Suche:ex

As the first release of Flux Code Recordings, Ferplay brings us this 4 tracks EP called “Electric Waves”.

Blending trance and breakbeat elements, acid sequences and punchy old-school drums, each track captures the energy of the 90s underground electronic music spirit.

Flux Code Recordings is a record label inspired by old-school and underground electronic music, exploring styles such as trance, breakbeat, acid and more.

It is born from the concept of music as a living language, an ever-changing code and a continuous flow of rhythms and melodies in constant evolution.

Flux Code channels the raw energy and the rave spirit of the underground electronic music culture, connecting past roots with future sonic pathways.

The Suicide Handbook is Ryan Adams’ most elusive and mythic recordings. The album is a raw and intimate collection of songs that captures the songwriter at his most unguarded. Recorded at the beginning of his solo career and long circulating only through bootlegs, the album has earned a legendary status among die-hard fans and fans of the americana genre alike for its stark stripped-back beauty.
Acoustic arrangements and hushed, late-night vocals, these songs feel like private confessions set to tape. Adams leans into themes of heartbreak, isolation, and emotional vulnerability, delivering recordings that are as fragile as they are compelling. There’s an immediacy here that sets The Suicide Handbook apart from his studio releases. These are the original recordings in their rawest and un-touched form.
Released officially for the first time, experience the record as a cohesive piece, bringing warmth and depth to its lo-fi origins. The analogue format enhances every subtle nuance, from the quiet creak of strings to the tremble in Adams’ voice.
For longtime fans and collectors alike, The Suicide Handbook stands as a haunting, deeply personal snapshot of an artist laying everything bare—an essential addition to the Ryan Adams collection.

"Now and Forever," the latest EP from Boo Williams, showcasing his unmistakable style once again. Known for his hypnotic grooves and infectious rhythms, Williams delivers a collection that embodies his signature sound. Each track on this EP captures the essence of deep house, blending intricate beats with soulful melodies. The production is polished, allowing the music to resonate authentically while inviting listeners to immerse themselves in the experience. "Now and Forever" reaffirms Boo Williams' position as a master of his craft, offering a captivating journey that will resonate with fans of electronic music. This EP is a testament to his talent and a must-listen for anyone seeking quality grooves.

Podcast platform and event promoter based in Milan since 2019, Clausura now launches its label imprint with a vinyl-only four-track VA. The release features contributions from the label’s founders, Brolpi and THEOREM, alongside guest artists who embody the project’s musical vision.

This first record sets the tone for the label’s future direction, shaped by its community, a spirit of musical exploration, and a strong focus on the dancefloor.

Building up from his multiple appearances on the label, one of our closest producers, Luca Durán, makes his full studio album debut on TraTra. This work is meant to showcase the vast world of influences the diasporic experience comes with: his rhythm-driven tracks coexist in high contrast, but fluidly, with the experimental and textures of his european school of sound. The title itself works amongst these two edges of Luca's aesthetic existence, the softness from the flight of a Mariposa with the harsh hit of a death blow.

Killing Mariposas is filled with seemingly clashing techniques, field recordings, acoustic instruments, and analogue synthesis, which converge with modern and forward-thinking production tools to build heavily layered music. Constructing an emotional narration from the contemplative to the euphoric. A sort of contextual shapeshifter, with hints of cumbia, grasps of reggaetón and dembow, but always submerged deeply in a windy and fragmented memory.

This whole project gets rounded up by the packed lineup of collaborators, both vocal features and production partners. Astute minds from distinct internet niches: Kelman Durán, Gavsborg, Iceboy Violet, Debit, Rosa Pistola, BEBE YANA, Kamohelo & Kacha.

One true reflection of Luca's production abilities and sonic poetry.

A new release from the back alleys of Tokyo

"Prior to the vinyl release of the debut work “Vapor Curve”, which suffered a one-year delay due to manufacturing errors, the release of the mini-album “grainy film” has been confirmed."

Following the artist's previous release, this album completely eschews the use of computer-based DAW (Digital Audio Workstation) software. By relying exclusively on a strictly limited setup of hardware—synthesizers, samplers, and delay units—the artist pursues a meticulously woven, highly original take on minimal harmony.

At the core of this record lie exquisite ambient textures and beautifully shimmering synthesizer arpeggios. These are layered with the organic warmth of the sampler, vividly sketching out the contemporary "sound of Tokyo." As the album title suggests, the gritty, Lo-Fi texture of the sampler evokes the imagery of a vintage, low-fidelity film reel in the listener's mind. Pushing further than the predecessor, this approach embraces a more abstract, dubby, and deep soundscape aesthetic, elevating the album's artistry to new depths.

