Suche:flight

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

We here at TSTD are longtime fans of UK producer/musician/Label maker MATT HUGHES. For a few years he is delivering tasteful, deep, dubbed reworks for Too Slow To Disco, some in Edit form, but also his 2 official remixes for Goodvibes Sound on The Sunset Manifesto 2.
Both new TSTD Edits on this 7 inch are slow disco masterworks, he is giving the originals his trademark deep, warm versions. Who is the guy….?
Matt Hughes is a music producer from the north of England. A purveyor of all things funk, soul, disco, jazz and house! Most recent releases have been with Outcross Records, Bubblegum Pop, Editorial and Too Slow To Disco. A large number of Matt's works have been released under the MAM project with Miguel Campbell remixing the likesof the Climbers, Deadmau5 and Flight Facilities, as well as putting out releases via Wolf+Lamb, Future Classic, Hot Creations, Outcross Records, BPitch Control and Editorial Records to name a few.
Among his most notable collaborations are works with Derrick McKenzie, drummer of Jamiroquai; Drop Out Orchestra, Art Of Tones, amongst others. Each of these collaborations has allowed him to explore new musical dimensions, enriching his characteristic sound with diverse and fresh influences.

With a musical style deeply rooted in disco, funk and jazz, Monsieur Van Pratt combines classical elements with contemporary touches, creating a sound experience that is both nostalgic and innovative. His work not only stands out for its technical quality, but also for its ability to connect emotionally with the listener, making him a central figure in the evolution of modern dance sound.

2026 Repress

Buttechno digs into Berlin's club psyche once more on the second chapter of X-Berg Dubs, which twists his sound into something murkier and more inward. Squashed breaks and flighty dub techno blur with jungle-adjacent sidewinds, all wrapped in rough, lo-fi textures. These tracks don't rush the 'floor, they slowly subvert and seep into it. Overdriven delays, ghosted guitars, and smudged rhythms unfold on 'Dark Loop' with 'L Dub' setting a glitchy, Burial-esque vibe, while '2080 Dub' drifts deeper into echo and decay, but with retro garage chords and 'Stone Dub' is a pure stoner dub.

Vakula flips the script with U’re Made Of Sound – cosmic textures meet raw basement energy straight from Konotop. Deep beats, hypnotic layers, every groove tells a story. Elevate your set, ride the soundwave.

Let's see now – you just love that hugely fertile foundation period of Jamaican pop music from the birth of ska, through the spectacularly brief two year heyday of rocksteady up to and including the arrival of the first incarnation of reggae a.k.a. early or 'boss' reggae. But you're also aware that the pioneers of these sounds (including The Pioneers!) won't be creating music in these styles or touring forever – so what do you do?

Well, if you're Neil Anderson, owner of Original Gravity Records, the creation bit isn't a problem. You put forth period-authentic style material from a 'roster' of acts – such as Junior Dell & The D-Lites - that in reality consist mostly of yourself (you are a multi-instrumentalist and lyricist after all!) and whichever extra musicians and session singer you rope in for a given track. In the case of Junior Dell & The D-Lites that singer was Adrian Dell – soon to be dubbed (no pun intended) 'Junior' - first appearing on 2021's uptempo ska tribute to Salvadoran retro-dancing internet sensation Aranivah, entitled Miss Aranivah. And you keep putting out stuff so profusely and effectively that there are clamours for you to tour 'the band' which - er - doesn't really exist. What a botheration! Still, maybe your session singer could become – well - a permanent singer? Maybe you can rustle up assorted bredren to become the rest of the band and...you know what? That might just work!

And so, in the blink of an eye, Junior Dell & The D-Lites becomes a bona fide actual live band fronted by a young Jamaican singer playing fresh 60s/70s-style Jamaican music with an energy last seen and heard in, well, the 1960s and 70s. And it tours so effectively that there are clamours for 'the band' – or more accurately, now – the band - to release an album. Wait...what now? And, by the way, you've got a European tour coming up in April wouldn't it be great if the album was ready to tour by then? Pressure drop? Pressure rise more like!

