snowballing with every unreleased production teased in his ever-impressing sets. Now undeniably one of the scene’s most in-demand names, the humble and hardworking Dutchman has been letting the music do the talking over recent years, with his Up The Stuss project welcoming a new musical focus and providing a platform for him to grow and evolve into an artist at the very top of his game. Not letting up, the surging DJ/producer and label boss now adds another label debut to his catalogue as Enzo Siragusa invites him to his iconic FUSE imprint for the very first time, bringing the release of one of his most requested tracks to date, ‘Midtown Playground’ - with LA-born, Berlin-based DJ, producer and Leisure boss Huerta also making his first appearance on the remix.

From the instantly recognisable synths and lead melody to the skipping percussion and rumbling core bassline, ‘Midtown Playground’ perfectly showcases the sound that Stussy is quickly making his own. The same can be said for ‘From The Delicate Mist Of Morning’, a more subtle but hypnotic offering, while ‘Blueprint’, another unreleased stand-out, offers that commanding yet playful groove he’s become so known and loved for. Delivering his flip of ‘From The Delicate Mist Of Morning’, Huerta dives into a deep, colourful and breezy journey through cosmic spheres, while digital purchasers can enjoy a bonus cut in ‘Mythical Power’ - a warping, jacking and menacing effort built for bustling late hours dancefloors.

Straight from the heart of the 1991 UK rave scene — CUT001, later known as Rabbit City 001, captures the raw underground energy of the era. Originally a short-run white label promo, the record became an instant cult classic.

Produced by Blow alongside Colin Faver (Kiss FM legend RIP), the release was born out of London’s early rave network — record shops packed with weekend ravers, distributors playing new cuts down the phone, and pirate radio pushing the boundaries.

LTD Edition Clear Vinyl Version

Arguably one of the most memorable house music moments, born out of the black LGBT scene in Chicago at the legendary Warehouse and known as one of Frankie Knuckles earliest productions; ‘Your Love’ is a stone cold classic. A record that is up there with the greats, instantly recognisable and a song that only get better with time.

Written by Jamie Principle and originally released in 1986, ‘Your Love’ has become a seminal recording over the past 34 years. Originally an underground club anthem, famously borrowed on the crossover hit ‘You’ve Got The Love’ (The Source feat. Candi Staton), and most recently re-produced by as part of the Director’s Cut project which aimed to update a number of classic cuts for the modern dancefloor, this is a record that endures the test of time. Working alongside The Frankie Knuckles Foundation and Eric Kupper, SoSure Music now releases two new remixes for 2020 from Darrius Syrossian and Alan Dixon.

First up, House music aficionado and legendary Sankey’s resident Darius Syrossian offers his unique blend of beats to the remix package. With releases on the likes of Get Physical, Viva Music and Hot Creations, Darius’ production is heavily influenced by some of the greats – think of the finest spinners from Detroit, New York and Chicago – and is well placed to approach this huge task. Darius introduces a rolling house beat and some old skool breakbeats into his mix, keeping the energy high throughout; bringing a feeling of a euphoria and hitting the peak time moment.

Charting a rapid rise through the ranks in a relatively short time Alan Dixon is already building a name for himself in House and Nu Disco scene and has recently released on labels including Glitterbox, Permanent Vacation, Running Back and True Romance. Alan’s remix aims directly at the centre of the disco dancefloor. A strong beat dominates a unique energy through the mix along with a slightly nostalgic vibe. With a beautiful floaty interlude and a raw emotion this remix updates a classic with respect while also giving a fresh new twist.

Heavyweight Digital Reggae! Crucial ‘Deejay’ counterpart for ‘Pad Anthony – Rebel'. For the lovers of King Jammys Digi era productions, and those ‘Shaka Style’ soundsystem selections.

Heavyweight Digital Reggae featuring the late, great Jamaican singer Pad Anthony! For the lovers of King Jammys Digi era productions, and those ‘Shaka Style’ soundsystem selections.

