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2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Perros' third installment is a sequel release from various artists that develops the theme Canerêve. Holding the usual multi-functional-tracker mission, this Volume 2 features four dancefloor house-lines facets.

DJ Cream struts with solid drum kicks that mellows into a structure that humps atmosphere dreams through a cheeky R'n'B sample, opening the record with warm charisma. A deep house blowgun truly on point. Following the info side of the record, we found a rising french producer based in Barcelona by the name of Groenogen, setting an elektrisch-soaked trip to tech house, throughout chunky basslines and infectious grooves that move inside a stridulous synth in combo with a sexy vocal chorus.

Artwork side, by the italian painter and tattoo guru FASE, starts with a showcase of layered high-quality projects throughout instruments knowledge and improvisation that just a live-act maestro like Emi Ömar can guarantee. Tribal, Deep, Acid, Electro,Funky. An immersive mixture of textures and emotions that enhances a full storytelling, a whole venture narrated by a hypnotic vocoder. The fourth and final track, comes up with a glimpse criteria, climbing the heights gradually. Then, when DJ Rou finally decides to start, that moment is just a boom! The break comes with energetic grooves, intricate percussions, sci-fi samples bounce all around with both acid and melodic flows of a potential hard-house hit.

GEMiNii Records proudly announces its latest release, featuring three exceptional artists who redefine the boundaries of deep-minimal production.

Bauch & Niimm deliver an iconic track, "Paradisiac," that transports listeners into a realm of celestial pads and captivating basslines. This deep-minimal masterpiece is adorned with delicate piano touches, creating an auditory experience that truly feels like the gates of paradise opening before you.


Renowned for his expertise in break-microhouse, Rumenian Maestro CEZAR LAZAR elevates "Paradisiac" to new heights with his unique remix. Infusing the track with echoes of ethereal voices and synths that transcend human knowledge, Lazar’s remix adds a layer of complexity and intrigue, making it a must-listen for discerning ears.

Don’t just sleep on this release but let it inspire your dreams.

SuckaSide know how to twist a classic into new realms. This latest is further proof on their own self-titled label, starting with a flip of Brazilian-inspired gem. Drums gently break like waves, the vocals are intriguing spoken words, and there's a dark soul lingering in the air. On the flip is their take on downtempo delight which becomes a high speed drum & bass roller with light pads and elevating chords. The lazy trumpets from the original remain in place for that nostalgic touch.

Imagine it’s 1987.

The neon is glowing, the lasers are cutting through the smoke, and space synth is ruling the dancefloors. Laserdance just dropped their groundbreaking album “Future Generation.” Tracks like “Power Run” and “Humanoid Invasion” are setting clubs on fire, and every bedroom producer dreams of reaching that cosmic perfection.

And in this athmosphere Spacehawk appears shining like an alien spaceship.

Behind the name Spacehawk stands Swedish producer Anton Eriksson, a modern-day craftsman of analog dreams. In his vast studio, packed with vintage synths and drum machines, Anton creates electronic masterpieces so authentic, so rich in melody and power, that even Michiel van der Kuy himself, the godfather of the genre, decided to collaborate with him.

The result? “Space Patrol” – a landmark single that bridges generations of synth lovers.

On the A-side, you’ll find Anton’s stunning original version, pulsating, melodic, and bursting with energy. Flip it over, and you get a remix by Michiel van der Kuy that feels like a time warp straight back to the golden age of Italo-space glory.

“Space Patrol” has it all: soaring melodies, driving basslines, hypnotic rhythm, and that unmistakable intergalactic energy that makes you feel like you’re racing through the stars.

Fans of Laserdance, Rygar, Koto, Syntech, and all things van der Kuy will instantly recognize the DNA of true space synth excellence here.

To top it all off the single comes on a bright yellow vinyl, housed in a stunning retro-futuristic sleeve that looks like it beamed in straight from 1980s sci-fi.