Then again, Junior Dell & The D-Lites have done so many sure-shot singles to date that assembling them along with a new cut, an extended version of one of the singles and re-recordings of two of the label's previous singles that were originally by 'label mates' The Regulators should be a cinch. So expect all the hits: bluebeat banger 20 Flight Ska, the euphoric ska bounce of the aforementioned Miss Aranivah and the title track, a de rigueur smattering of covers (opener Jump Around, midway markers Praise You and Just Can't Get Enough, and one of the re-recordings, closer Don't Look Back In Anger), early reggae groovers Cool Right Down, Last Night Reggay, Can't Stop The Reggae (in a new extended form) and crowd-pleasing new one Mi Try along with the other Junior Dell re-recording - the gorgeous Why Why Why which nods to the period of reggae between the sound of '69 and the arrival of roots.

Don't you brag and don't you boast but that's a Whole Lotta Skankin' going on! Do the ska, do the rocksteady, do the reggay, why– it's another scorcher!

Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.

Glasgow reggae collective Mungo’s HiFi celebrate 25 years of pulsating music with a follow-up to game-changing second studio album Soundsystem Champions. Released in 2008, the original Sound System Champions became an instant 21st century classic - thanks to its industrial strength basslines, blazing horns and lineup of scorching microphone talent. To commemorate a quarter century of rocking dances and building rhythms, Mungo’s have created Soundsystem Champions 2. They’ve lovingly assembled some of their biggest dubplates, previously only heard in a soundsystem situation, now available to the world. Fans of the first Sound System Champions will hear musical echoes in the new version. Irrepressible Junglist General Levy rides the Belly Ska riddim that kicked off the 2008 edition, with the militant Gideon Boot. Italy’s Marina P returns to the new record on the expansive Searching, as does Kenny Knots, closing the track list with heartfelt roots anthem Rise and Gravitate. For Soundsystem Champions 2, Mungo’s have invited many more voices from their epic journey. Bristol’s Eva Lazarus revisits Althea and Donna’s immortal Uptown Top Ranking. Reading’s Solo Banton turns his lyrical versatility to hip hop banger Bubble N Wine. The beautiful grainy tones of Ireland’s Cian Finn reimagine the Wailers’ Rainbow Country. With this historic sequel album, Mungo’s look back while going forward, the exclusive becomes the inclusive, and the Sound System comes to you!

This record contains six tracks by Freephilipp and Robin — two Bremen-based musicians who meet where the void of digital subculture and experimental electronic music opens up. Freephilipp contributes four glitch-driven pieces that move between IDM-tinged ambient, electro, atmospheric broken beats and junglish fragments. Random Chords Memory is one of the reasons this release needed to be carried out into the nexus: it stands on its own, just like the rest of the EP, yet it may be the signature track of Freephilipp’s nocturnal enthusiasm — mixing between night shifts and sharing production skills with the people around him. Robin (zckr rec / ph17) completes the EP on the flipside. Tau-37 and Omega5, named after two star systems, invite you onto a dub-soaked, drifting flight. The Basic Channel- esque impact of Tau-37 rounds out the journey in combination with Omega5, whose drone-laden soundscape slowly opens and dissolves. This music was never meant to be produced for an audience. It is a document of what it sounds like when you say goodbye to the outer world and begin building landscapes in another.

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

Trippy Journey proudly presents Trippy Dove, the sister label of Trippy Cat and the new home of their feathered companion Kesha the Dove. Expanding the sonic universe, Trippy Dove explores the darker and deeper side of the journey a mysterious reflection of its feline counterpart.

The debut release Trip Mode 01 features five distinctive tracks from Trippy Journey, JJ Fortune, Prince de Takicardie, Javier Carballo, Aniano, and Nebulaee. Each track brings its own authentic character and hypnotic groove, designed to set the perfect mood on any dancefloor.

Get ready to dive into a trippy flight through to Trip Mode.