DJ Support: Danny Krivit, Michael Gray, Dr Packer, The Shapeshifters, Tedd Patterson, Seamus Haji, Terry Hunter, Brian Tappert, Hector Romero, Danny Rampling and many others

Groove Culture's ongoing 'Jams' series continues to deliver disco-house excellence with its fifth edition. This high-quality compilation features standout tracks from Micky More & Andy Tee, Reverendos Of Soul, Soulista and Serge Funk.

Highlights include: Reverendos Of Soul Feat Sheree Hicks - ‘Wasted Time'(Micky More & Andy Tee mix): An all-night disco spirit track verging on Hi-NRG style, bringing big energy and a lively atmosphere to any dance floor. Another great one is Soulista, Micky More & Andy Tee ‘Like I want You" (feat.Anduze): A perfect blend of disco and house, featuring a heavy beat and great guitar sounds that create an infectious groove. Closing things out on a classic leeven is Serge Funk's heater ‘Just Disco’ and Micky More & Andy Tee’s “Soul Education”. These fantastic edits of the classic disco tracks are a filtered gems that is sure to knock the roof off the discotech. Groove Culture once again proves its reliability as a source of top- tier disco-house with this stellar collection.

Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.

Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.

Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.

The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.

Rooted in the New Orleans tradition and the essence of hip hop, Hip Horns Brass Collective unleashes its powerful sound in KREWE, their debut album. KREWE takes the brass band genre beyond its boundaries, diving into the underground with danceable rhythms like boombap and bounce, full of influences such as afrobeat, gospel and funk. The lyrics, filled with references to hip hop culture, flow in an explosive mix of English, Spanish, and Catalan, sharing their love for the tradition of rap and African American music. KREWE is a manifesto of the positive side of hip hop, a tribute to the unstoppable strength of the collective that a brass band represents in contrast to the solitude of the individual, and a homage to the legacy of hip hop and the vibrant tradition of New Orleans

Since the recent reissue of Sylvia Striplin's one album for Uno Melodic Records, demand has been building again for two of the key tracks back together again on 12' single. Huge on disco, rare groove, two step scenes these track capture the essence of the period of music and genius of producer Roy Ayers. First released in 1980, both tracks became signature tracks for Roy's Uno Melodic label. Sylvia previously sang with Roy at Polydor, sang lead momentarily with Aquarian Dream and one album with Eightes Ladies.

After a first cosmic cruise through Mediterranean Space Disco by TORRE, Musiq Voyage returns with its second release — this time from one of its own founders, Arno E. Mathieu.
Known for his label collaborations with NYC legend Joe Claussell, for his acclaimed Circumstances Of Chaos LP, and many releases on iconic labels like Compost, Yoruba, Real Tone, Deeply Rooted and Africanism, Arno has spent over two decades jamming & crafting deep, balearic & psychedelic journeys across house and electronic realms.
With MV002, he comes home, channeling the spirit of his native Provence and the sun-drenched pulse of the Mediterranean.
Arno delivers two evocative tracks:
“Phoenix” – an 80’s-inspired electronic resurrection, rising from the ashes on waves of funky basslines, soaring synths, and cosmic guitars.
“L’Amoragie” – a cosmic disco odyssey blending “Amore” and “Hémorragie” into one passionate eruption of love and sound — powered by hypnotic drums, anthemic synths, and euphoric choirs.
Mediterranean soul, space disco energy, and emotional storytelling — Musiq Voyage continues its journey.
Enjoy the trip.

Phonotheque Recordings presents "Solve Et Coagula” by the artist Digregorius.

Across four carefully interwoven tracks, Solve et Coagula unfolds as a sonic and conceptual journey that refuses to be confined by labels, moving fluidly through traces of techno, electro pulses, breakbeat, and exotic atmospheres.

An EP that pushes boundaries and proposes a journey where the symbolic, the visionary, and the emotional coagulate into powerful basslines, strange textures, hypnotic rhythms, and synthetic melodies—only to be dissolved again in both immersive listening and the collective experience of the dancefloor.