It’s not just a release. It’s a revival.

And if space synth runs through your veins, this is one you simply can’t ignore.

Childhood Intelligence’s 18th release by ADSR aka. Todd Nickolas & Dominic Paterson from Toronto, Canada. The 2x12” album presents mostly tracks written and produced by Todd, with A1/D1 being in collaboration with Paterson. "Give a teenager in a rural Canadian setting an analog synthesizer, a drum machine and a four-track cassette recorder and feed him a steady diet of 80s EBM, Post-Punk, Synthpop, Electro, Dub, Acid, Hip Hop and House, and you’ll get the kind of genre melding electronic-based music that Todd Nickolas has been known for since his early days of writing and producing." The end result is a versatile one, with “Passive Articulation” presenting abstract Techno - House - Electro visions, and fusing all the elements of vintage Intelligent Dance Music that we cherish so much: warm basslines, beautiful chord progressions, diverse and surprising arrangements infused with haunting melodies, hypnotic cyber sounds, detached vocal cuts and dubbed percussion.…Overall fresh & timeless classiness for the present, past & future.

Recorded various locations New Hamburg, Kitchener-Waterloo, Ottawa, Toronto, San Francisco and Los Angeles. ADSR greatly thanks those who were there from the start, those who joined along the journey and those here now.

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem

Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."

Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.

Following the release of their album, Soulwax return with ‘All Systems Are Lying / Run Free (Nite Versions)’. A reimagined evolution of their sound. Driven by deep basslines, hypnotic synths, and the duo’s signature sound, these Nite Versions transform the originals into electrifying, immersive soundscapes built for the nightclub.

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony. While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy” , a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present.

UFC is proud to present its tenth release, “Music For A Dreaming Generation”, by R.I.P. Bestia, featuring remixes by Rabbit In The Moon, a mini-album produced between 2022 and 2024, where Analog Hardware and Sampling collide to form “Everything.”

'E.X.P.A.N.S.I.V.E (Ancestral Technologies Mix)' a fusion of Electro and Nu-Skool Breaks under a choral mantle of shamanic psychedelia. 'Music For A Dreaming Generation (Dub Botanical Reaction Mix)' the original version is brutalized and reactivated with the acids of the beloved TD-3, a colliding immersion of frequencies, dreamy pads, and hypnotic melodies filtered through the cherished JP-8080. 'Law 7/2023, of March 28' a humble, reivindicative sonic tribute to animal rights, compressed breaks and charming vocals are guided by a psychedelic melody up to a “Drop” where a monstrous Bassline takes the helm, steering you into an emotionally gravitational State of Dance.

About the remixes, Rabbit in the Moon delivers this legendary Techno-Trance gem 'Music For A Dreaming Generation (Nightowl Mix)' a remix we envision as “a crushing technoid mass” that lifts you up to an epic drop before bringing you back down to the earthly realm.'(Daydream Mix)' in this version, Rabbit in the Moon reimagines the original into a “2-Step Garage” interpretation, a pure Braindance journey, with graceful arrangements fused with epic vocals and mysterious Basslines.

A student of the Weatherall school of DJing, Asa Tate has showcased an astonishingly mature approach to production over the years that belies his age. You’d be forgiven for thinking these 4 tracks had been discovered from a dusty DAT tape, locked away in the vaults of a northern Italian club and rediscovered after 30 years....Listen more closely and you’ll notice the contemporary production flair and more recent influences that make this EP a perfect reinterpretation of the mid 90s house sound: sitting somewhere between dream house and Morales finest work under the red zone moniker.

The EP wastes no time in setting it’s intentions with the A1 Title Track, “Replica” - after a brief and floaty progressive house intro the refrain “ E-e-e-e-e-e-e-ECSTASY” echoes loudly over sampled vocals, euphorias piano chords, throbbing lead synths and a bouncy tech house bass line.

