Cerca:first tone

Dungeon Meat and SlapFunk sit right at the vanguard when it comes to house music that truly kicks. It's deep but driving and never too much of a slave to tradition. This is a second collaborative outing that welcomes emerging producers to submit tunes for the chance to feature. Khun goes first with 'Prince,' a delightfully well-swung sound with subtle synth tones and room for the atmosphere to land. Nay Barr's 'Kidnapped' is a more hunched over slammer with a firmer groove, while Patrizio Scope's 'Terdiek8' gets more loose with squirming FX and liquid bass. Yugwan's 'Fungeondunk' is a razor-sharp garage, tech and house fusion to get the floor sweating.

Veinyl returns with Decant Vol 1, the fourth release and the label's first Various Artists compilation. Rooted in the label’s philosophy of connecting sound, atmosphere, and the social ritual surrounding a good bottle of wine, this record unites producers from the deeper edges of house and tech-house. Much like wine, which brings people together and reveals different notes with every sip, Veinyl seeks to curate music that encourages listeners to savour the moment and discover new layers with each play.

Diego Krause opens the bottle with “Currents,” setting the tone with controlled momentum. Punchy kick and bass sync with swinging hats and airy pads as crystalline synths gradually expand in colour, culminating in sparse, darker echoes and an understated atmosphere in its final moments. Lescano’s “Illusion” uses a stripped-back tech-house palette of resonant dubby chords, vocal echoes, and funky bass stabs, all thrown into motion, ready for the dancefloor. On the flip, NVNDO & Until6’s “Donkey Long” brings a playful shift: bongo-driven percussion, rubbery grooves, and 90s-tinted house basslines and synthwork give it a hint of Balearic flavour without losing club weight. Skotsch closes with “Blood,” a dark, jacking tune where acidic basslines, razor-sharp drum programming, and teasing vocal fragments close the V.A. out with punch and style.

With Decant Vol. I, Veinyl distils its approach into four tracks that move between minimal house atmosphere and tech-house mechanics without losing focus on groove. It’s a compilation that highlights the label’s ear for subtle detail and functional design, pointing toward a catalogue shaped less by trends than by carefully curated underground talent and special dancefloor moments.

In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.

Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.

Scratchy ASMR sounds introduce us to the opening track ‘zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.

On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.

Collecting pre-orders for a limited time only

Canny Records is here! The first release comes from label owner Swin, setting the tone with four deep and dubby house cuts.

Alt Dub boss Federsen once again joins forces with cv313 and Echospace Detroit to deliver a second instalment in their ‘Altering Dimension’ series, once again merging hazy textural sonics with delicate dub leaning aesthetics.

Detroit’s dub techno lineage continues to evolve as cv313, Stephen Hitchell of Echospace, teams up with Federsen for Altering Dimensions Part Two, another collaborative EP set to land on Federsen’s Alt Dub imprint.

A defining figure in the genre, cv313 has long shaped its language through seminal works like Seconds to Forever and the Dimensional Space LP, fusing enveloping atmospheres with tactile rhythmic structures. Alongside him here,

Federsen whose music can also be found on Echospace Detroit as well as Grayscale, Synchrophone, Lempuyang and Avant Roots, has carved out a distinct voice rooted in precision and analogue-rich depth. Altering Dimensions Part Two again captures the intersection of these two perspectives, linking Detroit’s enduring sonic heritage with a refined, forward-facing approach to dub techno.

‘First Dimension’ opens the release, laying down heavy doses of sub bass, bubbling percussion and ever evolving, murky dub echoes amidst a crisp, stripped-down rhythm section.

‘Second Dimension’ follows and leans into vacillating atmospherics, a swaying bottom end groove and hypnotic, subtle evolution that’s synonymous with the cv313 sound.

‘Third Dimension’ kicks off the b-side next, further embracing this introspective and immersive style as textural elements shift and mutate atop intricately modulating percussive hits, bubbling synth tones and weighty low-end percussion.