Mastered At Time Item Studio

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Mit Vol. 04: Happy Music For Happy Feet präsentiert Wagram einen weiteren Höhepunkt der beliebten Electronic Music Anthology-Reihe. Auch dieses Kapitel wird von FG Radio, einer der einflussreichsten Stimmen der französischen Electronic-Music-Szene, sorgfältig kuratiert und vereint ein erstklassiges Line-up an House- und Dance-Produzenten, deren Tracks über Jahrzehnte hinweg die Dancefloors geprägt haben. Die Kompilation spannt einen weiten Bogen zwischen zeitlosen Club-Klassikern, funkigen House-Grooves und elektrisierenden Dance-Anthems. Mit einer Mischung aus bekannten Hits, DJ-Lieblingen und stilprägenden Signature-Tracks liefert Happy Music For Happy Feet genau das, was der Titel verspricht: pure, positive, hochgradig tanzbare Energie. Perfekt für DJs, Sammler und für alle, die elektronische Musik in ihrer fröhlichsten, ansteckendsten Form lieben, steht diese Ausgabe für das, was House und Dance seit jeher ausmacht - Leichtigkeit, Euphorie und die Freude am rhythmischen Ausbrechen aus dem Alltag.

Rolando’s back in the game with Syncrophone Remixes Vol.2—flipping DJ Qu’s “Undescribed3,” Detect Audio’s “Synchronize,” and Anthony Shake Shakir’s “Arise.” Three exclusive remixes, pure underground techno for real heads. Detroit spirit, cop this 12” before it disappears!

DJ Feedbacks :


Honey Dijon : DJ Qu is the one for me. Will def support!
Raresh (ar:pi:ar) : super! thanks
Truncate : Thanks!
The Advent : Smooth bgrooves on here.. 3 - Anthony 'Shake' Shakir - Arise (Rolando Remix)
Anika Kunst (Symbolism / RSPX) : Cool release. Arise rmx is beautiful. Thanks!!
Harvey Sutherland (MCDE / PPU / Voltaire Records) : DJ Qu flip for me, thanks!
Scott Grooves : The Shake is the one
Satoshi Tomiie (Abstract Architecture) : Wooow hot hot hot
Roman Fluegel (Roman Fluegel, Dial, Cocoon, Playhouse, Robert Johnson) : The Remix for Shake is the one for me.
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Enrica Falqui (ERIS, Plexus 4) : I like it!
Daniel Avery (Phantasy / Fabric) : Awesome
Laurent Garnier : cool release
Elisa Bee : Only love for Rolando, thanks x
Slam (Soma) : Brilliant - thanx
San Proper (Perlon / Rush Hour / Proper's Cult) : Totally what i needed to hear, Rolando remixing Shake & Q, my heroes lined up. I will enjoy playing all 3 mixes. One Love.
Axel Boman (Studio Barnhus) : killer remixes!
Terry Farley : DJ Qu mix my fave - heads down LETS GURN
D'Julz (Bass Culture) : great work !
gilbr (Dj Gilb'R / Chateau Flight (Versatile)) : Like the Shakir remix thanks for sending
Ben Sims : Now downloading... will check asap!
Lea Lisa (Phonica Records / Folklor Club) : mental, really good one
Dj Deep (Deeply Rooted) : Super nice package! Dj Qu's Undescribed3 remix for me here! Thank you
Mike Shannon (Cynosure) : Rrrrreeeeemix!! Thx
Efdemin (Dial) : Wonderful remix package!
Inland (Inland) : Hellooo. These are great. Qu and Shake versions both killer! Thanks
Kai Alce (Real Soon) : DJ QU remix bangin
Uncertain (RSPX, WRKTRX, Suara) : remix 1 for me
Harri (Sub Club) : very nice all three will play and support
Blasha & Allatt (Meat Free) : Thank you!
Marcel Dettmann : thx
Richie Hawtin (M_Nus) : downloaded for r hawtin
Luke Solomon (Classic / Freaks / Music For Freaks) : all killer
Luke Slater : Thanks Ro!
Ame (Innervisions) : thanks
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : I like this
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Alienata (about blank) : Very nice remixes, all of them, thx!
Nat Wendell (Depth of My Soul, Courtesy of Balance, Love & Loops) : Dope remixes!
Dave Clarke (white noise radio) : Not my sound, but please keep them coming !

