Buscar:dr dub

Hexagonal rising star Hyas & Parisian underground mainstay Aurèle join forces on their latest five-track EP, “Spider Rituals”. This release navigates the realms of techno, breaks, and UK inspired wobbling frequencies.

The journey begins with the 140 BPM head-turner, “Craig Mild” where an enchanting witchcraft ambiance intertwines with classic Roland drum machines and emotive Yamaha synth chords.
A2, “Pryorities” propels you straight into the heart of a sweaty basement, layered with naughty boys samples and a wonky bassline supplement that keeps the energy alive.

Flipping to Side B, we dive into the grooviest cut of the record, B1 – “Wow Seen”, certified banger material avidly tested by the French duo prior release… spoiler : it works every time. B2, “Bueno Dub” ventures into frowning-and-vibing territories, serving up a potent mix of daggering basslines, breakbeats, and off-kilter pop samples. Finally, B3 – “Cash Mire” closes the record on an ambient note, featuring deep 808s that seamlessly pull you in a deep bass bath.

With a commitment to blending influences, Hyas & Aurèle present this ambitious opus as a collaboration between their respective labels, Bardouin Music and Demi-Monde.

Brand new 7 track album of Ghetto house from Chitown's own DJ SLUGO. Fast paced, bangin' ghetto house with tracks like "BANG THAT HOE" sounding like TOO LIVE CREW if they were from Chicago and were heavily into 303 acid trax.

Celebrated session guitarist, Willie Lindo, steps from behind the scenes and into the spotlight to deliver some top class original compositions and sublime cover versions.

A sumptuous piece of gourmet music. Timeless dub, executed to perfection. The B-Side sees Lindo cover Al Green and Bobby Womack, converting their slow jams into stoney instrumental masterpieces, a sort of precursor to the hip-hop way of sampling and reinterpreting our collective heritage.

Far & Distant was recorded at 220 Marcus Garvey Drive, eight years prior to Rita Marley relocating Tuff Gong International to that address.
A relic from an era where being “in the studio” actually meant something.

DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

Highly respected Brooklyn-based record store Archivio Records launches its flagship label, with the help of legendary UK Tech House pioneer Affie Yusuf.

This remarkable four track EP made up of previously unheard and unreleased gems, captured from DATs long thought lost during the mid-90s golden era of Swag Records, Wiggle, Surreal and co. delivers four distinct tracks, perfectly curated to suit the mood of the most discerning dance floors, at any time of the night!

Uba Cuba sees Affie transport you to pre-Revolution Havana, where the rum flowed and the good times rolled. A playful Latin-infused tech house roller, this track is guaranteed to put a smile on the face of everyone on the dance floor!

For the first track under his Parkwalker alias, Pashtwo is a decidedly deeper and darker excursion with a driving bassline, trippy vocals and a constant forward motion, perfect for those moments when you have the crowd really locked in.

Urgez Untold, the second Parkwalker contribution to the EP is an airy, groovy journey designed for those after hours moments when the sunlight is creeping in and the crowd is ready to let it all go in the pursuit of euphoria. Hypnotic bass, ethereal synths and bouncy, tropical drums give this one a universal appeal and a timeless feel.

Finally, Ode Reticular is Affie Yusuf at his brilliant, inventive best, crafting an epic track with three distinct phases. Starting as a dubby minimal chugger before morphing in to a quirky, playful tech house roller, then final chapter sprinkles mystical progressive elements to take you to another dimension, without ever needing to lose your spot on the dance floor.

An essential release for lovers of the early UK Tech house sound, seeking out undiscovered gems from the glory days of mid-90s London.

With future releases featuring Mark Ambrose, Pure Science, Carl Finlow and more, this is a label to watch closely and collect religiously.

Claremont 56 founder Paul ‘Mudd’ Murphy has been in a rich vein of creative form of late. Having released his first solo album in 18 years in 2024, the effervescent and picture-perfect 'In The Garden of Mindfulness', Murphy is well on his way to finishing solo LP number three – a set you’ll be able to hear in full later in 2025. To get us in the mood, he’s offering up a two-track taster featuring instrumental takes on cuts that will appear as full-vocal songs on the final album. Both were written with, and feature instrumentation by, regular collaborator Michele Chiavarini, an Italian musician, producer, composer, and arranger who has long been part of the Claremont 56 family.