‘Fourth Dimension’ then concludes the release, reducing things down to bare bones of hypntic dub, embracing a beatless construction the composition relies on spatial depth, nuanced delays and an underlying tension that decays

Bristol-born, London-based DJ, producer, trailblazer and label head, Conducta announces his brand new EP, SOUNDBOY JOHNNY slated to drop on the 29th May via Up Ya Archives Records.

The new single sees Conducta link up with one of Jamaica’s most original and exciting artists, for a high-tempo cut that channels UK breakbeats into a bassy club roller. Built around an irresistible hook that sticks, ‘Low Can U Go’ sets the tone for the wider project, with BLVK H3RO’s vocal collaboration bringing a fresh edge to accompany the raw, driving intensity Conducta is known for.

The EP, SOUNDBOY JOHNNY sees Conducta lean further into the sounds shaping his recent DJ sets, channelling his long-standing love of jungle and breakbeat into a focused body of work. Across the project, he experiments with faster tempos and chopped breaks, stepping into new territory as a producer. As his first solo release of the year, it marks a confident return with a clear sense of direction, underlining his versatility across different sonic spaces.

Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

AS THE WORLD TURNS is the newly founded label by Rob Manga -- a platform created to channel his distinct sonic identity while cultivating a community rooted in shared energy and expression. The label emerges from a clear intention: to push a personal sound forward while opening space for others to connect, contribute, and evolve alongside it. It is both a statement and an invitation -- a place where sound becomes a meeting point. The first release marks this vision with a four-track EP, weaving together soulful textures, deep atmospheres, and club-driven impact. Each track reflects a different facet of the dancefloor, balancing introspection with movement, and depth with raw energy. With this debut, AS THE WORLD TURNS sets the tone -- not just as a label, but as a growing circle centered around sound, rhythm, and connection.

Steyoyoke Anniversary, Vol. 15 marks a special chapter in the label’s history with a double vinyl edition dedicated to the sound, artists, and identity that have shaped Steyoyoke over the years. Across eight original tracks, the release brings together Soul Button, Clawz SG, Nick Devon, 2Qimic, Monarke, MPathy, Seismal D, and René Diehl, forming a carefully curated journey through the label’s Ethereal Techno sound.

From the emotional depth of Silent Truth and the shadowed atmosphere of Lumen Obscura, to the melodic tension of The Day You Decide To Change and the introspective movement of My Dreams, the first part of the vinyl sets a deep and immersive tone. The second half expands the energy with Pressure, Sora, Consciousness, and Pulse, moving between driving grooves, cinematic textures, and refined club-focused intensity.

Pressed as a double vinyl, Steyoyoke Anniversary, Vol. 15 stands as both a celebration and a reflection - a collection built around memory, connection, and the unmistakable emotional language of Steyoyoke.

Claus Voigtmann has built his reputation away from excess, favouring precision, patience, and a deep understanding of the dancefloor over trend-led movements. Emerging from a punk background, his approach to music carries that same raw intent, translated into rolling, groove-led sets that blend movement with a stripped-back sense of pressure and release. As co-founder of the influential Toi.Toi.Musik party series, he helped shape one of London’s most respected underground movements, while later channelling his focus into his label Subsequent - a platform for more exploratory, long-form expression that has found its way into the crates of DJs including Zip, Ricardo Villalobos, and Sonja Moonear.

Having already landed on Enzo Siragusa’s FUSE imprint in 2023, remixing the label boss’s ‘Laughing Tones’, and after featuring heavily across the brand’s global events for years, his ‘Elevate’ EP distils his ethos into four direct, function-led cuts. Built with clarity and intent, the record reflects his commitment to music that works in the room first and foremost, resulting in a collection of tracks shaped by experience rather than excess, and where every element serves a clear purpose.