“89” is a sultry deep house cut featuring rising Spanish star, Dariam Coco on Vocals. It floats like a butterfly, but stings like a bee, as the soft chords are interrupted with huge drum fills deftly transforming an after party jam to a peak time moment.

We continue to “ Unknowns” - a masterclass in building tension and holding it - this track simmers with restrained intensity for almost 6 minutes. It’s trademark Asa Tate production at its most understated and classy. We round of the EP with the fittingly titled “Last Dance” , a wistful composition that brings us back down to earth slowly, safely and gently; always grooving but never pushing - this one is the soundtrack to the end of a long summer day and reaffirms Asa Tate’s claim to be a modern master of Deep House.

Berlin’s OYE Records returns with a heavy-hitting 12” from Carl Hang, a producer already well respected in underground circles for his bass-driven club sound. Three cuts of breaks and electro-inspired grooves with a heavy nod to the old school. Sharp drums, raw machine funk, and basslines built to move bodies.

Limited edition of 300, cut and mastered at Dubplates & Mastering, pressed at Objects. Artwork by Finley Stewart

Skyline Systems emerges from Australia with Escape Vector — four deeply elegant cuts rooted in the classic deep Detroit influenced sound. Stripped-back and refined, the producer crafts machine-driven landscapes where analog synths and drum machines intertwine with a hypnotic, subtly futuristic groove.

Warm, fluid basslines, shimmering metallic chords and a steady pulse invite both introspection and late-night dancefloor drift. Minimal yet immersive, Escape Vector distills the essence of Detroit’s deep house and electro heritage while adding a contemporary sense of space and precision.

Four tracks built for careful listening — and for getting lost under low lights.

Limited vinyl pressing coming soon via Baldo's Physical Education.

Originally released in 1991 as the debut record on Ron Allen and Hayden Andre’s cult label Strobe Records, Metamorphasis contains six tracks ranging from deep, pad-soaked house to tougher, bleep-tinged warehouse grooves. Powered by warm sub-bass, dreamy atmospheres and razor-sharp drum programming, this reissue brings back a timeless statement from two Canadian pioneers.

Lungfish's seventh album, released in 1999.

This pressing of the LP is on Translucent Lime Green.

This album was re-issued on both CD and LP+MP3 in June 2011.

Daniel Higgs vocals Asa Osborne guitar Nathan Bell bass Mitchell Feldstein drums

Recorded At
Inner Ear Studios
Mixed By
Ian MacKaye and Lungfish

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.

Footnotes is proud to announce the release of Twenty, a set of 4 EPs that showcase the fresh talents of Channell, Noppo & Bazil, Zar and Viiah — each contributing a distinct flavour to the project's flow.

The 12" sampler contains one track from each EP on a project that bridges the soulful side of Drum & Bass.

"Next up in Mr Bongo's Groove Merchant Records reissue series, we present the only solo album saxophonist Ramon Morris recorded as a bandleader. Having cut his teeth playing with the iconic band Art Blakey & The Jazz Messengers and working with other jazz greats, including Reuben Wilson, Shirley Scott, Rashied Ali Quintet, and Woody Shaw, 1973 saw Ramon take the step into solo territory. The resulting album Sweet Sister Funk became a certified classic and a landmark showcase of the cherished ‘70s jazz-funk sound, later sampled by the likes of DJ Premier, The Alchemist and DJ Shadow.

Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.

A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.

Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris."