Up first is ‘Mahalo (12" Instrumental Mix)’, a languid and emotion-rich groover built around a smooth, mid-tempo jazz-funk-goes-disco groove – think crispy drums, delay-laden hand percussion and rubbery bass guitar – and all manner of ear-catching musical details. As the track unfolds, you can expect to hear lilting strings, warming electric piano chords, mazy synth solos, heady horn-style blasts and glistening, eyes-closed guitar licks. It’s a genuinely superb slab of musically rich dancefloor warmth. The track that follows, ‘Mata Ne’, is an altogether dreamier and more dub-influenced affair. Featuring some sublime piano playing from Chiavarini, it sees Murphy layer simmering strings, cascading guitar licks, spacey synths and blissed-out melodic motifs atop the kind of chunky, dubby groove that has long been one of his aural trademarks. Offering positivity and melancholia in equal measure, ‘Mata Ne’ is Mudd at his most musically majestic. His forthcoming album will be worth waiting for.

Wade Watts and Sir Rizio have previously only released on Lempuyang's digital arm, but now step up to the full label with this standout new EP. They hail from the suburbs of Jo'burg which is where they have cooked up these seriously flavoursome and stripped-back sounds. 'Atlas' kicks off with rolling drums and widescreen dub chords that sink you into a warm world of fluid groove. 'Limitless Progression' keeps the depths coming with rattling and classic dub hits and smoky pads, while an EmmaSoul dub mix on the flip heads into heady territory and 'Innermost Existence' brings some wisps of melodic light to the fore.

Label heads Make A Dance return with the 13th installment on their acclaimed imprint, M.A.D. RECORDS

Leading the charge is the long-requested ID, 'Young Man' — a rolling, deep, and driving house cut, layered with a hauntingly soulful blues vocal – a track that confidently carves its own lane in a crowded field.

On the B-side, 'Club Dub 909' offers a more direct and energetic take, punctuated by bursts of their signature dub siren — a nod to the duo’s unmistakable style.

Rounding out the EP is 'Down', a sleazy, heads-down affair that’s been igniting dance floors every time it’s dropped in their sets.

deleted because bad quality !!!





'Hot Ring' sees label alpha-bear Stevie Kotey team up here with alpha-producer Bottin for a spicy, seasonal warmer. First conceived in a Venice studio session on one of Stevies regular DJ trips to Italy, the chunky discoid romper has finally seen the light of day.

The original is probably exactly what you would expect when the 1975-to-1983 music mind of Stevie melds with the Italo-movieslasher-synthbrain-tweaker that is Bottin. Lots of stabs, rolling bass and tight drums. All tied together with new synth sounds which you probably haven't heard before.





Things go dance-floor when Bottin re-rubs things down for the stripped down dub. UK based Fernando moves the groove a thousand or so miles north with a shiny and slick crisp-disco version.

Stevies 'Kotey Extra Band' collaboration album drops around Easter 2010 so stay tuned for a sleuth of bear love-ins.

Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

Repress!

Perpetually in demand bonafide Dubstep classic and Bristol anthem repressed.
Essential addition to anyones collection.

2025 Repress

Forest Drive West returns to Livity Sound with the 'Dualism' EP, a tour de force of stripped dub aesthetics and swirling psychedelic rhythms.

One of the finest breakthrough UK producers of recent years, in a short space of time Forest Drive West has created an enviable catalogue across labels such as Livity Sound, Rupture, Echocord, Whities and Mantis. This new EP marks some of his best work to date.

The final track on the EP, 'Scorpion', features Melbourne based percussionist Lucky Pereira whose frenetic but tightly locked drums add a fizzing energy to Forest Drive West's deep atmospheric rhythm track.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

A small package that delivers a serious wallop, “Try No More” by Glitterin is guaranteed to provide some heat on dancefloors this Summer. From the juddering throb of the opening kicks to the ricocheting rhythms, the track fixes itself directly under the mirrorball from the outset. Produced by Jason Core, this is late night lover affair material that is brimming with energy. When the firework melody bursts, it ignites. Sharp and warm synth stabs are left smouldering by the driving and impassioned voice of Sandry Sanz. A tale of unrequited love unfolds between the cymbal crashes and spiralling synthines, lines that grow ever bolder through Tony David’s emotive guitar solo. The flip is dedicated to Core’s instrumentation with the range of analogue sounds and synthesizer intensity coming to the fore. Intricate patterns and counter melodies are woven, key shifts and pulsating percussion imbibe this dub mix with all the spirit of the original. Fierce and fiery from beginning to end.

Lars Bartkuhn returns to Rush Hour with “See The Light”, as deep and complex as we have come to expect but as always his ever-present hunt for new inspiration and unique approaches is clearly evident across all 3 mixes of this beautifully deep yet pulsating track!