‘Bass Tool’ brings low-end pressure and tightly wound percussion, setting the tone from the off , while ‘Loading Complete’ leans into a more cosmic roll, layering shifting textures over a forward-driving framework. On the B-side, ‘Sidequest West’ keeps the focus in the sub-bass realms while still maintaining focus on groove and flow, before the title cut closes the release by opening things out, balancing weight and space in a way that reframes the EP’s direction and journeys into the late hours.

White Mechatronica returns.
Introducing Cold Voltage - a new series wired for tension, circuitry, and raw machine emotion. This first volume sets the tone: cold, direct, and built for dark rooms.

On the A-side, Elena Siziva opens with "The Balls", an experimental descent of bouncing basslines and cavernous synth textures. Filmmaker follows, delivering his unmistakable dark wave electro signature - sharp, shadowed, and hypnotic. Violet Position & Echo Protocol close the side with "Into the Silent Blue", an electro vocal cut designed to ignite the floor.

Flip to the B-side: Jennifer Touch strikes with "Don't", a rolling, snare-driven machine track that hits without warning. Mr. Funghi pushes further into EBM/Techno territory with "Off for the Weekend", a relentless piece built to tear down walls. Closing the release, The Spy delivers "Track Reaper", a dramatic Italo wave finale that lingers long after the last note fades.

Let Me In is a sweet drop of musical sunshine, a song of love and yearning distilled in the southern hemisphere and elevated by the dulcet tones of Dub Princess.

The bones were first created by Isaac Chambers in 2015 as a rough sketch, and over the years more elements were added, including a woodwind section played by Jarrod Bremerton and a guitar solo by Prosad Freeman. It stayed as an instrumental until 2020 when Dub Princess added her stunning vocals to lock the tune into its final form.

“I love the long journey this song took to reach the finish line. Some tunes are created quickly and others need to marinate for years before all the ingredients come together” (Isaac Chambers)

On the flip, International Observer is on stellar form, weaving an accordion melody in to the original to create a taut, bass-forward dub mix.

Longtime Observer observers will recognise many of his distinctive production trademarks, originally developed in the eighties and honed further still since his debut release on Different Drummer in the early noughties set audiophiles ears aflame.

"What a pleasure it was to take a deep dive into dub with Isaac and Dub Princess” (Tom Bailey)

Matter at Hand Records launches its first release MAH01: Abeja Descarada is a four track EP showcasing Oliver Albach's vision on contemporary techno, without explorative boundaries. "move on" - sets the tone with a deep, driving pulse, noisy hi-hats and shadowy textures. "you trippin’" - locks into a bleep-driven monotony that unfolds into a subtle cosmic drift. The titel track "abeja descarada" reveals a different vibe — an afterhour piece with soft, gloomy ambience. "unhinged" closes on a raw note: a relentless 808 groove with off-kilter synth work.

Artlab launches its brand-new record label with a special inaugural vinyl release, celebrating the 10th anniversary of the renowned cultural center and multidisciplinary music and arts club. To mark a decade of fostering cutting-edge sound and artistic community, this very first label installment gathers a stellar lineup of artists for a fresh four-track compilation. Showcasing the club’s deep roots in the underground and its forward-thinking vision, each track contributes a unique character and dancefloor mastery to this milestone collection.

Kicking things off on the A-side, the legendary Random Factor delivers a funky, electro-tinged dub of 20:20 Vision's "Calling," immediately setting an infectious, energetic tone. Following this, Barem makes a welcome return with "E.Therian," a driving, highly-kinetic number delivered in typical Barem fashion, bringing his signature rolling groove and undeniable club intuition to the forefront.

On the flip side, Solimano and Furz team up for "Melancholic Dreams," a track with a pushing, Balearic rhythm and dreamy atmospheres that add a lush, emotional layer to the record. Finally, Janeret and Miroloja join forces to close out the EP with "Digital Dreams," a masterful, hypnotic breakbeat number, creating a sophisticated and powerful closing statement for this debut anniversary edition.