Itay Dailes & Eran Ben-Zeev A collaborative EP between veteran producer Itay Dailes and label owner Eran Ben-Zeev.
Two sides, two visions — one spirit. A nod to ’90s traditions, each track offers its own distinct flavor, ranging from deep, dub-infused minimalism to warm analog grooves. A versatile release for selectors who value subtle contrasts and timeless dancefloor tools. Higher State Minimal deep house with a hypnotic pull. Built on warm, dubby pads and a rolling, understated groove, *Higher State* draws the listener into a meditative zone — subtle, emotional, and deeply immersive. Dub Rounds A deep, edgy minimal cut powered by a rolling bassline. Vocal fragments weave in and out, while jazzy chords add a dreamy, soulful lift to the groove. Unicorns Can’t Fly A lush, emotive journey of floating grooves, warm pads, and delicate textures. Designed for late-night introspection while keeping the pulse alive on the dancefloor — equal parts body and soul. Jupiter 1 Diving deeper into raw analog territory, Jupiter 1 pairs a rolling bassline with smooth acid contours. Stripped-back percussion channels early ’90s energy, perfect for long sets and locked-in moments.

SUPREME STRIKER proudly presents its very first release, SST101 — Quasar “Ritmo Love EP”. This marks the beginning of a new chapter, an exclusive imprint born from the Skylax universe, with a striking visual identity crafted by the legendary studio H5 (Daft Punk, Air, Logorama), delivering an exclusive design destined for collectors. Quasar, the DJ and producer from Russia who already made waves on Mellah #3 under the alias Arash & Quasar, now delivers a true masterpiece of italo-disco infused with 80s nostalgia and modern precision.

The journey starts on Side A with “Ritmo Love,” a dazzling homage to the golden era of italo and new wave, where pulsating basslines and shimmering synths make for an instant classic. It is followed by “Easy Flight,” an uplifting and elegant trip that fuses hi-NRG energy with a deep house sensibility, crafted for nocturnal dancefloors. On the B side, “Forever in Memory” dives into a melancholic yet powerful soundscape, bridging the legacy of synth-pop with a strong club-oriented vision. Things escalate further with his collaborator Salimjan on the hypnotic and dramatic “Urkus,” and finally reach a cosmic climax with “Alhamdu Limusik,” a mystical blend of tribal rhythm and soaring electronics that closes the record with transcendence.

SUPREME STRIKER launches with a statement: this is not just another label, but a new frontier where disco, house and techno are reimagined by artists capable of pushing boundaries. With H5’s exclusive artwork, each release is conceived as a true collector’s piece. Quasar’s “Ritmo Love EP” is a bombshell—an electrifying piece of vinyl designed to delight the most discerning dancefloors and a foundation stone for what promises to be a legendary catalog.

Vinyl only.
For true diggers and devoted believers.

2025 Repress

The breakthrough dance collective of the year bar none! Having made a name for themselves creating the evilest drum&bass music the world has ever seen, in recent months Noisia have been seen DJ-ing at house clubs, releasing singles with prominent house labels and most recently remixing for the likes of Robbie Williams! However, it wasn't long before they decided to go back to the dark side and join forces with good friend Mayhem (USA) to come with something more disgusting than ever, oh and they got KRS-One to provide the vocal!

A truly breathtaking intro bursting with evil foreboding sets the scene, before Noisia and Mayhem unleash the darkness with their signature drum programming alongside futuristic never heard before beats and breaks. Be sure to wait for the hip-hopesque interlude that features the immense vocal talents of none other than KRS-One. If you're not nodding your head by that point, you best check your neck isn't broken!

Comes in standard full colour Vision Recordings repress sleeve.

Recorded in the wake of Dr. King's assassination, this 1969 single from Mississippi-born, Chicago-raised Syl Johnson stands as one of the starkest and most soul-wrenching protest songs ever committed to tape. Built around a slow, smouldering groove and the raw ache of Johnson's vocal, 'Is It Because I'm Black' is less a call to arms than a question hung in the air-resigned, frustrated, defiant. The Pieces of Peace deliver a restrained but deeply felt arrangement: skeletal drums, moody bass, mournful horns, all circling Johnson's voice like a sermon in minor key. What could feel like despair instead pulses with something tougher-dignity, clarity, and a refusal to shut up. The record would later be sampled by Wu-Tang and reinterpreted in Jamaica, but nothing quite matches the grit and sorrow of the original. A landmark in American soul music, whispered more than shouted.