Describing this stoically refined electronic music, Maruyama reveals that it is "music for a cigar." It is not an assertive sound that demands to be the center of attention in the room. Instead, the moment the needle drops, it possesses an overwhelming power to transform the very particles of the room's air. The nostalgic and melancholic melodies, much like the shifting and fading trails of cigar smoke, embody the aesthetic of shogyo mujo (the impermanence of all things). Amidst a constantly changing world, it offers a desire to simply drift away in the slumber of sound—a supreme deep-listening experience guaranteed to transport you.

For those with an ear to the Afro-Latin scene in New York City, Doug Gomez is one of the main men. His infusion of those sounds into a deep house framework is sublime, always, and not least on this fourth instalment in his series for his Merecumbe Recordings label. 'Dis a Way of Life' is a collab with fellow heady house hero Trinidadian Deep, and is a spine-tingling affair with spiritual pads that stir your soul as rasta vocals add to the dubbed-out feels. 'Dance Activator' is more about movement, with supple drums swaying beneath jazzy synth expressions that ring out into an infinite sky. On the flip is the warm deep house bubbler 'Sonic Uprising' and a remix by Trinidadian Deep that turns up the colour and soul. Pure class.

Trumpet player Freddie Hubbard's fusion jazz on Red Clay is something that the younger generations within jazz and hip hop admire and aspire to. The title track "Red Clay" was sampled by both A Tribe Called Quest on "Jazz (We've Got)" and Freestyle Fellowship in "Parkbench People", only to be covered by today's new vocal jazz singer José James.

It would take half a day to explain the intricacies of a song like "The Intrepid Fox". Red Clay seamlessly blends bop with soul jazz and fusion in a way that will remain unsurpassed for a long time. Red Clay was Hubbard's first album on CTI Records, after his long stint with Blue Note Records. Accompanying Freddie on this album are Joe Henderson (sax), Herbie Hancock (piano), Ron Carter (bass) and Lenny White (drums). The album was produced by Creed Taylor and recorded and engineered by Rudy Van Gelder in his legendary studio in Englewood Cliffs, New Jersey.

The Lockheed F-117 Nighthawk was an American single-seat, subsonic, twin-engined attack aircraft and is a fitting name for this EP, which is equally low-key, menacing and devastating from RAN. Influences from Loefah, Youngsta and Boddika abound in these stark and dark dub soundscapes, which drip with dank warehouse vibes, ride on booming low ends that melt into an inky night and come with precision-engineered percussion. 'GBU-10 (External Guidance)' is a late-night search across a deserted city, 'JDAM (Signal Without Light)' has a more sub-aquatic feel and rolls more fluidly, while 'GBU-27 (BLU-109 Core)' is ominous, with ghosts of dubstep and broken beat lurking round every corner. Fantastically immersive and meticulously executed, not least because the EP was mastered by the great Transition Studios in South East London (early support from Carrier).

Ricardo Villalobos runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original ‘Swamp’’ piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise ‘floors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string
motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing.

Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic and groovy approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion - he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms beyond tradition.

RAWAX proudly welcomes Benrd Maus & Thilo Stolle aka Maus & Stolle to the artist family!
We are happy to bring you their outstaning output back on vinyl again. Starting with Maus & Stolle "Part 3," formerly released on iconic Klang Elektronik in 1999.
Highly recommended!

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

From the fires and floods of the Australian bush on her debut, Soon, which Phil Elverum reissued via his label, P.W. Elverum & Sun, tiarn now takes us to the shores of the Pacific Ocean where classical and electronic arrangements move with an ever-present longing for connection and nature. Stretton has weaved a new world, set on the brink of night, when the world is soft and suspended in blue. Living in isolation near the ocean, overlooking the winter migration of whales, Stretton would regularly swim during the brief 20-minute period known as the blue hour. Ideas would come to her in the icy salt water, and walking home in the dark, she would carry melodies back to record that night. At its heart, tiarn reflects ecological grief and the search for connection in a changing world. tiarn is also inspired by a piece of home camera footage Stretton found of her family in Japan where they lived in the ‘90s before she was born.

It shows the distant mountains, and Stretton’s young family looking over the valley in the soft static of one summer evening. Decades later, using the untouched synth her parents had bought in Tokyo in 1991, Stretton began recording music directly to that footage, letting the images dictate the melody. Voices, insects, weather, movement, and the ambient sounds of the valley are woven throughout the record itself, blurring the line between documentation and composition. The result is an album that feels less created than uncovered — something remembered rather than made. Stretton’s work continues to carve a singular path in contemporary music, balancing environmental awareness, experimental composition, and deeply personal storytelling.