Released in limited numbers in tandem with Black Mahogani back in 2004 and never repressed. Black Mahogani II was a departure from Kenny Dixon Jr's usual house based music and featured cuts from Kenny Dixon Jr's late night jazz band sessions
The centrepiece is the eighteen minute 'When She Follows', a deep jazz session skittering live drum rolls into an electric Fender Rhodes, loping acoustic bass and distant saxophone all wrapped up in an amorphous vocal that drifts ever onwards like some epic detroit techno cut replayed by Gil Scott Heron's band in 1970. Incredible music.
'Rectify' follows in a similar mode, jazz in a detroit techno framework, while the final two tracks 'Dirty Little Bonus Beats' and 'When She (Reprise)' are revisions of the main cut, the former altering the bassline, adding vocal sighs and more rhythmic drums, while the latter shifts up the tempo with a wigged out techno synth element.
Stone, cold.

repress!
After releasing Louie Vega & The Martinez Brothers’ ‘Let It Go’ in 2020, Defected now deliver a special 12” package of this irresistible summertime jam and accompanying remixes. With a copy of the original record going for up to £230 on Discogs, this release makes an anticipated arrival for crate diggers craving this red-hot release. Featuring the soulful, slick, groove-filled original as well as the Vox Dub on the A-Side, on the flip you can catch house sensation Honey Dijon’s ‘Berlin meets NYC’ style remix, as well as Australian powerhouse Dom Dolla’s chart-topping, high-energy version. A homage to NYC’s rich Latin American dance scene, this 12” delivery is a record box essential for any discerning house collector.

Stunning 4-tracker by contemporary Japan's fine electronic mind Doltz.

Meta-ambient, beyond space, heavy yet subtle mixture of tranquility and anxiety that will take a listener on a hypnotizing journey through furtive meanings and rhythms.

Issued on 150-gram 12-inch black vinyl disc jacketed in the design envelope.

Mit „USB002” setzt Fred again... „USB”-Serie fort. Er selbst bezeichnet sie als „unendliches Album”. Fred ist wieder da! USB 002 ist endlich da – das nächste Kapitel seines „unendlichen Album“-Projekts und die offizielle Fortsetzung des Bestsellers USB 001.

A cult artifact from the dawn of German techno returns. Cyber Space Tracks Vol. 3 – The Quadrant EP by Jack U. Rebels is a raw, deep dive into the early ‘90s underground.

Originally pressed in 1992 on the seminal techno label Timeplan, this EP has long been a coveted gem among techno purists and collectors. Jack U. Rebels —an alias of key players from the German rave movement—channeled the spirit of rebellion and freedom into a sound that was both cerebral and physical. From hypnotic synth lines to cavernous, dubbed-out drum workouts, The Quadrant EP captures a formative moment in techno history—when genre lines blurred and the rave was still wild.

Lovingly remastered and faithfully reissued, this edition brings back the original energy while giving the tracks the sonic space they always deserved.

Coming From... Returning To... proudly presents this essential reissue— returning it to turntables where it belongs.

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

The third chapter of Vesuvius Soul Records connects distant corners of the underground — from Canada to the UK, passing through Barcelona and Naples — building a sonic bridge between different energies and creative visions.

Void Fill, a supergroup formed by members of Gad Whip, Everything Is Geometry, and King Pong Dub System, deliver two tracks that merge new wave and post-punk tension with synth-pop sensibility, each paired with its instrumental version. Their sound blends analog drive and emotional depth, echoing the label’s exploratory spirit.

On remix duty, the A-side features Lvca, one of the most influential names in today’s European underground scene. The B-side comes from Computer Rage, the Neapolitan duo behind VSR002.