X-IMG presents “SEARCHING HELL” the new album by industrial body music producer SARIN, this 12” full-length LP marks his first release in six years.

SARIN (aka Emad Dabiri) has spent the last years sharpening his teeth on numerous collaborations and dozens of remixes. His evolution and development is displayed in the Gesamtkunstwerk that is “SEARCHING HELL” a nine track cybernetic joyride into oblivion; featuring his distinct militant drumwork, heat-seeking bass lines and surgically interlaced sampling, augmented by deceptively serene atmospheric pads & bloodied vocals. All this composed and assembled with an array of analog, digital and software based weaponry. “SEARCHING HELL” seeks to find meaning in an increasingly meaningless & subjugated world while maintaining a subversive & defiant autonomy.

Comes with download code.

Burnski's Constant Black continues to be a platform for producers keen to explore a cosmic world of tech house and minimalism. There is certainly a spaced-out vibe to opener 'In The Knoe' from ADR, which is tough and punchy, with tight drums and crystalline lines all making for a funky vibe. 'Freedom' is a little deeper and more balmy for late-night intergalactic travel, then 'I Remember When' pumps the party with loopy bass and psychedelic swirls of colour. Dan Goul steps up on the flip with 'Method', which is a full-fat tech sound with warm synth smears and wiggling motifs that make your ass move, then 'Passing Thoughts' shuts down with a cruising groove and sense of astral adventure.

Mexican DJ and producer Hotmood is a Blur label regular who has already dropped his red-hot 'Disco Power' EP here. 'ReWax' is a new selection of his remixes of big, party-ready disco jams. Scruscru's 'Just House' is first up and comes on song with big rolling bass and dusty samples, 'Burnin'' by Jack District has a filtered funk edge and jazzy synth work and Manuel Kane's 'Disco Visions' then brings silky and syrupy chords for a sundown boogie. The flip features three more smart tweaks, from the sliding drums of 'Blue Nights' to the classic house and soul swagger of 'Selva'. A great mix of vintage charm and new school cool.

UK house veteran Andy Riley, best known as half of Inland Knights, is back with new solo beats on the Frosted Recordings label. Lead single 'Minute By Minute' is a slow, groovy, sensual sound with 90s downbeat vibes and interesting synth textures. Pacific Northwest native Trevor Vichas steps up with his Dark Deep mix which brings a meandering bassline and more uptempo house drums then Canadian export Jason Hodges steps up with two versions. The first is all silky grooves and filtered vocals that bring some warming soul and the second is a stripped-back instrumental. Timeless house from front to back.

Italian artist and researcher Mariachiara Troianiello is Katatonic Silentio, and is an artist able to move fluidly between club culture and experimental practice. A DJ with more than 15 years behind the decks, her selections can drift from musique concrete, ambient, spoken word and global soundscapes to the harder edges of techno, drum & bass, and leftfield electronics. Her work also explores how sound interacts with space and the body and on Lysergic Induction Forge, she dips into IDM, electro, ambient and dub. 'Velvet Dweller" gets underway with warped synths and liquid rhythms, 'Dubbin'Acid' is a slow, percolating rhythm and 'Psychoactive Groove' sounds like the innerworkings of a brain during a psychoactive experience. 'Acid Foundation' closes with a gentle acid-laced ascent. Classy stuff.

DJ Support: Ben UFO, Pearson Sound, Midland, Pariah, Or:la, Ciel, Florentino, HAAi, Tom VR, DJ JM, Peder Mannerfelt and Bradley Zero.

Ikke Sant’s debut release, Sub Cut, delivers three tracks of genre-blurring psychedelia and club pressure from label founder SUCHI. The title track unfolds a didgeridoo-driven strut with unconventional textures, Every Pan Has A Lid layers hypnotic grooves with processed vocals, and Propeller dives deep with celestial arpeggios over driving basslines. Music for adventurous dancefloors.