Originally written as a final foray into house music for the legendary Needs co-founder, this production aimed to “push boundaries within the world of electronic dance music, integrate fresh new elements, bring new compositional perspectives to the listener and to create overall rewarding experiences.”

It’s a deeply personal track, best summarised by the incredible piano solo in the Full Experience Mix. In Lars’ own words, “I am ten million light years away from being a good pianist, but for some reason I NEED to play those kind of things…even if they are raw, primitive and incomplete and lack parameters like elegance, fluidity and wisdom - I need to express myself in that very moment in this exact way.” It’s these unrestrained moments of brilliance that create rich palettes of sound with deep textures, organic rhythms and joyful melodies that keep your ear constantly engaged.

The Full Experience Mix is a near-13 minute trip through lush vocals, complex percussion, deep chords and raw piano solos that guides the listener through the changing motions of “See The Light”. Backed by two dub mixes, Inner Experience hones in on the keys and synths - truly elevating those striking notes. Opening with atmospheric percussion, the Dub Reprise settles into a chugging rhythm that brings the drums to the forefront.

“When a musician/composer really goes ‘all in’ there is almost nothing impossible. If you really pour out your heart and give all the sweat and tears you have you create a kind of zone where everything fits together in mysterious ways.” - Lars Bartkuhn

Reissue of classic 1999 album on CD and LP. Musicians:

Bass: Family Man Barrett, Mikey Chung, Ben, Toots Hibbert, Bengy Myaz.

Drums: Winston Grennan.

Guitars: Mikey Chung.

Keyboard: Bubbler, Toots Hibbert, Harold Butler.

Percussion: Carrot, Toots Hibbert, Winston Grennan.

Horns: Dean Frasier, Nanbo Robinson, David Madden, Johnny Moore.

Burning Bass: Pamela Fleming, Jenny Hill & Nilda Richards on 'You Really Got

Me'.

Backing Vocals: Leba Hibbert, Toots Hibbert, Jenieve Hibbert, Robert Bailey.

After appearances on a.r.t.less (with Volpe), Ranges, and OHM Series, among others, we welcome Elias. to Mosae Records with a fantastic dub techno release. (Maastricht, 2025).Orange/yellow marbled, limited to 116 hand-numbered copie

Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens his exploration of experimental steppers and sacred low-end science.

TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.

TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.

Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.

Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.

Mayssa Jallad is a Beirut-based bilingual singer-songwriter, architectural researcher and teacher. Her work deals with the highly personal as well as the political, as with her first solo album "Marjaa: The Battle of the Hotels", which explores the histories of urban battles that occurred before she was born, during the Lebanese Civil War, through a collaborative musical and architectural lens. "(Marjaa) is, as one might expect, a sombre affair largely comprised of Jallad's delicate vocals backed by acoustic guitar and ethereal synthesizer. Elsewhere, co-composer and producer Fadi Tabbal adds the crackle of distant artillery and a ghostly wind between the high-rise blocks." - Daniel Spicer, Songlines, April 2023 "Historical trauma, strings, drones, metallophones and buzuks wrap around powerful stories and gossamer vocals on Lebanese singer's tender, intimate debut. With shades of Nico, Jarboe and Elizabeth Fraser, '80s' 4AD fans will rejoice." - Andy Cowan, MOJO `Marjaa_' (tr. `reference') combined Mayssa Jallad's two main vocations: music and urban research/architectural history. The album was co-written with Fadi Tabbal and based on Mayssa's Historic Preservation master's thesis (`Beirut's Civil War Hotel District: Preserving the World's First High-Rise Urban Battlefield'). The thesis examined a 5-month conflict that took place within Beirut's skyscraper-laden luxury hotel district of Minet El Husn near the start of the Lebanese Civil War. Addressing a post-war generation who have never been taught this difficult history, `Marjaa_' was an attempt to process trauma, and "a call to protest for the renewal, rather than the recycling of the political class that once destroyed the country and holds us, to this day, hostage of its violence". In 2013, Mayssa founded indie-pop band Safar with guitarist Elie Abdelnour, releasing debut album In Transit with Lebanese indie label Ruptured in 2017, and follow-up EP Studies of an Unknown Lover in 2019. Both albums were produced by Lebanese producer Fadi Tabbal at Tunefork Studios in Beirut. Mayssa's most recent multi-genre collaborations include "Madina min Baeed" (2022) with electronic musician/producer Khaled Allaf; "Bi Kheir" and "Fil Aatma" (2022) with indie supergroup Baada Ab (Dani Shukri, Ezra Tenenbaum and Omaya Malaeb), released by Thawra records and Found Sound Nation. Next is the Versions version of Marjaa, which sees Civilistjävel! (aka Swedish producer Tomas Bodén) apply a stripped, dub methodology to Mayssa's original rich stems, refracting the Arabic source through the hazy prism of Northern European electronica. 140gsm vinyl, jacket printed on 20pt board with aqueous gloss coating, with a 3.5mm spine and a black paper inner dust sleeve.