A Chicago dancefloor gem from the mid 80s by Melodious Myles & Bo! "Odyssey Love" has a lean, melodic house vibe that holds up incredibly well – with insistent beats, a catchy and prominent bass groove, and atmospheric keys floating in and out. It fills out the whole side and it's irresistible the whole way through. The remix that kicks off the other side is pretty great, too, tricking out the keyboards a bit for a more cosmic vibe, but also staying true to feel of the original. The hypnotic, swirling and more experimental "Ebol Yessydo" closes the single nicely.

2026 Repress

Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.

Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).

Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.

Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.

"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"

Forgotten electronic treasures by composer Ton de Leeuw rediscovered: first release in the Dutch Oscillation Series

Dutch Oscillation Series (DOS) proudly announces the release of a box set featuring the complete electronic works of Ton de Leeuw (1926–1996). This publication marks the first instalment in a new series that brings the history of Dutch electronic music to life for a broad audience. The official presentation will take place on Saturday, 12 September, during the Gaudeamus Festival for contemporary music in Utrecht.

Unique discoveries from the archive. For far too long, twentieth-century Dutch electronic music has remained hidden away in dim archives, only occasionally accessible under optimal conditions. Many compositions have not been heard for decades, perhaps after being presented to an audience only once. For this project, the original tapes were carefully traced in basements and archives, including the mysterious work Chronos, which was rediscovered in the collection of the Netherlands Music Institute (NMI). Even close collaborators of De Leeuw were unaware of the existence of Chronos. Another highlight of this release is the radiophonic oratorio Job (1956), which was awarded the Prix Italia radio prize by broadcaster Rai.

The recordings were digitised by experts at the Institute of Sonology and the Instituut voor Beeld en Geluid (Netherlands Institute for Sound and Vision). The music was then meticulously restored and mastered in the studio of Jos Smolders (EARLabs), in accordance with modern standards, while strictly adhering to the composer’s original artistic intentions.

The edition includes eight works composed between 1956 and 1982. The collection is released as a deluxe LP and CD box set and is also available via streaming and as high-resolution downloads. For an optimal listening experience, originally four-channel works such as Elektronische Studie (Electronic Study) and Antiphonie (Antiphony) are available as special Dolby Atmos downloads, allowing listeners to experience at home the unique spatial sound world envisioned by Ton de Leeuw.

About Ton de LeeuwTon de Leeuw was one of the most influential Dutch composers of the twentieth century. A thinker with a distinctly cosmopolitan outlook, he immersed himself deeply in musical cultures from India, Japan, and Indonesia, among others. His work consistently sought to bridge Eastern and Western musical traditions and concepts.

In addition, De Leeuw enjoyed a distinguished academic career. He served for many years as senior lecturer and director at the Amsterdam Conservatory and was affiliated as a senior research fellow with the University of Amsterdam. His book Muziek van de twintigste eeuw (Music of the Twentieth Century) remains a standard reference work.

In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.

Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.

We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs

Slacker and Seth Troxler presents He Ain’t Here. 15 tracks by Slackers for Slackers. All exclusives.

Featuring exclusive music from: Seth Troxler, O.bee & Tomas Station, Audion, Jonny Rock, Dr Dunks, Krystal Klear, Marc Houle, Hiroko Yamamura and more. This is our dysfunctional family – and this will get weird.

Seth Troxler:

"When I created Slacker I wanted to make something to remind me of my youth in the ’90s. Being born in ’85, the ’90s was a decade that defined me. Culturally America was at a pivotal point. Post Reaganism of the ’80s, the ’90s was defined by the anti-hero. The idea that we had had enough. From grunge to hip hop, house and techno.

"This was the time of independence and indie music. Life without boundaries. A world where everything felt possible and a belief that the future was coming. Home game consoles, futuristic new sports like the X Games. It was about being radical. Living life on the edge and turning away from the imaginary cookie cutter American dream.

"I feel we are in similar times. The future we were promised every day seems more like a nightmare than a utopian dream. And all we have left are our minds and bodies, but who knows how long our freedom to be an individual will exist.

"This compilation is protest – from fight songs to moments of joy. It’s about living, dancing and being. It’s for the freaks, perverts, for the rebels, for those who forever were other, and dared the impossible to just be themselves in a world where everyone wants to be the same. The revolution will not be televised because it’s within ourselves. It’s about being unapologetically individual.

"Freedom is a state of mind as well as a state of being. Being a slacker is as much about pushing, as it is about being. Not giving a f#ck about the rules and making your own. I’m a slacker, you’re a slacker, a loser and nobody. History will forget me, history forgot Elvis.