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions. “I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.” Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic. Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody. Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy. Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

Double Je is Hypnotique’s third release on Bordello A Parigi. Following the successes of La Pénombre and Solitude, the trio of Sergio Mesa (IAMNOTAROBOT), David and Maia Jornet have reconvened for a smouldering three tracker. Vocals scale soaring synthlines in the title piece. Melodies dip and swoop like birds in flight. A beat throbs as Maia’s lyrics sail ever higher in this tale of misguided romance and impossible answers. The instrumental version allows the track’s intricate synthwork to take centre stage. Drums snap that bit tighter, gentle pads lapping against the pulsating basslines and addictive hooks. Tempos drop on the flip, the B-Side being dedicated to “Dark.” Slender keys rise above a steady kick before a rumbling bass takes hold. Vocals take spoken word form, their message and mood shifting from resignation to resilience and then resolve as the track becomes ever more emboldened. A truly fantastic return from a uniquely talented group.

Sounds Over Seas is ready to release its very first LP by label founder Julian Bainbridge. The album covers aspects of the Deep House genre in its classic definition, pushing certain boundaries, whilst maintaining the spirit of the genre through feeling and utilising melodies and rhythm to evoke emotions which go beyond the dance floor. Keeping it raw throughout the nine tracks, each one incorporates different elements of the music spectrum. Implementing jazzy tweaks, minimalistic rhythms, haunting melodies as well as ambience and global sounds in a full dancing and listening experience.

Strictly limited advance copies of GLENN UNDERGROUND's forthcoming album, due out in Spring 2026. Stickered white labels for hardcore fans and the impatient. A long awaited followup to the last "Tech House" release on PEACEFROG back in 1996, 8 tracks packing an "atmospheric punch". (STRICTLY JAZ UNIT MUZIC)

Since the days of the disco demolition and the emergence of the four to the floor.....
Sound has traveled from the hands of Heard, Knuckles, Hardy, Chip, Jefferson, Hunt, Terrible Ted, and a host of others but has been Perfected in Underground!

Presenting...
Grass Root (Tech House LP)
On Strictly Jaz Unit Muzic.
Since the last Tech House release on Peacefrog Records in 1996 the fire never stopped burning under the fingers of the Chicago Maestro. Circumnavigating the globe and archiving life experiences bottled up to the point of combustion

Witness now the dawning of the Strictly Jaz Unit Muzic release: Grass Root (Tech House LP)
This Eight song bequeath to your eardrums packs Atmospheric Punch, Omni Directional Drive, Crispy Hi-hat, Thumping Kicks, Punchy Deep Bass and Emotional Content to rattle your limbs..

"Recorded in Naples historic recording studio Auditorium Novecento ‘notes from the air’ is the second Ciro Vitiello full-lenght album, that turns around the ambiguous figure of the seagull, a coastal apparition both ridiculous and divine, foolish and sacred, graceful in flight yet uneasy on land, something that knows more than it shows, carrying both wonder and threat in its gaze.

The album breathes through that tension, the desire to fly and the fear of falling, the suspicion of having already crashed somewhere unseen.
Wind, creaking ropes, invisible currents: these become signals from another uncoding state, reminders that air can be both home and haunting. The record lingers in suspension. Each track feels like a fragment carried by wind, a message blurred, a memory misplaced, something approaching meaning but never arriving.

The record drifts between orchestral gestures and dream-pop/post-rock shadows, guided by Ciro Vitiello’s fascination with shoegaze textures and cinematic atmospheres, and features contributions by Heith, Renato Grieco, Stefano Costanzo, Caraluce and Daniel Kinzelman. Vocal features include Martyna Basta, Heith and Antonina Nowacka, alongside Ciro’s own voice."