Fuse leans further into its proposed aesthetic of biting club tracks with a brand new release by Cirkle. ‘Infinity Drift’ balances powerful sound system sound design with lush ambiance, creating standout moments on a dancefloor with a taste of nostalgia. These tracks explore the richness in themes that techno can have when made by someone who’s spent years meticulously crafting it. ‘Skyland’ asserts itself first with impressive pace. Swift chord stabs open and close to create waves of excitement and craze in the track while percussion shuffles along to add impact; Cirkle is an artist of all rooms and dimensions. Shrill sound design cuts through the stereo field creating a wormhole in the middle of rhythmic determination. Tension balance and anticipation are his specialty and every transition whips his dispersed elements into singularity in the EP, specifically the title track. A truly musical piece that embraces the crowd with vintage warmth, ‘Infinity Drift’ tones down the dissonance in exchange for something closer to astral exploration. These larger than life themes are never lost on dancers and serve to unify the dancefloor into an organism instead of pushing sound system violence. This is a theme that is omnipresent in Cirkle’s music and carried through into ‘Stimulus’. Here, the Greek producer dips into the hypnotic bordering on psychotic, stretching arpeggios and delays across drum transitions and time. The dimension of ‘Stimulus’ matches the preceding tracks with ease, but stands out in its effect, rolling a powerful synth through reliably tuned percussion. For the final track, ‘Impulse’ sees Cirkle prioritizing the importance of drums. Pressing hard on the drive of the kick, rides and filtered claps squeeze their way out of the low end to create an infectious groove. Stabs of ethereal pads envelope the rest of the EP, leaving space for the rest to breathe. Bumping along the way, Cirkle lands the EP with class, cementing himself further as an artist whose knowledge of the dancefloor creates a singular experience.

Pour Me, My Friend, The Nectar of Dionysus PCM004 is a vibrant four-track exploration of deep tech house, crafted with elegance, groove, and an undeniable sense of joy. Rooted in musicality and designed for the dancefloor, this release blends warm, jazz-tinged elements with modern production finesse, offering a rich and uplifting listening experience from start to finish.

On Side A, A1. Andrey Djackonda – Never Disappear and A2. Deep District – Back Room introduce a welcoming atmosphere built on smooth progressions, refined hi-hat work, and dreamy pad textures. The grooves are fluid and inviting, supported by strong basslines and a playful spirit that sets a positive tone from the very first moments — perfect for drawing people onto the dancefloor with ease and charm.

The B-side raises the intensity. B1. Anirr – Still Trying to Be Perfect and B2. Andrey Djackonda – Refresh shift into a more driving, peak-time energy, where tighter rhythms and increased momentum take control. These tracks carry a confident push, designed for those moments when the room is fully alive and the energy calls for a stronger, more direct connection.

Balancing warmth, groove, and power, PCM004 is a well-rounded and versatile EP — an essential addition for those who appreciate house music in its most expressive, dancefloor-ready form.

Panna Cotta Music is a division of MixCult Records

"I wanted to travel / Home into somewhere,"Ana Roxanne breathes across an eerie suspended drone on "The Age of Innocence". "I wanted to try / And go very far." These are the first words we hear on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago.

Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures.

Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on "Berceuse in A-flat Minor, Op. 45", making each word count.

On "Keepsake" meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. "Untitled II", the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP, 2019's ~~~. "

And when she interprets the Robert Schumann's lied "Stille Tränen" on "One Shall Sleep", she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout '"Cover Me", Roxanne shifts the pace and the mood on 'Atonement', lifting her voice into a gentle lilt.

TECH040, titled INTRO, is a functional exploration of electronic music’s most delicate moments. The concept was born from Nastia’s personal experience as a globally touring DJ, identifying a distinct gap in the modern market: a scarcity of sophisticated, atmospheric tracks specifically designed to set the tone during the first minutes of a performance.