Promising label newcomer IGLO returns to Figure with his second EP this year, building on a distinct sonic identity shaped by a background in classical music and live performance. Across five tracks, he further refines his mix of atmospheric depth, precise rhythms, and melodic nuance.
This time, his own voice takes on a more central role, adding a personal and expressive layer to the productions. On opener Computed Love, restrained, longing vocals blend into squelchy synths and minimal grooves - hauntingly beautiful, yet gritty with rumbling machine funk. Determined follows with a more menacing tone, its sharp percussion cutting through a bleak, shadowy atmosphere - perfect for building tension on the floor.
On the flip, IGLO switches up the mood: Enter the State runs on hypnotic loops and chopped-up piano riffs, peppered with cheeky, spoken-word style vocals that nod to ghetto house traditions. It breaks into an irresistible, swinging groove that hits with full force.
Offering a smooth counterpoint, Enlighten drifts into dubby terrain. Soft, ricocheting vocal snippets and warm chords conjure a hopeful, human glow - a bouncy balm for the soul, without losing its forward momentum.
Digital bonus track Find Yourself closes the EP on a spacious, almost sci-fi note - twinkling synths and airy melodies float above crisp textures, like a breath of fresh air at the end of a long night.With X49, IGLO deepens his connection with Figure and sharpens his unique voice - equally grounded in introspection and dancefloor impact, continuing to shape a sound that's thoughtful, bold, and marks him as one to watch.

Cinthie makes a welcome return to her own 803 Crystal Grooves imprint this June for its sixth release, the project comprises four original"s showcasing Cinthie"s many different sonic styles and influences.
The past decade has seen Berlin"s Cinthie moving from strength to strength, racking up milestone achievements like her DJ Kicks mix compilation and a steady stream of critically acclaimed material via the likes of Aus, Heist, Shall Not Fade and of course her own 803 Crystal Grooves label where she returns here with some fresh machine jams.
"Grooves" kicks off the package, a dynamic dance floor cut fuelled by processed vocals uttering the track title, murky bass stabs, heavily swung drums and gritty saturated stabs all dynamically evolving and unfolding throughout. "Boxer" follows next and showcases Cinthie"s love for dub-tinged sounds, laying down spiralling dub echoes, a snaking bass groove and hypnotic chord sequences atop a robust, swinging rhythm section.
"Hands Up" then kicks off the B-Side, shifting gears to a classic House aesthetic with dreamy keys, bright stab sequences, glistening synth textures and smooth strings, intertwined with soulful vocals and classic 909 workout. "She Wants It" then concludes the EP on a more cinematic tip with sweeping lead synths, fluttering arpeggios, elongated bass drones and vocal lines running with raw, crunchy drums.

Renowned UK producer and Freerange co-founder Jimpster steps back into the spotlight with a brand-new 5 track EP that dives deep into the raw, emotional core of underground house music. Blending masterful production prowess with soulful storytelling, this latest release features standout collaborations with two celebrated spoken word artists namely NYC’s OVEOUS and Atlanta via Detroit’s rising star Ash Lauryn. The North Atlantic EP captures the essence of late-night dance floors and a fusion of sounds, all wrapped in Jimpster’s signature warm, analog textures and rolling groove science.

FLO opens the EP with a vibrant pulse - an up-beat groove that wraps around you like incense smoke and island vibes in a Brooklyn basement. Anchored by filtering stabs and a rubbery bassline, the track unfolds with the commanding presence of OVEOUS, whose spoken-word cuts through the haze with razor-sharp clarity. His voice rides the beat like a sermon for the dance floor; straight talk that’s spiritual, and defiantly alive, this is deep house as ceremony for the streets. The accompanying Dub strips back the vocal and introduces additional harmonic elements in the form of piano, strings, and synth washes bringing a warm and musical touch.