"The world is about to change. Might as well have a bit of fun while it burns. Welcome to our dysfunctional family. Join us for the bonfire, I promise you things are going to get weird, in the best possible way. HE AIN’T HERE."

‘Va Va Voom’ – “Turbo-driven melodies and bittersweet vignettes”, The Times – was the debut album from Cinerama but, of course, not the debut from the band’s protagonist – David Gedge. Originally released in 1998, it was David’s first musical project outside of The Wedding Present, who, by then, had released five albums and established themselves as one of the UK’s most uncompromising and influential indie rock bands.

To be released in three formats, this celebratory re-imagining of ‘Va Va Voom’ sees David revisiting that remarkable debut. The Deluxe Edition consists of two coloured vinyl LPs and two CDs containing both a full studio re-recording of the original album together with a live recording of the album from August 2023, which can also be viewed on an accompanying DVD. A Double CD + DVD set contains both these recordings, along with the aforementioned DVD, while a Picture Disc also features the studio re-recording. All sets boast stunning new artwork.“In 1997, I took a break from being in The Wedding Present and began exploring the idea of writing songs on my own at home, using the new technology that had recently become available. That gave me the freedom to explore writing in the style of different kinds of music, such as the classic pop records of the 1960s and 1970s and the work of film composers like John Barry and Ennio Morricone. I used samplers and sequencers for the demos and session musicians in the studio, so there wasn’t a Cinerama ‘band’, as such, until we started playing live after ‘Va Va Voom’ had been released. Last year I decided to mark the 25th anniversary of that release by playing the album in full at my annual Brighton festival, ‘At The Edge Of The Sea’. I was struck by how different ‘Va Va Voom’ sounded, being played by a live band as opposed to those studio session musicians – there’s more vibrancy and energy – so I decided to re-record it!” - David Gedge

Hidden Sounds Record store – with the help of Emotional Recordings – launches the Dark Times label with the first of two club orientated EPs from Canadian brother-production duo Lex and Rew MacCrimmon and their project Alkahest.

Released on their own Post Contemporary label between 1994 – 1996, Alkahest contrasted with the spacious electronica of their influential and still on-going project, Legion Of Green Men.

Growing up in suburban city life in Burlington, Ontario, the MacCrimmon brothers’ interest in music and collecting records started early, always looking for interesting sounds in new places. With a limited local music scene or record stores, the alternative and college radio stations were the only way to discover new music or the type of music they sought.

The German electronic sounds of Kraftwerk, Klaus Schulze and Tangerine Dream were early obsessions, alongside Neu, Cluster (& Eno) and the post punk and synth pop emanating from Britain. The Flying Lizards, John Foxx / Ultravox, Gary Numan and The Normal were favourites, before diving into the 80s industrial experiments of Cabaret Voltaire, Severed Heads, Nurse With Wound and Throbbing Gristle.

Making their own music soon followed, first experimenting with 4 track cassette and digital delay, drum machines and synths soon followed, steadily building their own studio. All these influences merged in the early 90s with the dawn of house and techno and the progression to start the Post Contemporary label launched in 1992.

With the project Legion Of Green Men achieving early success, their diversion with Alkahest explored a post-industrial techno hybrid. Unsubtle, night music, the rhythm and sonic textures are more prominent over melody.

Contact High covers this Alkahest sound, from the 133 bpm trippy, psychedelics of opener Black Tabs, the acid breaks of Ground Zero or the charging nature of closing Séance 333, where all bets are off – together this 4 track EP perfectly captures the early spirit of Canada’s electronic music scene finding its place in dance culture, from the raves of the Toronto’s outer rim to the beaches of Anjuna.

However, in the title cut Contact High, there is something else happening, as electronic dub is explored, where the space in the music, between the beats, is as important at what happens on the surface. A love of this ethereal feeling would lead the brothers to head further in this direction and here is a perfect example of that early journey.

Hackney based Hidden Sounds Records launches – with support from Emotional Recordings – it’s Dark Times label by diving in the the music of Alkahest, a short-lived project from Canadian brother-production duo Lex and Rew MacCrimmon.

For the second EP, the Twisted Up release is re-examined, with a tweaked track list to represent the times and how their sound continues in relevance today. Released in 2 years (1994-1996), Alkahest was the darker side of the MacCrimmon’s productions and allowed them to focus on twisted, psychedelic electronics, away from their main Legion Of Green Men project.

Self-described music obsessives from a young age – lying under a home-made harpsichord, with their heads in the resonator box was an early indication of a love outside the norm. Experiments with forks and pencils on strings – totally unaware of the likes John Cage – highlighted an interest in sound from unusual places.