Daniele Baldelli and Jolly Mare come together for a record that feels less like a collaboration and more like a shared state of mind. Flusso Uno moves through Afro-cosmic kraut-inflected psychedelia and cinematic electronics with a natural, unforced flow, where rhythm, texture and narrative all pull in the same direction.
Rather than referencing the past, the EP treats it as a living language. The longform, ritualistic percussion of early cosmic dance culture meets the hypnotic motorik pulse of krautrock and the more structured, sample-driven tribalism that followed in later decades. What ties it all together is a deep sense of atmosphere and intention: music that feels physical, emotional and quietly transportive.
“We particularly focused on ritual percussions, hypnotic grooves and suspended atmospheres, trying to blend musical anthropology, auteur electronics and narrative instinct.”
Dhol Parade opens the journey like a slow-burning procession, drums circling and expanding as if guiding the listener into another space. With Icari the perspective lifts, melodic lines drifting and tilting, constantly searching for balance between gravity and flight. Huldufolk pulls everything back into a shadowy, nocturnal zone, where textures feel half-real, half-imagined.
Finally, Viaggio Tascabile loses the record in a quietly reflective way, a compact voyage that sums up the EP’s philosophy: small in scale, deep in meaning. Flusso Uno is not about nostalgia or revivalism. It is about taking the spirit of cosmic culture and letting it breathe in the present, where storytelling, dancefloor intuition and sonic exploration still meet. A record made for open ears, open minds and long nights.

Some big names feature on the second volume of ENSOULED's 'Freedom, Innovation, Resonance' series, and they serve up suitably profound sounds. Dutch mainstay Orlando Voorn gets the hairs standing on end with his 'Deeper', a sumptuous blend of soft synths, undulating rhythms and spiritual keys. The Cee ElAssaad remix has still soft edges but a little more upright groove, and then Chicago legend Boo Williams cranks it up further with his loopy, melodically intense 'Loose Cannon'. Lastly, Nawfel's 'Fight Or Flight' is a textural deep house affair with mechanical, rigid rhythms softened by the lush pads. It echoes greats like Omar S and Theo Parrish and closes in style.

When Brazilian producer, songwriter, and multi-instrumentalist Diogo Strausz arrived in France, he already carried an impressive legacy. Known for his collaborations with the New York label Razor-N-Tape and for producing Brazilian legends such as Gal Costa and Marília Mendonça—whose tracks have gathered millions of streams worldwide—Strausz quickly made a name for himself among an international audience. His productions have also been remixed by acclaimed artists like Yuksek and Ron Trent, further cementing his global reach.

After two critically acclaimed releases on the French label Goutte d’Or Records (Flight of Sagittarius, 2022, and Samba From Outer Space, 2024), Diogo Strausz now naturally joins Favorite Recordings for a new chapter in his musical journey.

On this new album, Strausz pays tribute to the golden era of Brazilian Disco-Funk from the late 1970s and early 1980s, drawing inspiration from visionary producers Robson Jorge and Lincoln Olivetti. The result is an organic, ambitious, and deeply groovy record that celebrates both the vibrant dance culture and the rich musical heritage of Brazil.

Faithful to Favorite Recordings’ analog spirit, the album was crafted using vintage studio gear, capturing the warmth and depth of classic recordings reminiscent of the legendary Estúdios da Sigla sessions in Rio de Janeiro.

The explosive track “Ele é Artista”, featuring Bruno “Patchworks” Hovart (Voilaaa, Mr. President, João Selva, Uptown Funk Empire), is a standout moment—a dancefloor-ready bomb that channels the joyful energy and irresistible funk of modern tropical productions.

With its sun-drenched grooves, jazz-funk sophistication, and boogie flair, this album confirms Diogo Strausz as a master at blending timeless Brazilian soul with contemporary elegance.

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

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

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

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

Vinyl only.
For true diggers and devoted believers.

Departure Lounge Records returns with its 7th vinyl release from Ode To 97, delivering unmistakable club cuts infused with a romantic, nostalgic vibe. These tracks blend emotion reminiscent of yesteryear, and driving rhythms, perfect for late-night dance floors and reflective moments alike. Known for its warm, eclectic house selections curated by label owner and producer, Brandon Pinel, Departure Lounge continues to craft music that's both intimate and dancefloor-ready.