On Feel Me, Jimpster crafts a rolling groove built on punchy drums, shuffling percussion, and a soulful vibe which feels both classic and futuristic. Ash Lauryn’s voice glides across the track with cool authority, bringing a seductive vibe to the party. Her voice is perfectly balanced with Jimpster’s atmospheric pads and dubby flourishes creating a contemporary and irresistibly danceable house anthem for the heads.

Two additional mixes of Feel Me bolster an already sturdy package bringing a more straight up, bumpy version on the House Mix as well as a darker, heads down - eyes closed take on the Freakin’ Club Mix.

This EP is more than just a meeting of minds — it’s a dialogue between continents, generations, and frequencies. With FLO and Feel Me, Jimpster continues to affirm his place as a producer deeply rooted in tradition yet always striving to push his sound forward.

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5

Metroplex Records welcomes Pascal Hetzel to the label. The Berlin-based producer and DJ (who is also half of the duo CYRK) delivers something a little different for Juan Atkins' label institution. The EP serves four slices of funky, dub-infused and chord-driven techno, aimed squarely at the dance floor that pay tribute to the Motor City legacy while carving out their own euphoric permutation of classic Detroit techno tropes. Four tracks to heat up dance floors worldwide!

The latest hype from the Will & Ink cult is the Ottagone series. Over the past couple of months, the ever-prolific techno imprint has started dropping unannounced batches of no-nonsense, dancefloor-oriented techno grooves. Dub-heavy and club-ready, the full series is a goldmine for passionate techno DJs -- but until now... digital only. On the Ottagone Selected series, the most wanted tracks are pressed on vinyl for the first time. Essential techno gear for DJs who like to groove.

This fourth EP in the Time Crystals series sees Troy returning to the label with a low-key driver, carried by sharp percussion and filtered chords that keep the attention locked in before Ukrainian Svarog and Ma-gooch take over, delivering their signature sound - evolving pads, dreamy soundscapes - resulting in yet another beautiful early hours piece of music.

Wonderchild Luigi Tozzi proves once again that he is a master at blending ambient-influences with dubby atmospheres, resulting in music that fits both dancefloors and living rooms. For the EP's forth track Jonas Korbl, who you might remember from his debut album in 2017 on Dynamic Reflection LTD, combines energetic percussion patterns and synth rhythms.

His Primal Grade is a seemingly perfect successor to Tozzi's Haboob, as both artists obviously take pride in their carefully arranged and modestly performed pieces of techno.

Equilibrium is part of Dynamic Reflection's 15 year anniversary celebration: Time Crystals. This is the fourth of five EP's. Own all five and an all new, visual piece of art will appear.

3XL’s first new release in 2025 by Italian trio Cortex of Light is a synapse-tickling dose of classic FSOL-era world-building that takes in gloopy trance cooked down with sub-heavy, vaporous dub, mutant acid, breakbeat rave, Artificial Intelligence and a Mark Fell-style algorithmic brainmelt.

You'll know if you've spent any time following Piezo's output that the Milan-based producer and Ansia boss has a knack for lysergically enhancing any club template he sets his sights on. With releases on Idle Hands, Wisdom Teeth, Loefah's 81 and most recently Dekmantel, Luca Mucci has blottered up dubstep, hard drum, 2-step and minimal techno, here re-convening with fellow Milanese journeymen Aitch and primordial OOze/xàr num as Cortex of Light to blur those edges even further

'ILLUMINOTECNICA' isn't the trio's first release, but it's their most substantial and easily most developed. If 2024's 'Aeon Is A Child At Play With Colored Balls' showed off their aptitude for threading their luminous soundscapes into a horizontal soundtrack, then this album is a proper chance for Cortex of Light to show off their versatility in a different setting, matching dancefloor hallucinations with expertly sculpted sound design.

Psilocybin-tainted soundscapes scrape into breathy flute sounds and chest-thumping bass drops on the opener, haunted by a vision of electronic music that's been contrived in back rooms, squats and outdoor raves for decades at this point. Like so much of the rest of the 3XL catalog, there's a drive and coherence here that comes from classic dub techno and chill-out room fodder (think The Black Dog or Pentatonik), but always infused with something that dates it to the present era, be it a tactile sliver of Visible Cloaks-style neo-new age ambience, or a sort of mescaline-dipped take on Photek's bass-heavy, meticulously hazed 'Solaris' period downtempo gear, chopped 'n screwed into the uncanny.