Anything with a synth notably grabbed their attention, going to the public library to take out BBC Sound Effects and Morton Subotnick albums, sat alongside contacting European mail order catalogues, to grow their knowledge and record collections.

As early productions formed, working under the sound production name of Incarnate, their love of art was just as influential as music. The likes of M.C. Escher, Salvador Dali, Bridget Riley and the Op Art movement, was all part of brothers in their progression to form the Post Contemporary label in 1992.

Following the DIY ethos of the music they had long been buying, their “indie ethic” influences all coalesced in the label, not conforming to one sound or tempo, placed them within the electronic music coming from Canada, but also, out on their own.

Twisted Up expands the Alkahest sound, the title cut a stomping anthem, it’s unrelenting drums and lifting strings a call to arms. The compelling Shake arrives, acid techno rewiring synapsis, dub static between the beats.

On the flip, Twisted Another is just that, a reversion excursion, pushing the psychedelic synthesis to the forefront, stabs call and respond. Closing the EP with the perfectly titled, Kiss My Acid, a journey of industrial bang, reflexed, Alkahest showing their sound is pulsating, widescreen overtures.

Preceded by his reputation as a rap experimentalist, Bladee is a prolific and highly inventive entity with work spanning and intersecting the worlds of music, art and fashion.

He began his career as a teenager, trading art and lyrics with close friends. After releasing his first projects, international recognition came quickly and his network of Stockholm innovators soon arrived at the vanguard of a new era in music culture.

333 is Bladee's fourth solo album. Produced by Whitearmor, Gud, Mechatok, Lusi of Ripsquad and Joakim Benon of JJ, the album has no guest appearances.

It’s time for Ahad’s biggest move yet: his first full-length album, P*KI. Powerful, deeply personal and unapologetic, the album is rooted in the dancefloor and in Ahad’s belief that club culture is a space where he can “exist completely authentically.” By reclaiming a word he has personally been confronted with, Ahad transforms P*KI (pronounced Pee-Star-Kay-Eye) into a statement of joy, pride, celebration and self-love. The album’s singles capture that spirit: ‘Put That Banger On Next’, featuring London MC Capo Lee, brings a high-voltage grime energy; ‘Make Space’ is a euphoric tribute to the diverse communities who find solace in London nightlife; while ‘Left / Right’, made with Dismantle and Jam-akabi, delivers a dark, futuristic breaks sound built for warehouse dancefloors. Across the record, Ahad’s signature UK club sound is pushed further, with tracks drawing on everything from gqom and drum’n’bass to South Asian classical instruments, Punjabi folk and devotional music such as qawwali.

PARKWEST intorduces a brand new collaboration between label head Mark Seven and the LA-based recording artist Jamma-Dee. Together working under the name MACH-JAMM.

Four cuts here, all unique and special in their own way. The original version of Dedication, is a beautiful Burrell inspired gem, with a floating flute and Rhodes chords over a thumpin rhythm.

The NYC mix takes it where you might expect, to the classic sound of New York City house! The drums snap and the rhythms bounce.

On the flip Good Love is a Gospel inspired groove to raise the spirit with uplifting organ stabs and vocals. We finish we we began in deep NJ style, as Lost in the Maze pairs hypnotic vocal chant and horn licks over a rock solid bass.

Night Luv is a new label founded by Italy's Simplr that wants to bring people together, whether times are good, bad or sad. Drop the needle on this inaugural 7" though and the times will surely be rad: it's a tweaked, chopped, screwed and filtered take on a stone cold soul classic with a smoky vocal fragment and deployed teasingly through the mix. The drums are rough and raw, the synths swirl, and the whole thing has an excitable energy. The K Lost Acid dub, meanwhile, is a little more club-ready with some chunky low-end drum funk.

Richard Sen debuts on Phantasy with ‘Space 1999 / Bergen Light Rail’, the first transmission from the illustrious DJ and producer since his vinyl-only solo LP, 2024’s ‘India Man’.

Deeply invested in electronic music for over thirty years, first at the intersection of London’s acid house and graffiti art scenes, evolving in cult duos Padded Cell and Bronx Dogs, and now generously sharing his formidable knowledge of club culture on London’s Do!! You!!! Radio, Sen is known to take listeners anywhere. On this occasion, he locks into two distinct influences from his winding creative journey, with ecstatic results.

The title of ‘Space 1999’ mirrors Sen’s own hand-painted accompanying artwork, yet its sonic influence sits much closer to our own orbit; A tribute to a slice of London nightlife history, Space at Bar Rhumba was a midweek party led by residents Luke Solomon and Kenny Hawes, whose selections helped sculpt the deep house scene at the turn of the millennium. ‘Space 1999’ transports contemporary dancers back there in no less than ten minutes, led by a deep bassline and swinging drums, while an intergalactic melody slowly takes hold, resulting in pure satisfaction.