This compilation is more than just a collection of tracks; it is a professional toolkit. From deep hypnotism to restrained energy, each contribution has been meticulously selected for its ability to prepare the space and the audience for the journey ahead.

Conceived as a functional extension of the DJ set, the Intro / Outro series explores the moments that frame the dancefloor experience. Focused on beginnings and endings, each release navigates the subtle tension between anticipation and resolution – from the first pulse that opens a space, to the final echoes that dissolve it. Stripped of excess and driven by intent, the series reflects a deeper layer of Techno: not just as a peak-time tool, but as a language of transition, atmosphere and control.

The record, bringing together techno legends and contemporary tastemakers around the art of the "opening set," featuring the long-awaited production debut of the label head herself.

p:m is delighted to welcome Kumarachi to the fold - a Nottingham-based artist with a deep catalogue steadily built over the past 11+ years. For the label’s first 10” vinyl cut, Kumarachi teams up with his old friend, the wonderful Liam Bailey, for some rudeboy pressure on the a side, while flying solo for the b.

Tracklist:
A. On Sight: snappy snares, snarling bass, and shifting percussion meet the dulcet tones of Liam Bailey, who turns in a different kind of original dancehall style vocal that gets people skanking and swaying.

B. Cast No Shadow: a heavy-hitting track of pummelling breaks and beats, heavy bass, dub fx, and synth stabs, reminiscent of Star Wars’ X-wings in space.

In Kumarachi’s own words: “On Sight was just a loop when I sent it to Liam, then arranged and built around his vocals. I played it to a couple of people for feedback and to test out, it luckily found its way to DJ Flight via Sweetpea, so a big thanks to her too. Both myself and Liam felt play:musik is the perfect label for On Sight, with what Flight stands for musically and culturally, there’s a definite alignment within the lyrical content aswell. It’s a perfect fit. Cast No Shadow was written later and specifically for this release to contrast and complement the flip. It actually came together quite quickly - referencing classic combinations, whilst hopefully sounding fresh for 2026.”

Building momentum around his moody, alchemical breakthroughs in the techno-bass laboratory, Buckley lands on Sneaker Social Club with a punchy quadruplex that marks him out as an innovative talent in the next generation of low end producers.

Manchester-based Elias Buckley first came to light with a lathe-cut drop on ec2a, followed up over the past two years with outings on Well Street, Dimeshift and S.P.E.C. That sets the tone for exploratory zone Buckley is operating in, and he maintains a forward-thinking slant to his physical, dynamic club weapons on this latest EP.

'City Dweller' rests on a creeping mid tempo 4/4 pulse, all the better to carry slithering layers of sound design that slide off the undulating sub bass throb. Minimalism is the order of the day here, but his approach is shot through with gully zaps and rude swagger that makes this a positively UK- centric affair. 'Carl's Floorboard' makes a sizeable swerve towards brutalist grime mutation, letting the space in the mix swallow you whole around the dislocated bass womps and whipcrack snares.

On the B side, 'Gawy' hits the mark squarely between techno propulsion and soundsystem swagger, plying slippery sound design to the bass blasts and working an offbeat groove designed for maximum lock-in. Making sure there are no doubts about his range, Buckley saves one of the deadliest joints on the record for the closer, whipping up a wide-as-you-like UKG bounce on 'M.O.B.S.O.T.' while maintaining the lean and mean sound that binds the EPs any angles together.