Dungen Meat duo Brawther and Tristan Da Cunha deal in heavyweight, no-nonsense house and that is embodied in their label Slabs, which focuses on the deeper side of things and now welcomes Dutch talent Job de Jong for a stylish brace of cuts. 'Like Dis' draws from all over - dubwise vocal samples, percussion from garage, kicks from house music and echo from dub. It's a physical, bouncy sound for energising the dance floor without ever resorting to gimmicks. On the flip, 'MB' pumps a garage-house vibe with dusty drum rotations and snares that flap in the wind. Add in bulbous organ lines and balmy pads and you have a nice neon heater.

Originally released in 2012, this is one of the most influential house records to come out from Detroit and one that's become associated with Sushitech's deep, driving and dub-infused aesthetic is getting repress on a special gold vinyl, repressed as part of the label's 20th anniversary releases.

A must have collector's item from a true master of the craft, Delano Smith.

After several killer EPs and tracks on labels such as Tresor, Multi Culti, Hard Fist, or Playground Records, Antonio De Oto aka A-Tweed finally delivers "Spring Music" his first solo LP via Abstrakce Records, changing perspective on his music and way of producing. A minimal approach, where echoes and reverbs become some of the main characters of the full journey, mixing up weird acid, experimental downbeat, electro, dub, and tribal vibes across a wide range of tempos.

Slow-motion beats pulse beneath swirling acid lines, while dubby echoes and reverberations sculpt a landscape that is both immersive and mysterious. A-Tweed’s meticulous production draws from the label’s tradition of organic textures and ambient vibes, yet carves a distinct path balancing deep bass, shimmering synths, and a subtle sense of psychedelia that lingers long after the needle lifts.

A cohesive journey, crafted for those who seek introspective voyages without giving up new forms of dancefloor communion. A manifesto about the power of slow rhythms, dub sensibilities, and acid-tinged experimentation, out of any hype and trend, aiming for a distinctive sound. An essential addition to the ever-evolving Abstrakce catalogue. The spring has just arrived.

Hot summer rain hits the cracked pavement in uneven rhythms. A neon sign flickers above a café that never seems to close, its warm white light reflected in the wet ground like a fever dream. The air smells of summer and the world hums with an easy tone, as if the city itself is holding its breath. A light flooded film noir-ish scene, that needs a soundtrack like "POOL JAMS", the new album of INIT, the Berlin based duo, that already caused quite a stir with their albums for Hivern Discs and Optimo Music. This time, they bring their latest creations out on R.i.O. - a label, with whom they are deeply associated. Their fourth longplayer is a playful one. One that brings trip hopping feelings. That has r'n'b grace, without catering regular trademarks of the genre. Dub, trance, drone, is all there too. Yet, nothing is present in pure definition. Rather suggested, interwoven, or newly twisted in a songwriting style, that haunts and seduces. On top the voice of Nadia D'Alò dances, steps and hums tempting to the grooves she created with her partner in crime Benedikt Frey. Together they fashioned a record, that, as INIT puts it, is "some kind of old photo from an old dry empty pool that got faded by sunlight ". A dreamy, sunny piece of song art, made for endless smoky LA freeway drives, and other adventures that seek for infinite riddance. You can dream it. You can trance it. You can't escape it, as soon as it rotates in your dream device for sound and vision.

The 1985 B Side Classic!! ‘The Creator’ Made famous from Mad Professor’s ‘Ffwd to Dub’ where he looped hook phrases of Aisha vocals. Then sampled by ‘The Orb’ in the 90’s & introduced to a new psychedelic audience. This is one of the first Roots songs made with a Drum machine! Coupled with lovers rock gem - ‘Dancing Time’

Detroit’s own Brian Kage returns with Timeless Times Remixed, a interstellar re-imagination of his album "Timeless Times" featuring an all-star lineup of remixers. Timeless Times Remixed brings together some of the finest minds in house and techno, delivering deep, timeless grooves with Detroit soul.

Brian Kage, a staple of Detroit’s electronic music scene, brings together a heavyweight lineup of producers to rework key tracks from his latest album. The legendary Delano Smith infuses Detroit Techno City with his signature deep and hypnotic touch, while Scotland's Milton Jackson reworks Just The Groove with a dose of his classic rolling house energy. The collaborative Reference (Luke Hess & Brian Kage) Remix of Nordhouse leans into peak time dub-techno atmospheres, while Detroit's newest and finest young talent from the Submerge crew Max Watts takes Galaxian into raw, driving 808 Electro terrain.
This essential four-tracker bridges deep house, techno, electro, and dub, while staying true to the classic and timeless sounds of Detroit’s roots.