DJ Minx, Boogie Vice & N-You-Up, The People in Fog, and Jabes remix Radio Slave & Kameelah Waheed’s ‘All Rize’ on Rekids

Radio Slave presents the second remix EP for ‘All Rize’, releasing 19th December 2025, a follow-up to his May collaboration with Kameelah Waheed, enlisting DJ Minx, Boogie Vice & N-You-Up, DJ Sodeyama’s The People in Fog alias, and Jabes to reimagine the track. It follows the first remix package, featuring Harry Romero and Samaran in October, which won support from Laurent Garnier, Chloé Caillet, Saoirse, Honey Dijon, and many more.

Detroit’s First Lady of Wax, DJ Minx, follows her appearance at Rekids’ Panorama Bar takeover in August and steps up first. Her remix is a raw, club-ready workout built around a relentless groove and Kameelah Waheed’s commanding vocal mantra, as bleeps and whistles dance across the mix. Linking Cape Town and Southern France, Boogie Vice & N-You-Up follow their 2025 EP on REK’D and deliver a deep cut that slowly builds tension, its organic percussion and warm bassline leading toward a strobe-lit, tripped-out drop.

On the flip of the second ‘All Rize’ remix EP, Japan’s DJ Sodeyama, under his The People in Fog alias, drifts into more hypnotic territory. Lush pads wash over a low-slung beat and bassline, trading the club for the walk to the after-hours by carrying Waheed’s vocal into something surreal and dreamlike. Completing this left-of-centre B-side, Timedance and Kindergarten’s Jabes twists the original into a warped, textural trip with scratching layers and distorted vocal fragments that pierce through a dense atmosphere. If Sodeyama’s version is the dream, Jabes’ is the chaotic counterpart that follows.

Straight from Michigan’s underground, Myles Sergé resurfaces on his own (MS) imprint with the FANPRO EP, a stripped, smoking 140g 12" that connects dub techno pressure, hazy dub house and Detroit-rooted machine soul in one focused statement. Known as a “reclusive perfectionist” and low-flying techno lifer, Sergé channels decades of Midwest grit into four cuts that feel raw, intimate and club-ready.
To push things further into the future, he invites a heavyweight remix squad: Toxido Mask, the Berlin sound designer and Tresor mainstay whose hypnotic, cathartic sets have become the stuff of late-night legend; Ackermann, the Stuttgart house-to-techno shapeshifter behind the Safe Space universe; and Myk Derill, a Berlin-based specialist in deep, dub-soaked, industrial-tinged techno.

Each artist takes the FANPRO blueprint and bends it in their own direction: from smoked-out dub chords and creeping low-end to sharpened Detroit stabs and tension-loaded rhythms built for strobe-lit basements. No filler, no throwaway tools, just four uncompromising trips for DJs who still live for the craft.

Polymania is a collaboration between Earl Grey and Aroma Nice, both of whom hail from the North West of the UK and are known for their genre-pushing productions in and around the overlapping modern Drum & Bass, Jungle and Drumfunk spheres. This record is a euphoric ravey jungle affair with strong acidic inflections, extrovert and dancefloor-focussed, where effortlessly slick percussive flair shines and rolling acid lines squirt out through the seams - the result of two long-time friends with heaps of production experience having a lot of fun.

A-side opener 'Farce of Nature' sets the tone with high energy stabs and a big grooving bassline, rooted in 90s jungle techno but rendered in full high definition, while 'Happy Slaps' continues the theme with crisp drums dancing over an undulating resonant acid line. 'Tank Ammo' deftly ramps up the euphoria with a spiralling melody rising towards a lethal switch-up midway, using filtered choppage to burst the tension with extreme precision. Bouncy acid breaks bubbler 'Give U Up' closes the EP slowing the tempo a touch and dialling up the funk - a refreshing palate cleanser laced with rich braindance melodies and an infectious vocal hook.

After over a decade away from making music, Greek-born musician and composer Giannis Gogos is back. It was the turmoil of the pandemic that allowed him to reconnect with making music after years working in photography and now he's combining analogue and digital sound with intricate melodies and plenty of keyboards, glockenspiel, kalimba and guitars. This latest album is enhanced by oodles of delay and reverb effects and makes for an ethereal journey inspired by Henry Corbin's Man of Light in Iranian Sufism. It explores light as a symbol of divine presence through serene, introspective soundscapes.