London label Only Music Matters rolls out more mysterious goodness here from another unknown artist. On this evidence, they like the afters and the moments in the night when time and space dissolve and subtly rule. 'AAA001A' is an elastic, dubby minimal tech cut with liquid pads and trippy vocal twist while the next cut is speedier but no less supple. This cosmic odyssey is marbled with vocal fragments, prickly acid and deft percussion and it all weaves endlessly while hypnotising perfectly. 'BBB002B' is more sparse and roomy, with grubby bass ripples and glitchy electronics colouring the groove. Priku and Arapu have already dropped this one to great receptions at Sunwaves 36 so if it's good enough for them...

The third release on Midnight Fashion Chill gracefully continues the label’s elegant, soul-soothing direction, this time through the warm voice of Jaidene Veda. The original Across The World stands as a true gem: a silky, gently flowing composition where soft, understated drums and delicate piano lines create an intimate, contemplative atmosphere. The From P60 rework tightens things up a little, adding a touch more groove while preserving the track’s airiness and emotional subtlety.

The next on is Kai Alcé’s remix. The Atlanta based producer injects the track with his signature classic-house energy: deeper basslines, dancefloor-ready rhythms, and an overall sophistication that makes the remix both driving and refined. This is the version guaranteed to move the crowd — vibrant, stylish, and tailormade for late-night club moments. The three faces of Across The World show just how far a well-crafted vocal track can be stretched. Midnight Fashion Chill’s latest release manages to be both relaxing and dance-inducing — exactly the kind of balance that makes this series worth following.

For the second instalment of the Curio Cabinet gourmet-dub series, we bring you two fat slices of steppers’ delight, straight from the southern city of Toulouse.

Both are made by Stefan Dubs under the guiding light of his live project, Sòn Du Maquis. This project has deep roots in the free rave, micro-festival, and dub & sound system culture of his country. It’s also the name of his own label, home to his dub-infested productions; ranging from slo-mo jungle to droney steppers and blown-out trip-hop on a slightly medieval tip.

Staying true to classic sound system tradition, each side pairs the original cut with its own version.

First there is Tolosan Dub, a trancey bass meditation colossus with deep synth work moving around in the trees. Some early nineties UK digidub vibes are surely mashing up the dance here. The version workout slows things down a bit, taking you even deeper into the riddim... strictly warrior style !

On the B-side we've got Bonnefoï Dub, which is pure bass-bin filth with a rootsy harmonica touch and a raw clubby feel. This tune just screams to be played out loud on a proper sound system. The version is certified dance-floor gold, yet there are enough dubbed-out flavours going on for intimate headphone sessions or some mad home skanking.

To mark Grid's second anniversary back in 2023, the label brought together 13 tracks from the bass scene's most forward-thinking artists, all of which sank you into deep sonic chambers. Now, six of those tracks are available on wax for the first time in what is an essential sampler featuring boundary-pushing contributions from forward-thinking artists. Sister Zo opens with the percussive pressure of 'EMP,' Ronan lays down a lithe rhythm that befits its 'Shadowbox' title and Seekersinternational drill down into warped low-end chaos. There is a deftness to Jonny From Space's tumbling perc and E-Unity brings clean lines and a futuristic sheen to his deep dub workout 'Of All The Places I Could Be'. Tammo Hesselink brings ambient soundscaping with his floating delight, 'Paint Reduce Trick.' This is high-quality, original music that moves both mind and body.

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.

Reliance is one of many labels run by British powerhouse Burnski and it continues to establish itself here with a fifth EP, this time from Oldboy. It opens with a naughty, filthy, throwback dark garage shuffler, 'How'd Ya Feel', complete with old school vocals and warehouse vibes that get heads down and feet marching. 'Straight Hittah' is another throwback with a bumping low end and urgent drums that are brought to life with withering pads and killer bass. 'Hustla' closes down with another bumping and authentic dark garage wobbler. Pure sleaze from front to back.