Founded in 2020 by Austrian producer Lee Stevens, Rising Seed has evolved into a joint venture with Ken Hayakawa and a collective of guest musicians. Blending Acid Jazz, Trip Hop, and Disco, the project bridges the warmth of live instrumentation with the depth of electronic production.
With a strong focus on recording and re sampling real instruments, Rising Seed crafts a rich, organic sound—where vintage samplers, drum machines, and analog textures meet hypnotic grooves and cinematic atmospheres. Inspired by artists like Moby, Kruder & Dorfmeister, and Massive Attack, their debut album True Lies unfolds like a layered collage, blurring the lines between past and future, truth and illusion.
The opening track, “Follow Me,” perfectly embodies this fusion: sampled instruments and vocal snippets blend seamlessly with live recordings of flute and saxophone, all set against a funky drum break. “Gone West” does the unthinkable—marrying a house groove with esoteric vocals, live sitar by Amrith Jan, and—why not?—a touch of harmonica. “Like A Lion” is a dub-infused downbeat track packed with crusty blues samples.
On “Freedom,” we hear a more minimalist side of Rising Seed, with a tight brush-drum arrangement and densely layered sitar melodies. Another high point is “Soldier of Peace,” featuring even more funky sitar and a subtle acid line, reminiscent of the early days of big beat. It’s followed by “True Lies,” which elegantly distills the downbeat sound of the late '90s while staying true to the Rising Seed formula.
“Psych Jazz” is, as the title suggests, both psychedelic and jazzy, albeit with a somber, low-slung trip-hop feel, while “Don’t Worry” is equally trippy yet more upbeat, carried by a moaning vocal sample that urges us not to worry. Finally, “Stay with Me” closes the album with a jazz-infused vibe that is both moody and uplifting, its shuffling drum groove and elegant piano melodies providing a fitting conclusion.

The Magic Wand label casts another of its sonic spells with an anonymous artist at the helm. It's a knowing blend of many different influences all subtly distilled into a low-key classic. There are elements of yacht rock, Balearic, dub, funk and soul all to be found here. The bassline of 'Crossfire' is slight but funky, the drums sit low in the mix but soon sweep you away on a gentle breeze at sundown and the vocals are effortlessly cool and carefree but really cut through with a quiet charm. This bit of disco sorcery is a one-sided gem that is never going to leave your bag.

With Bass Temprature, rediscover on one single CD the first three vinyl EPs by High Tone: Bot Dub Seasons, Low Tone, and Bass Temperature-a total of 12 tracks that propelled the Lyon-based group into the ranks of electro-dub heavyweights. In addition to these two reissues, four extra tracks have been added, making for a 12-track album just as compelling as it's predecessor. It marks a shift toward a more roots-oriented sound while remaining firmly grounded in the electro-dub genre. The album opens with Echo-Logik, a warrior-like chant followed by a driving bassline that makes you want to move-DJ Twelve's scratches laid over the groove offer a brilliant showcase of the band's talent. The title track, Bass Temprature, follows-perhaps the least striking piece, though that's only relative given the strength of the rest. Worth noting are the mystical vocal samples in Train to Transylvania, evoking vampires and devils, while N1 Station brings a heavy psych sound, a more energetic beat, and moments that border on hard-tek. Other influences also emerge, such as the strong Eastern vibe in The Orientalist. As always, High Tone delivers a stunning dub album sure to delight ears tired of the everyday noise pollution that surrounds us.

New Artwork. Lucrecia Dalt ist eine produktive und grenzenlose Musikerin, Performerin, Komponistin und Klangkünstlerin, die sowohl Genre als auch Form herausfordert, indem sie vertraute Elemente der Pop- und experimentellen Musik auseinander nimmt und sie auf unerwartete Weise neu zusammensetzt. Mit ihrem hochgelobten Album "¡Ay!" aus dem Jahr 2022 gelang ihr der Durchbruch bei einem breiteren Publikum. Dalt hat sich auch als Komponistin für Film und Fernsehen einen Namen gemacht, unter anderem mit ihrer originellen Filmmusik für die HBO-Serie "The Baby" und den in Cannes 2024 ausgezeichneten Spielfilm "On Becoming a Guinea Fowl". Mit ,cosa rara", ihrer neuen Single, die von Kultmusiklegende David Sylvian gemischt, produziert und mit einem seltenen Gastbeitrag versehen wurde, wird das Thema des eigenen Ichs zu einer unwahrscheinlichen Verliebtheit. "cosa rara" ist eine kühne Rückkehr von Dalt, die die Höhen der Liebe destilliert und mit Produktionspräzision und hyperfokussierter Klarheit klanglich umsetzt und den Hörer auf eine aufregende Eskapade aus Sound und Psychologie einlädt. Die B-Seite der 7" enthält Mabe Frattis "cosa rara (en la playa)"-Version, eine geisterhafte, von Fratti produzierte und gesungene Version desselben Songs, sowie eine 7" exklusive, erweiterte Version von Matias Aguayos, "cosa rara (dopamine dub)". Abgemischt von Sylvian und gemastert von Heba Kedry, ist die 7" eine einmalige, auf 500 Exemplare limitierte Pressung. RIYL: PJ Harvey, Broadcast, St. Vincent, ML Buch, Stereolab, Cate LeBon, Aldous Harding, Mabe Fratti, Dry Cleaning, Juana Molina.