BLK ODYSSY is an Austin-based artist and producer whose boundary-pushing sound blends soul, hip-hop, rock, funk, and pop. Born in Plainfield, New Jersey, and raised in a household steeped in neo-soul, BLK began channeling his voice through music after the unjust killing of his older brother by police at age 12. That life-altering loss and the experience of growing up Black and male in 21st-century America fuels his raw, layered storytelling. His debut album, BLK VINTAGE (2021), written and produced with close collaborators, served as both a celebration and a critique of Black identity in America. It was met with critical acclaim and re-released in 2022 via Empire as BLK VINTAGE: The Reprise, featuring Mereba, Benny the Butcher, George Clinton, and Baby Rose. The project has since amassed over 100 million streams and positioned BLK ODYSSY as a standout voice in modern soul. His 2023 sophomore album, DIAMONDS & FREAKS, continued his ascent, merging surrealism and social commentary with contributions from Rapsody, KIRBY, Bootsy Collins, Cory Henry, and production from The Alchemist. NPR called BLK “a surrealist R&B auteur,” while Pitchfork praised his ability to bend genre into a cinematic sonic experience. In 2024, following a surreal Tiny Desk performance and festival appearances across Europe—including a headline set at North Sea Jazz Festival and Lollapalooza in Chicago—BLK ODYSSY launched a bold new chapter, with his third studio album, 1-800 FANTASY. The first single from the album, “WANT YOU” (co-produced by Tyler Johnson, known for his work with Harry Styles), marked a shift in tone. That was followed by “XXX” featuring Wiz Khalifa, and “STANK ROSE” featuring Joey Bada$$. Now averaging over 1M+ weekly streams, BLK ODYSSY is unleashing his fourth project, MOOD CONTROL, a ten-track album pushing alt-R&B, soul, and funk to new heights. 1xLP, pressed on Green, Brown & White 3 Color A Side B Side Vinyl.

Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.

Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.

Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.

From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.

With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.

As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.

A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.

A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.

The Naked Dance is MATISA's record label.

A platform built around the artists she believes in. Vinyl first. No shortcuts.

The label launches with four original tracks by MATISA - an opening statement that sets the tone for everything to come. Uncompromising, exploratory, and entirely her own.At its heart, The Naked Dance stands for freedom, stripping back expectation and letting music exist on its own terms. A home for singular voices and honest artistry.

Distributed by KMA60, connecting to a worldwide network of record shops, DJs, and listeners who still care deeply about how music reaches them.

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Following the launch of FABRICLIVE’s new chapter with his inaugural artist release ‘Model Collapse’, Sully returns with a heavyweight remix package led by Basic Rhythm, alongside a brand-new track, ‘Proof’.

Originally the first release on the revived FABRICLIVE label, ‘Model Collapse’ set the tone for its forward-facing vision. Here, Basic Rhythm reworks the track into a stripped-back, bassbin-driven weapon - a dubplate turned anthem already making serious impact on the dancefloor.

On the flip, Sully delivers new track ‘Proof’, inspired by conversations with Basic Rhythm around his approach to drums.

Closing the EP is the original ‘Model Collapse’, the club hit that launched the label’s new era and continues to resonate.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

New York's P-Sol lands again on their small but already well-formed PS7 label with a pair of smartly crafted and soul-soaked cuts. 'Fat Beatty' comes first and glides in on silky, neo-soul style deep hip-hop with an easy, late-night warmth topped by a few bars of neat rhyming. On the flip is something more playful and funky with jazzy keys dancing over the languid rhythms. 'Legend' features some familiar gravelly but emotive tones as well as some other smart samples from the hip-hop world. Smooth yet substantial, this is P-Sol at his most relaxed and refined.

Horsemen make their debut on Small Great Things with Southbound, a warm and colourful EP made to ease the winter blues.

Drawing from a wide palette of house influences, the record showcases the duo’s versatility and depth beyond a single formula. The release follows Horsemen’s first year as residents at Small Great House, the label’s monthly party at OXI Berlin, including its beloved summer open airs that helped shape the sound of this EP. Southbound also introduces their first collaboration with vocalist Guya.

While the A-side sets a relaxed tone with disco and jazzy influences, perfect for those summer open-airs, the B-side shifts firmly into club territory, delivering two dancefloor-proven cuts for the night.