The Xuntanza series returns with its sixth volume, reaffirming the collaborative spirit that has made it a reference within contemporary electronic music.
In this new chapter, five artists from singular sonic universes come together on one record to shape a collective journey: Legowelt, Synth Alien, Vema Diodes, Irrational Language, and Sound Synthesis.
The result is a mosaic of sounds in tune with the open and daring identity of Fanzine Records. Join this new Xuntanza and be part of the history of Fanzine Records.

The futuristic proto junglism of Coral continues. With work that's been in the pipes for quite some time, Coral finally delivers an impressive 5 track EP made up of lush pads and deep bass, accompanied by vicious stabs and heavy breaks. An EP aimed at both dance floor and living room. To compliment this jam-packed release, the Dutch hardcore master Tommy De Roos, also known as FFF, has taken one of the tracks a step further down the rabbit hole with even deeper bass and a massive (!) mantra to make all heads turn. Shout out to Dj Flight, Tim Reaper, Mantra and all for the support.

The soundtrack for the animated film Arco (directed by Ugo Bienvenu, winner of the Annecy 2025 Crystal Award for Best Feature Film, also presented at the Cannes Film Festival) was composed by Arnaud Toulon. Between orchestral flourishes and delicate electronic touches, he composes immersive, sensitive, and luminous music that evokes the great scores of Joe Hisaishi while asserting a resolutely contemporary identity.



Conceived as a true sonic journey, the soundtrack accompanies Arco's temporal wanderings with rare cinematic intensity. Each piece oscillates between poetry and dramatic tension, making this work an experience in its own right, to be discovered far beyond the images.



Awarded the Sacem Prize for original music for feature films in Annecy, this soundtrack is already establishing itself as a landmark piece of contemporary animated cinema.

This fresh white-label serves up a well-known disco gem but lovingly reworked from the original multitrack tapes. It's been done by an absolute Stateside king of disco and soul edits who is a connoisseur of the art form and has long been known for uncovering hidden gems and elevating them with studio finesse. The result is a version that stays true to the soul of the original while sounding absolutely huge on today's sound systems with its feel-good vocal energy and rousing rhythms. Dub and instrumental versions make this an unmissable 12".

A deep journey into the sound abysses of the night, invoking hidden energies, opening a ritual portal to the core of the seal and the ritual itself.

This compilation brings together diverse artists who explore a fusion of dark techno, industrial environments, ritual textures and pulses that evoke vast underground spaces. The idea is to generate a state of technical-ceremonial trance: vinyl becomes a physical talisman, object of worship, beyond a simple club track.

Side A opens with darker rhythms, synthesizers that resonate like funeral bells, mechanical percussions that hit like ancestral machinery. As it progresses, the journey intensifies, layers of bass that rumble like mine hulls, reverberations that expand consciousness.

The B-side takes flight towards the ethereal and the expansive: distant melodies, ritual echoes, processed voices that look like invocations, culminating in a track that sounds like the closing of a rite, the day that meets the night.