‘Bergen Light Rail’ embraces a different kind of kosmische, looking to the northern light of space disco and following the tram route of its namesake to the Norwegian city’s beloved Club Ostre, riding a rhythm of pogoing toms and crashing drums. Conjuring a dreamy tête-à-tête between ever-expanding, heavenly synths and tightly-wound arpeggiators, Sen’s transmission to the stars is a deeply human call to dance.

"I’m very excited to work with deep medi again. I was buzzing to be releasing topper top with them on their 10th anniversary and it’s even better to be back for their 20th". Sir Spyro

Kicking off our 20th anniversary year, and arriving 10 years after his iconic release ‘Topper Top’, grime, dubstep and UK bass pioneer Sir Spyro returns to DEEP MEDi with his new dancefloor rattling EP, 2ND SQ.

The EP opens with the unrelenting ‘2ND SQ’, the track’s stuttering hi-hats and all consuming bass cut through by an icy, industrial-sized snare. The desolate ‘Be Afraid’ creates a sense of vastness via its minimal production, resulting in an eerie and energised track designed for dark warehouse raves.‘Diagonal’ continues in the same dark vein, the track’s brooding,looping production sure to send listeners into a mystified trance. Closing the EP is ‘Patch Bae’, a glitchy joyride that calls to mind the16-bit era of gaming, leading listeners on an exhilarating, kaleidoscopic journey.

Introducing Music for Pet Lovers Vol. 1 – a limited edition vinyl experience like no other. The magnificent MBBKR label delivers two A-sides packed with infectious energy. This one is for both: groove enthusiasts and pet lovers. So, expect the unexpected as always - groovy, soulful, and undeniably unique, this one's sure to be a classic in the making!

Some records are about rhythm. Others are about atmosphere. Hidden Soul EP exists somewhere in between -- a collection of electronic transmissions where intricate programming, analogue textures, melody, breaks and acid come together in a constantly shifting landscape. For their debut on Analogical Force, The 89th Passenger delivers five tracks that move between detailed electronic structures, hypnotic rhythms and deeply atmospheric passages. Beneath the machines and intricate programming, there is an unmistakable sense of melancholy, giving the record a depth that goes beyond its electronic foundations. Hidden Soul EP moves between intricate electronics and abstraction, reaching unexpected emotional heights while maintaining a strong sense of sonic depth and physicality. A record for close listening, late-night journeys and those moments when machines become something more than machines.

The first-ever collaboration between Satoshi Tomiie and Brazilian duo Stekke, Soraré is a three-track EP born from an intimate three-person studio session in Curitiba, Brazil. Created entirely through live jams, the recordings capture the spontaneous exchange of ideas as deep, hypnotic grooves emerged from an array of electronic instruments.

Featuring Soraré, Ventoma, and Neiro, the EP preserves the energy and spontaneity of the original sessions, capturing a unique moment of collective improvisation in the studio.

Between 1989 and 1992, Sea Horses released three albums that percolated through England’s DIY underground before fading into the pre-Web ether. For a small community of listeners, however, their ornate gothic romance endured as an unusual sensibility within the broader post-punk coalition.

Hailing from towns on the outskirts of Manchester—Congleton, Scholar Green, and Macclesfield—Sea Horses forged a distinctively Northern English sound. Their dark, dreamy folk carried affinities with other groups of the time, but songwriter Richard Veal’s idyllic medievalism also took unlikely influence from madrigals and liturgical music. The exalted soprano of Clare Williams and twin sisters Jo and Liz Bromley reinforces this devotional quality, hanging in nave-like ambience (the band played several shows in local churches).

For this reason, and for the subtle psychedelia of their longer-than-average compositions, critics aligned Sea Horses with England’s New Age contingent—an association that the band could not quite understand. But Sea Horses did share certain predilections with their Aquarian counterparts. The band’s pastoralism carried pagan overtones, with songs like chapters in a Saxon epic, or odes to copses, moors, and headlands.

Sea Horses: 1989–1992 collects recordings from across the band’s output, which includes two short-run albums on Mandala Recordings—Listen (1991) and Dream into Being (1992)—and a little-known self-released cassette, The Shining Net (1991), which, until now, was only known among friends and family.