Two years after he first appeared on Balmat with 1977, Mike Paradinas returns with 1979. The sense of continuity between the two records is clear, and not just from their titles. Both capture the Planet Mu head venturing into the wilderness, seeking something—half-formed memories, thoughts caught in midair—in some of the most abstract, searching music he has released.

Just like 1977, 1979 surveys a synth-heavy array of ethereal soundscapes, ominous crevasses, and strange, psychedelic fugues. Like its predecessor, the new album’s atmospheric cast sets it apart from much of the work Paradinas has released as μ-Ziq on Planet Mu. It’s not strictly an ambient record, but it’s close, as close as this famously mutable artist ever comes to inhabiting a particular genre.

Paradinas’ inspiration for the record began on visits to the Spanish cities of Ávila and Majadahona, where his family hails from. That might account for the sense that there are spirits flitting through this music, presences you can intuit if not quite grasp. But 1979 is also a record to meet on your own terms, and to find your own meanings in.

It’s a stunning record, every track a world unto itself: the mysterious contours of “Majadahonda at Dawn”; the playful melodic fillips of “Clari”; the airy melancholy of “Galletas”; the full-scale breakbeat abandon (yes, you read that right) of “Houzz 14,” the rarest of dancefloor detours for Balmat. There are echoes of classic braindance and isolationist ambient and golden-age IDM; there are easter eggs and recurring themes and hidden symmetries. Every time we listen, we discover something new. Despite what the title might suggest, it’s less a trip back in time than a portal to another universe, a destination for(to?) which only Mike Paradinas knows the exact coordinates. – Philip Sherburne, Balmat

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

Shoegaze slow dance where distortion and desire merge into a single narcotic pulse. Each track feels like a transmission from a beautiful but broken future, numbing the senses before consuming them completely. Much like the most immersive works of Tropic of Cancer or Death in Vegas, the album drifts beneath a flickering sodium sky, lost in reverb and ritual. This is not just another new release—it’s an unforgettable sonic hallucination, a cinematic comedown carved in echo and melancholy, where time and thought dissolve in waves of velvet static. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl, including printed innersleeve with lyrics.

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

Legendary Hiroaki Sugawara in the form of Sergio Maria Saguaro presents Rain Guitar.

Step into paradise alone to deeply savor an exotic experience.

“I first learned about this album thanks to GOKA, who built the sound system for my record shop, CELLAR RECORDS. Around 2019, it was praised by some connoisseurs, but it’s different from the so-called “popular ambient” sound that was in vogue at the time. This work is a Japanese obscure pop album created in 2002 by Hiroaki Sugawara, who goes by the name “Sergio Maria Saguaro,” mixing all types of exotic moods and completed in a secluded space. In particular, A-2 “Window with a Dog” and B-5 “Washing Machine” are truly a sonic paradise. When you put this record on your shelf, be sure to place it next to Tatsuhiko Asano’s excellent soundtrack “Following in the Footsteps of Doshin,” which was happily reissued in 2022, or Steve Hiett’s “Down On The Road By The Beach.”” -浜公氣 (Cellar Records)

“This sophisticated sound file paints natural landscapes, depicting rich and abundant scenes while floating through them, creating a world that is as beautiful as a kaleidoscope, appearing in the soundscape in a way that is always gentle, natural, and organic. It makes extensive use of four types of stringed instruments, modulators, flutes, and ethnic instruments, possessing a refined sense of elegant ambiance.” -Walearic / Gokaine Sound Research Institute

Next up on Fluid Electronics, Irish producer Derek Carr joins up the fold with his “Harvest Time EP”, featuring Dutch techno staple Deniro on remix duty. Carr’s style, stretching from low-slung techno to squelchy electro, via breaks and chiselled IDM, teleports us to a zero-G headspace where shape and substance merge into an effervescing and highly stimulating maelstrom of sound. The very idea of self-reflexive dance music.