Welcome to the first release on Acid Lamour
A sub label for Lamour Records started in 2018 with a focus on techno and acid dedicated DJs. Releases are limited to 303 vinyls, no re-press.
Anders Ilar and John H are no newcomers to the electronic music scene.
Born in 1973, Anders Ilar began his explorations of electronic music in the mid 80s. Growing up in the small town of Ludvika in Sweden, Ilar spent all of his spare time playing with synthesizers, drum machines, keyboards and sequencers, learning the ins and outs of analogue and digital sound and music creation. Inspired by the early industrial and EBM wave he formed several bands with friends, started playing live shows
at smaller local parties, and released several demo tapes in very limited quantities. In the 90's he gradually shifted his creative influences towards ambient techno and acid and also started to DJ. He started using computer software to produce his music around 1999 and his first vinyl EP was released in 2001 on the german label Plong!, soon to be followed by
many more releases on labels such as Shitkatapult, Audio.nl and Echocord.
Developing his own flavor of deep minimal dub techno and ambient he gained critical acclaim with his album Nightwidth (2006) for Narita Records in the USA. Followed by highly appraised album Sworn on the german label Level Records in 2008. Ilar has also made remixes for celebrated artists such as Apparat, Mikkel Metal and Ripperton and has
appeared on numerous compilations and DJ-mixes. He's performed live on stage through-out most European countries and Japan, as well as doing a small tour with Notch Festival in China in 2008.
Up to 2018 Anders Ilar has produced 13 albums and 25 vinyl EP's and performed in over 15 countries.
Born in 1984 and based in Gothenburg. John H has been DJing, as well as producing tracks, since the late 90s, with Anders as his mentor and teacher, giving John early musical influences spanning across a wide range of genres, from Swedish techno to IDM, Cologne acid craziness and
the sound of Chicago house tracks. The musical output of his DJ-sets usually varies between techno, house, acid, electro and everything in between, depending on the time and location. John has performed on several locations all around Sweden, but also done appreciated gigs in other European countries at clubs like Tresor and Culture Box, and his music has been featured in sets by DJs such as Sven Väth, Adam Beyer,
Joris Voorn, Dense & Pika, Cari Lekebusch, Alan Fitzpatrick, Karotte,
Gregor Tresher, The Hacker and many more.
Coming For Your Tongue EP is Anders and John's 4th collab release, after
acclaimed releases on Flight Recorder and New York Haunted, recorded
during a jam session at John's studio in Bergsjön outside of Gothenburg,
Sweden, using a small setup of analogue synths and drum machines such as
the Roland TR-606, TR-808, a Devil Fish modified TB-303, Minimoog Voyager
and the Arturia Microbrute. After recording Anders spiced things up by
cutting and puzzling loops as well as adding extra effects and drums.

Limited edition of 303, no repress. Vinyl exklusive for 3 months

The label is built on a sonic and experimental mission a space for exploring emotions and textures beyond genres. Each artist creates their own small world within this vision.

The idea for the first record was born after discovering the Urgent collective, where I first saw Andree Bohlin perform. His unreleased track left a deep impression on me raw, hypnotic, and emotional.
Later, we connected and created the first episode for the label a release that perfectly represents its sound and spirit.

This marks the beginning of a new chapter where each release becomes part of a continuous journey through sound, emotion, and underground culture.

Pilot Talk II is the fourth studio album by New Orleans rapper Curren$y, and follow up to his widely celebrated release, Pilot Talk. Originally released in November 2010, and initially only available on CD & digitally, Pilot Talk II was first pressed on vinyl and exclusively available in the Jet Life: Pilot Talk Collection Vinyl Box Set. For the very first time ever and after much anticipation from fans, Pilot Talk II will be released as a standalone vinyl product, exclusively available for Record Store Day Black Friday 2025 to celebrate the album's 15 year anniversary. Pilot Talk II includes standout tracks such as "Michael Knight," "Famous," "Hold On (feat. Trademark Da Skydiver & Young Roddy," & perhaps one of Curren$y's biggest solo songs, "Airborne Aquarium." Pressed on stunning Purple, Black & White 3 Color A Side B Side Vinyl and limited to 3000 copies worldwide, Pilot Talk II is a must have for any Curren$y or blog-era rap aficionado.

a fascination flows down the chemical gradient. songbirds take flight from a colonial square in montevideo and fall as acorns in the foothills of the sierra nevada. the moon aches, holding a teeming darkness to the edges of the clearing as we make quick work for the machines. first a pulse, then an armature is spun up around it while the whipping plasma of virtual half-thoughts cools and hardens into something more familiar. a gleaming clash of frogsong begins to reveal its cadences, unspooling into regular striations. it forms a grid in the air, the water rises to meet it, and pressed between these mirrored planes of disappearance we find our vector and glide towards the horizon.

Neon Castle hones in on a fleeting sub-genre of early to mid-’80s folk-rock. For a brief moment, glistening slide guitar, fretless bass, satin floating over drum machines intertwined with ethereal female voices, conjuring a sound at once familiar and otherworldly—pop structures touched by myth. Some songs sway with the warmth of open ranch-land, crystal visions beneath thundering skies; others shimmer with candlelit mysticism, as if born in a pagan stone tower, crafted with the very staff Kate Bush might have wielded. Together, these pieces reveal a singular cloth.