Jazz, Soul, Highlife and spoken reflection co-exist without apology on 13 new songs co-produced with Benjamin James and featuring his group The Cavemen as well as saxophonist Lakecia Benjamin. For the Grammy-nominated vocalist/songwriter Somi, each new album is an act of place-making. The catalogue of the Rwandan/Ugandan-American artist reads like a map of migration and memory, with records rooted in Lagos, in Harlem, and in the spirit and political inheritance of Miriam Makeba. 'What Does It Take To Bloom? Is her ninth album overall and her first collection of original songs in six years. Musically, it also represents a new chapter in collaboration. During sessions in Lagos, Somi connected with Benjamin James, whose partnership would become pivotal. As one-half of the Nigerian duo The Cavemen., James brings a contemporary approach to heritage-centred sound. The collaboration proved so seamless that Somi invited him to co-produce the full album, with moods and rhythms ranging from upbeat Highlife-Soul-Fusion ('Aiwah'), via jazzy statements ('Throw Something'), to soulful reflection ('What Does It Take To Bloom?').

Kokoroko today announce Tempos Difíceis Sempre Passam, a new remix EP reimagining tracks from their acclaimed album Tuff Times Never Last through the lens of some of Brazil's most exciting contemporary artists.

Translating the album's title into Portuguese, Tempos Difíceis Sempre Passam reflects both the enduring message at the heart of the original record and the creative dialogue between Kokoroko's expansive musical world and Brazil's rich, genre-defying music scene. The four-track collection brings together a handpicked group of artists whose individual approaches blur the boundaries between a variety of genres and contemporary Brazilian sounds.

To be released digitally and on limited vinyl, the EP also sees the return of acclaimed artist Luci Pina, whose artwork for Tuff Times Never Last is reimagined for this new chapter, creating a visual thread between the original album and its Brazilian counterpart.

Leading the announcement is Never Lost (Luedji Luna Remix), available now on all digital platforms. The celebrated Brazilian singer-songwriter brings her unmistakable warmth and emotive vocal sensibility to the track, offering a beautifully understated reinterpretation that deepens the song's themes of hope, resilience and togetherness.

Completing the EP are three further remixes from across Brazil's vibrant musical landscape. Onome of Kokoroko joins forces with acclaimed guitarist Nyron Higor for a richly textured rework of Da Du Dah, while producer Aleh Ferreira delivers a rhythm-driven reinterpretation of the same track. Closing the collection, Bruno Berle transforms Closer To Me with his signature blend of intimate songwriting, Brazilian groove and experimental pop sensibilities.

Together, the remixes offer fresh perspectives on Tuff Times Never Last, extending the album's spirit of optimism while celebrating the creative connections between London and Brazil.

The ultimate Limited Edition double LP repress of "Morning Coffee" is finally here! ☕

Treat yourself to this ultra-exclusive double LP featuring an incredible liquid-filled vinyl. It's the perfect opportunity to acquire an exceptional collector's piece that is as hypnotic to watch as it is to listen to.


✨ Vinyl Features

Ultra-Rare Liquid-Filled Disc 1: much more than just a vinyl record, it's a technical marvel. This first disc contains a moving, coffee-colored liquid that comes alive to the rhythm of your turntable, offering a hypnotic and extremely rare visual experience.


Stunning Coffee-Marbled Disc 2: to perfectly pair with the liquid disc, enjoy a beautiful brown marbled vinyl that captures the warm aesthetic of a freshly brewed cup of coffee.


22 Remastered Tracks: 54 minutes of carefully selected, soothing melodies, remastered to bring a gentle warmth to your morning coffee routines.

Specially designed for fans who couldn't secure the original first pressing due to its instant sell-out, this limited reissue is the missing centerpiece your collection deserves.

Papooz & Friends ! is a collaborative album where French duo Papooz gather a constellation of kindred artists, including Molly Lewis, Erlend Øye (Kings of Convenience / Whitest Boy Alive), Arto Lindsay, Oracle Sisters, Sacha Got (La Femme), Zé Ibarra and Hugo Hamlet, to create original songs born from true artistic encounters.



Blending elegant indie pop, modern folk and sun-soaked experimentation, the project unfolds as a collective musical journey celebrating friendship and creative dialogue.

FKJ returns with Tyber— a project that captures a period of personal and creative transformation following the release of his acclaimed album ‘V I N C E N T’. Written and recorded across multiple continents, the album reflects years spent navigating movement, solitude, collaboration and renewal.

The result is FKJ at his most expansive and uninhibited. Across ‘Tyber’, groove-driven compositions sit alongside jazz-led instrumentals, sample-heavy explorations and more direct songwriting moments, moving seamlessly through genres without ever losing cohesion. The album feels both deeply personal and globally informed, spotlighting an artist documenting his evolution in real time. It captures musical snapshots across London, Los Angeles, Paris, Brazil, and beyond to create music that combines intricacy and intimacy seamlessly.