“The Rough And The Smooth” was the highly anticipated 2nd album from Outside. Written, produced, mixed and engineered by a 22 year old Matt Cooper, who journeyed through dub, jungle, hip hop and latin rhythms and vibrant, modal jazz. Playing much of the instrumentation including keys and drums, Matt was joined by some of the scene’s finest players from Jhelisa, Imaani, Greg Osby, Cleveland Watkiss, Byron Wallen, Tony Remy and Gary Crosby.

Upon release, ‘The Rough And The Smooth‘ received huge acclaim and was hailed as a masterpiece by the music press from GQ, MOJO, The Face and Mixmag and fans alike, taking Outside to another level.

From the complex funk of ‘Journeyman‘ parts 1 and 2, to the Nu Yorican hit of ‘The 29/8 Steps‘, to the powerfully emotive violin led jungle of ‘To Forgive But Not Forget‘ and the epic jazz and beats fusion that is ‘Moodswing‘, the album was impossible to pigeonhole and influenced a generation of music heads and artists.

This is an album made during a crucial period in South Africa’s history during which there was a palpable feeling of a slow turning towards the collapse of the apartheid state side by side with an increasingly well-organised culture of resistance through the formation of the United Democratic Front (UDF) and various affiliated bodies. However, as a result, there was increased pushback from the state security establishment, a turning to dirty tricks and the formation of hit squads whose members murdered and tortured many of our friends and created chaos throughout South Africa as well as neighbouring countries.

This album is situated in this political environment however it took advantage of the new do-it-yourself music technologies available at that time. Technologies that made it possible to make and release records without interference from traditional record company executives. Two musician friends of mine pooled their resources after their respective bands had broken up. Ivan Kadey (National Wake) and Lloyd Ross (Radio Rats) built an 8-track recording studio control room and fitted it out in a second hand caravan and called it Shifty. They parked it in a garage attached to the only house left in a demolished and derelict mining village near Soweto on the outskirts of Johannesburg.
All the work on this album was completed there, mainly after hours and mostly alone where I enjoyed an exhilarating freedom to develop a whole new set of musical skills and ideas, incorporating my love of a wide range of music I’d grown up with. Influences of 1970s progressive/kraut/and psychedelic rock combined with mbaqanga bass styles, early reggae/dub and Indian tabla rhythms. Stockhausen, early Zappa and Holgar Czukay were radio text and shredding influences, and Chris Cutler’s band Henry Cow & Art Bears helped me see a way to political expression. Mostly though was the exciting post-punk and no-wave music coming through to us from Europe and America: bands like This Heat, the Mekons, Raincoats, Sonic Youth and Pere Ubu were immensely important to me as was my reading from the period: J.M.Coetzee’s first 3 novels are strong influences on Free State Fence; the stark landscape, superstition, ritual, and sexual repression are in many of his settings. JG Ballard was a constant presence throughout that period, especially whilst living in such a surreal environment, surrounded by mine dumps, but mostly I think the whole French post-modern philosophical movement—Derrida, Foucault and of course, Baudrillard’s Simulacra and Simulation—set out a new sense of possibilities, possible ways to express oneself, ways to think, and ways to try and analyse the political intersection of public and private life. Most important at that time was the influence of sound recordings I had made and experiences garnered from working as a sound recordist on documentary films. These financed my work and later the studio and were consistent employment throughout the 1980s. Film work also enabled me to experience much of South Africa that was hidden from most. The track Independence Day is a good example; drawn from some time spent in the rural homeland of Venda. This then was the first full length Kalahari Surfers album, completed in summer of 1984 it was taken to EMI pressing plant but rejected by the cutting engineer as being ""political, pornographic and anti religious"". Chris Cutler at Recommended Records took up the challenge and released the album through his label. He wrote the original liner note