Compiled by Charles Bals—now in his third collaboration with Smiling C—Neon Castle affirms his rare gift for storytelling through sound. Each track unfolds like a scene from an imagined film: castles glowing with noble gas, kingdoms awash in purple haze, white horses roaming free, hair cascading to the waist. The collection sketches a realm both new and upon a time, a world where fantasy takes shape through music. With Neon Castle, attentive listening becomes narrative.

Alex Puddu returns to the origins of his first sound that launched him with the original soundtrack of The Golden Age Of Danish Pornography presenting us with a new work inspired by the music and soundtracks of hard and erotic films of the late seventies and early80s with the new album
“I Desideri di Sadie (Piaceri Tropicali)"
is the new concept album written, arranged, produced, performed and conceived by Alex Puddu, It is the first album of the erotic/hard series Sadie.
A heroic female character fantasized by Alex Puddu of a rich and charming young woman, sexy, strong, brave and free with a great spirit of adventure, always traveling around the world in search of new experiences in the erotic and dark world that surrounds her.
The music is inspired by the soundtracks of adult movies of the late Seventies and early Eighties.The story takes you into a journey set in the countries of South-East Asia and the Pacific islands, in exotic landscapes, among jungle, lush vegetation and enchanting tropical beaches. A magical trip among temptations, on the islands, to discover the beauty of the "Erotic World" of Alex Puddu

Operating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic & cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack & Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.

Jaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet & embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid & Schneorr N. acting as local hubs for collaboration and exploration.

The purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out & doing their thing.

The whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.

Baghali is released digitally and on vinyl in an edition of 300 on 3rd October 2025.

PD002 takes flight in the form of a lost, deadeye jungle bird scavenging for his next trinket. It captures the raw energy and playful, feral sound that defines the Pelican Dub aesthetic: a blend of primal rhythms, hypnotic textures, and experimental intensity.

Pelican Dub 002 features three original tracks by DJ Merlín, alongside one co-production with Adam Pits:

Obsession
Obsessed once again… Nearly lost my head rocking it like a madman.
These drums weren’t simply made. They were forged by a blacksmith with a big blade and a bad temper. It boasts a peculiar flow and a three verse arrangement. Not a mix tool, or is it?

Down the Wrong Road
A futuristic techno-dub track featuring pinched, glassy drumwork wrapped around a pseudo-acid riff. Born during the aftermath of a questionable decision of two friends meeting early in the morning after separate all-night adventures, hence the title: Down the Wrong Road…..

Dirt Bubble
Dirty, unpredictable, and uncompromising. The original version of Dirt Bubble is a raw and visceral workout, chaotic in just the right way.

Dirt Bubble (DnB Mix)
The younger sibling that has outgrown its original prototype. This DnB rework has rightfully become a flagship for the Pelican Dub sound. Expect primal rhythms, wild experimental drum design, and a savage, stretched-out analog bassline that dominates the low end.

‘Made For The Dancefloor’ is Glitterbox’s first vinyl compilation since 2021’s ‘Where Love Lives’ release. Spread over three 12” with four tracks per record, ‘Made For The Dancefloor’ compiles some of the biggest and most loved releases on the Glitterbox label this year. Including the huge Tripolism remix of The Shapeshiters classic ‘Lola’s Theme’, Crackazat’s upbeat take on Ben Westbeech, big main room cuts from Harry Romero, Kiddy Smile, Dave Lee and lots more.

A compilation that captures the essence of Unex Pected’s dancefloor spirit — where energy, emotion, and depth intertwine.
Every sound breathes, every beat remembers, unfolding a journey from dusk to dawn.

Unex Pected Records, a sublabel of MixCult Records, returns with a new chapter that embraces a more energetic and expressive sound. This release brings together four dancefloor-oriented tracks, each telling its own story while flowing together like moments from one long night.

From deep grooves to subtle textures, these compositions reveal a shared pulse and a sense of motion. There’s a quiet poetry woven throughout — a metaphorical feeling of flight that ties everything together. After all, the dancefloor would be nothing without a little lift beneath our wings.

Limited Edition