The A-side opens with Make Me Feel Excited, an almost disco-tinged summer anthem driven by a distinctive sample. It is followed by Napoliballa, featuring Guya on vocals, a sun-soaked jazzy track with playful rhythms. The side closes with Lighter Days, a moody piano-led track that adds a deeper, more dreamy tone.

The B-side moves into club territory, with Running offering a driving, floor-focused cut led by a bold organ hook, followed by a faster, more club-oriented version of Napoliballa.

Originally from Florence, Italy, Elio made an impression in the Seattle underground through his deejaying at DAZED parties alongside his evolution as a producer. On his first vinyl EP, two original productions channel an early 2000s melodic minimalism with a touch for evocative composition paired with memorable grooves. A remix of each completes the record.

The title track “Still Love” opens the EP with a series of contemplative notes. As the bass stirs, the track expands, adding energy alongside the breakbeat. The synth unfurls in a melodic crescendo before pads add emotive accents.

Kurilo steps into the lab to reconstruct “Still Love” into an afterhours potion. The Ukrainian producer showcases the psychedelic and sumptuous grooves that established him as one of the finest purveyors of hypnotic tech house at Trance Pandemic. The influence of cinematic acid house washes over the driving groove.

“Vegas Jam” opens side-b and again emphasizes Elio's sense for musical composition and progression. Adding swing and jazz techniques to the synth melody, variations of the piano hook improvise blissfully above the rolling bass.

A warm yet powerful kick sets the tone for the final track of the EP. China's electro and techno wiz B.AI remixes “Vegas Jam” into a mind melting sensory stimulus. The remix gathers intensity and drive, an irresistible late night brain worm.

XKatedral Anthology Series II (An Anthology Of Slowly Evolving Timbral Music), featuring exclusive music from Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, and Maria W Horn.

"XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.

The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019.

Closing side A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked version of a piece originally commissioned by Semibreve in 2020.

Side B contains the work ‘Hands Melt In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.

Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional practice usually combines acoustic and electronic source material and in this piece he molds the sound of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth.

The second piece on side B, Inertia, is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.

Closing Anthology II is Maria W Horn's work ‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics."

Channels Of Love, the collaboration between Italian duo's Dirty Channels and Eternal Love present their first original release from Dirty Channels featuring Ethiopian-Dutch singer Minyeshu and a remix from Dionisos...

With Harmony, Dirty Channels mark the first official original release on their new imprint Channels Of Love, founded together with Italian duo Eternal Love. Born as a platform for edits and reworks, the label now evolves into a broader vision rooted in global grooves and club energy.

Featuring Ethiopian-Dutch singer Minyeshu, whose spiritual and emotive voice bridges African traditions with contemporary sounds, Harmony blends percussive drive, warm basslines and hypnotic arrangements into a powerful yet soulful peak-time record built for connection.

The release also includes a soulful remix by Dutch producer Dionisos, delivering a deeper, housy reinterpretation while preserving the essence of the original vocal.

With this debut, Channels Of Love sets the tone for its future direction: alternative club music rooted in authenticity, where edits evolve into original productions and the dancefloor becomes a space for shared energy and unity.

The AMTK+ series on Amotik's self-titled imprint gives room for friends and admired artists to present their futuristic take on techno. For the fifth edition, Italian producer D-Leria joins the team and presents two highly effective, booming techno trips. The first track, 'Filterbank' sets the tone with its punching kick-drums mangled in between buzzing bass lines. His second track, 'Let It Be' shows a rare side from D-Leria where he uses mesmerising vocal chops to create an immersive, driving techno tool. On the flip side, Argentinian artist Translate comes in with some excellent bleepy hypnotism on 'Notation', followed by the darker, pulsating 'Shifted Communication'.

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.

Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.

Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.

As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.

Side A – The Head Side

Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.

Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.

Side B

Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.

Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.

Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.

Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.

Another quality release from Tone Dropout Records.

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.