Fusing sino-flavoured harmonics with a straight out hi-tech edge, the lead single “Harvest Time” is the perfect balance between body and soul music, as it elegantly bridges the gap between that sense of weightless vaporousness and a more tactile punch. Pace itself feels relative. In the hands of Deniro, the track hatches into an eerily haunting piece of cinematic electronics, stressing further on the contrasting batucada-esque rhythms and slo-scudding synth tapestry.

The Italo-indebted “Dust Yourself Down” takes Moroder on a ride by the seashore, all arps and heavily processed keys blazing. Dipped in acid, “Rhea” pulls out a cascade of pretty aggro snares, prismatic bleeps, bloops, and a healthy dose of post-trancey waves crashing against a glassy sound design.

Bristol artists: Holsten, Grandma Love (AKA Karkossyn) & Frank Silva converge on 3 track VA for new Bristol underground label & club night Northfield.

Edition of 300. Mastered for digital and vinyl by Larry ‘Bruce’ McCarthy at Edgar Studios in Bristol.

Hand-stamped 12” vinyl. Matte black sleeves.

Supported by:

Pessimist, UVB-76, Clarity, Mackenzie, Anina, mad miran, Batu, Bruce.

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.

Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.

Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”

Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.

Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.

Limited numbered version of TAR-LP3 with an extra vinyl lathe disc, an extra of 2 tracks.
2x12inch + 1 lathe cut vinyl.

3ZZZ Music is pleased to present the return of a musical icon from the 80s and 90s. “Star,” originally released as a pop ballad, has been remixed in four versions by Italoconnection, Claybaback, and Mariano Ballejos. Limited edition vinyl in three different colors, including a numbered and autographed postcard.

No Static Automatic is proud to cap off the year with the electrifying *Cabin Pressure EP* from seasoned producer and sound designer **Luke Sanger**.

Set for release on limited edition vinyl, this four-track weapon is a potent fusion of classic electro rhythms and Sanger’s signature world of bleeps, wobbles, and modulated
chaos.

With a career spanning two decades at the nexus of music and technology, Luke Sanger is a relentless innovator. While his roots are often linked to techno, his artistic output defies easy categorization, constantly exploring the full spectrum of electronic music. On the

*Cabin Pressure EP*, he turns his focus to electro, injecting the genre with his uniquely off- kilter and captivating sound.

The EP is a masterful display of analog synthesis. Sanger crafts simple, infectious basslines and leads, then sets them in motion, allowing them to converse, modulate, and evolve into a complex tapestry of sound. The result is a listening experience that is as intellectually fascinating as it is physically compelling. Over a bedrock of sturdy electro beats, Sanger layers acid basslines with wild envelope modulation, distorted humanoid samples, and an array of wobbly, techy textures designed to bring dancefloors to a state of ecstatic, unstable bliss.

This is a record built for impact. The *Cabin Pressure EP* is not just a collection of tracks; it's a dynamic tool for DJs, guaranteed to become a secret weapon in sets that demand character and forward-thinking energy.

Recognized as one of the most prolific emerging producers of Latin American electronic music, Entrañas presents his second album Los Cueros Al Sol, a project that redefines his sound through a deeper connection with tradition, instrumentation, and his personal narrative. This album represents his most organic work to date, incorporating recorded instruments and showcasing Entrañas himself on guitar throughout several tracks, along with drums and guitars recorded by guest musicians.

The album offers an exploration of local rhythms, reimagined through his unique production style, characterized by carefully crafted sound design and rhythms full of distortion and energy that dissolve between textures and atmospheres. Alongside these traditions and sounds, aggressive and enveloping basses and synths emerge, accentuating the hybrid nature of his work.

True to its title, Los Cueros Al Sol, an expression that evokes the idea of laying bare the truth, of revealing oneself raw and without artifice, the project draws on everyday life in Quito, the hometown of Entrañas, with song titles reminiscent of traditional street foods. This intimate resource anchors the music in the land and memory, interweaving its local identity in every detail.