A1. Cars
Smoove tears this classic apart to reveal its raw, drum-heavy break and solo bass riff. Epic synth lines weave through the extended rework, seamlessly transporting us from the 1980s straight into the modern era.

A2. Midnight Rider
An unexpected choice, but irresistibly funky nonetheless. The signature 12-string guitars are replaced with lush Fender Rhodes and Hammond organ, both pushed forward in the mix. The drums hit hard, backed by crisp percussion that drives the groove home.

B1. You Belong to Me
Opening with an extended Fender Rhodes intro, this rework builds gradually with real strings, subtle guitar licks, and groovy drums. Smoove reshapes the structure, dubbing out Carly’s lead chorus vocals to spotlight the stunning harmonies underneath.

B2. Searching
Luther’s vocals are utterly transcendent here. Smoove slows the pace and strips back the arrangement, leaving only Fender Rhodes and a string orchestra to accompany the soulful performance — a truly breathtaking moment.

2026 repress

After a stop it's time to squeeze the lemon again with our boy Emanuele Montalto and his four tracks that move from progressive and raw bass to hypnotic and deep touch.

A year after her rebirth on the 2.0 EP, Maedon returns to her Rant & Rave imprint with the intentions of her previous release now distilled and focused into bold new forms. Whereas before the artist was transitioning from her earlier work towards new directions, Matter & Form arrives as an extended concept piece featuring four variations on a bracing, developed sound, an equally impressive remix from Lady Starlight, and a contrasting mix of the opening track. Where 2.0 charted emergence, 'Entelechy I-IV' unites to actualize this potential into a single-minded purpose behind fundamental principles.

Immediately launching into territory her last release only hinted at, 'Entelechy I' is a showcase for her now-mature approach. Her rhythmic dexterity and groove focus remains, with drum programs subtly evolving phrase by phrase, but they now form the basis for layered, complex compositions in a decidedly contemporary vein. 'Entelechy II' shifts focus towards the arrangement while keeping its drums steadily driving, drawing attention to details in its densely designed sounds through deliberate, gradual processing. Relaxing the tempo slightly, 'Entelechy III' fills in the extra space with more dark atmospherics and finely detailed soundscapes, finding a heavy medium between dark ambience and hammering techno. Another deeper effort, 'Entelechy IV' counterbalances insistent, finely-tooled percussive bleeps and equally persistent bass figures against another sweeping bass pulse, at times breaking down into carefully-controlled atonal aggression. Lady Starlight's remix is skeletal in comparison, deploying its parts sequentially over ticker hi hats and a massive kick while using small shifts to incrementally build tension. 'Entelechy I (Bent Mix)' is more accurately described as hellbent, stripping out the original's harmonic elements to grind the heavy rhythmic workout against an unrelenting acid line.

Kutiman joins Batov Records’ Middle Eastern Grooves Series with explosive double-sider

Batov Records is thrilled to announce the debut of pioneering producer, multi-instrumentalist, and multidisciplinary artist Kutiman on its highly collectable Middle Eastern Grooves 45s series. The release features two essential, souk-fuelled, psych-funk heaters: “Haraka” and “Khamsin”.

A prolific musical force, Kutiman delivers the goods on “Haraka” (“movement”), layering neck-snapping rock drums, irresistible psychedelic basslines, and haunting organ riffs, with microtonal-bending synths and tabla-inspired percussion.

On the B-side, “Khamsin” (“heatwave”) continues the trip with another heavy dose of Middle Eastern psych and funk, culminating in a blistering guitar solo in his signature Middle Eastern style by longtime collaborator Uri Brauner Kinrot (Ouzo Bazooka, Boom Pam), who also contributes beguilingly languid bass guitar riffs.

Both tracks showcase Kutiman’s distinctive ability to fuse regional traditions with modern grooves, marking a bold new addition to the label’s standout series.

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.