Anchored by themes of emotional equilibrium and self-care, Tyber balances vulnerable storytelling with an unmistakable, groove-laden optimism. The album seamlessly weaves together spontaneous, late-night collaborations with artists like Labrinth, Bas, and Baby Rose, alongside deeply personal solo compositions. Ultimately, Tyber is a vibrant celebration of human connection and resilience, offering listeners an immersive, cinematic invitation into FKJ’s newly restored world.

Following the events of Pussy Disco (SCCD 021) ...
The nights in Hong Kong did not remain a secret for long. Word spread silently through the feline world, and the gatherings grew until the music no longer belonged to a single hidden basement. The cats had found something of their own.
Their new destination became Macau. Long after midnight, when the casino floors fall silent and the roulette wheels come to rest, they emerge from hidden passages and forgotten service corridors to throw their own secret parties. The gaming tables become dance floors.
The remixes played during these nights were all commissioned by the legendary feline Primadonna Disco Queen Beast (PDQB), reimagining tracks from the original Pussy Disco album. The most celebrated DJ cats perform with nothing but their claws, tracing the grooves like perfectly balanced styli. Their oversized ears become living loudspeakers, carrying every microscopic detail through the vast halls.
Before dawn, the music fades. The cats disappear without a sound, leaving the roulette tables exactly as they found them. When the first employees arrive, there is no sign that anything happened during the night.
Over the years, PDQB commissioned countless remixes of tracks from Pussy Disco. The eleven collected on this double vinyl were all played during the legendary Sunrise Sessions - the final hours before daybreak, when the parties reached their absolute peak. These are the remixes the cats returned to again and again, making them the undisputed classics of Macau's underground feline nightlife.

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

Melbourne producer Jordan Brando releases his new Fixation EP today via DJ Tennis’ Life and Death. The four-track project marks Brando’s debut on the label and arrives as he continues to establish himself as one of Australia’s top new club exports.

Fixation is built around raw, bass-driven grooves, moving between the shuffling percussion and hypnotic vocal hook of the title track, the tougher techno edge of “Vibration,” and the classic house influence running through “The Bassline.” “After Dub” eases the pace without losing that foundation, closing the EP on a warm, melodic note.

The release extends a growing connection between Life and Death and the current wave of Australian producers making an impact worldwide. It follows recent projects from Brando’s Not Without Friends collaborators Luke Alessi and William Kiss, who both joined the label at the end of 2025. Together, the three have built momentum around a shared strain of forward-thinking club music and recently reunited in New York City for a Raw Cuts event this summer.

Born and raised in Melbourne, Brando has developed a reputation for the breadth of his productions and DJ sets, with his original music and remixes appearing across dance charts around the world. While his solo work has earned support from international tastemakers such as Pete Tong (via his BBC Radio 1 show), he’s performed with Kiss and Alessi at Heide Museum of Modern Art, Beyond the Valley, London’s Night Tales and Rippon Lea Estate.

After a run of performances spanning Australia, New Zealand and Europe—including Lost Village, Beyond the Valley, Night Tales and Melbourne’s Collingwood Town Hall—Fixation finds Brando entering his next chapter with one of electronic music’s most respected labels, further cementing his place among a generation of Australian artists reshaping the international club landscape.

OSFUR, UVITA & Lampetee unite on Crosstown Rebels with their ‘Self Control’ EP. The three rising acts explore the space between instinct and restraint across two productions.

OSFUR, UVITA & Lampetee come together for their debut EP on Crosstown Rebels with ‘Self Control’, a two-tracker that, at its core, challenges the need to always be in control. Following their #4 Beatport Indie House charting track ‘Stukk’ on Essential Part earlier this year, and fresh from a B2B with Bedouin at their SAGA residency at Club Chinois as well as a headline show at SAVAYA, OSFUR and UVITA have continued to elevate their presence on the international circuit. In tandem, their productions have received heavy support from across the scene, including names such as Adriatique, Mind Against and Keinemusik. Joining them, Greek duo Lampetee - formed by brothers Merter and Mertchan Tzivan Sali - have curated a sound that traverses darker club, hypnotic rhythms and a strong focus on groove and progression, releasing on the likes of Crib Records, Madorasindahouse Records, and Ultra. Arriving on the 18th of September, this meeting of minds finds natural alignment on Damian Lazarus’ renowned imprint, capturing the shared language that has emerged between the three acts.

Built around a groovy bassline that pulls you in, ‘Self Control’ is about letting instinct take over and exploring the space between the mainstream and the underground, all tied together by Joshua Morris’ catchy vocals. On the B-side, ‘Chema’ takes a deeper, introspective approach, delicately crafted with brooding sonics and deft textures that have become synonymous with the trio, providing the perfect counterpart to close out the EP.