quête:füse

Repress 2026

Born in Sant Cugat del Valles, Spain, Rosalia has spent the last decade reshaping the language of pop by folding flamenco's emotional gravity into experimental production. Her fourth studio record pushes that ambition further. Recorded at London's Studio 13 with the London Symphony Orchestra conducted by Daniel Bjarnason, Lux is conceived as a four-part suite exploring "feminine mysticism, transformation and transcendence". Across its eighteen tracks, she blends classical orchestration with industrial textures and devotional themes. The lead single 'Berghain' - featuring Bjork and Yves Tumor - fuses cathedral-scale electronics with liturgical chant while 'La Rumba Del Perdon' pairs Estrella Morente and Silvia Perez Cruz in a near-sacred lament. Sung in English, German and Spanish, it's Rosalia's boldest statement yet.

Some records are answers to questions no one asked out loud. With Where is Acid Eric, Cornelius Doctor & Tushen Raï deliver a psychedelic missive from a parallel timeline — a time-traveling tribute to Goa’s golden age, filtered through their unmistakable signature.

Returning to their home base, Hard Fist, the duo steps into new territory with this release, and yet, it feels like they’ve been heading here all along. This isn’t a retro-fetishist trip, nor a copy-paste homage. It’s a reimagination of a sound, a space, and most of all, a spirit.

The EP is rooted in the mythic nights of late-80s and early-90s Disco Valley, where British acid house collided with Indian hedonism, where freedom wasn’t a pose but a necessity, and where dancefloors became temporary utopias. But in the hands of Cornelius Doctor & Tushen Raï, this past gets warped, stretched and reanimated with 2025’s tools and sensitivities.

Across three extended tracks, the duo summons a sound that’s dense yet breathable, tribal yet precise, nostalgic yet futuristic.

They weave Goa’s swirling trance lines with broken rhythms, analog squelches, and post-industrial textures. The acid lines are sharp, but never cliché — more mantra than gimmick. Voices float in and out like half-remembered chants. Basslines slide, hypnotize, and then vanish in a cloud of smoke. It’s not a flashback. It’s a vision.

The title, Where is Acid Eric, feels like a lost broadcast — part question, part invocation. Eric is a symbol. IS Eric a ghost ? The true legend of a forgotten raver on a dusty Anjuna morning. What matters is the search. The longing. The dance.

Hard Fist, true to its form, continues to blur the lines between ritual and rave, tradition and invention. And with this record, Cornelius Doctor & Tushen Raï don’t just revive a genre — they reconnect with an ideal: dance music as exploration, as transcendence, as resistance.

One foot in the dust, one foot in the cosmos. The answer isn’t important. The trip is.

‘3' saw the core Lifted duo of Max D & Matt Papich unravel their visions of excess into their most divergent and wide-eyed collection to date. Presented here by Peak Oil in a vinyl edition featuring the painting of Jordan Kasey (yes, related to Martin Kasey, saxophonist on 2019’s LP 2) and packaged for a seamless listen.

First scene ‘Chefs’ places us squarely off-center, landing in a cinematic environment that feels a bit like steadycam Luis Bunuel , wine bottle whoo-ing and horn fanfare. Its music without a hard surface, defined more by its fluidity and characters, found sounds and performed dialogue. “Cymbecko” shifts gears into blissful ambient dub, and paves the way for a Luke Stewart led excursion into the uncanny that is ‘Trip Tongue’. Stewart’s upright bass never stops seeking, while Jordan GCZs Rhodes barely touches down before lifting back up into and out of Jacob Long’s (Earthen Sea, Esau) liquid tone sheets. An outside world of percussion accompanies.

The mood morphs and the scene cuts in hard with “Born in the Roof”, slacker techno that grows shimmering parts, Perlon for potheads. Voiceover slacks right with it, a half-convo caught in the billowing chorus of fx. “Macarena” snaps things into focus, working almost like an open window to airing out the heady fog. Simplicity in the vignette.

After “Mecha Perfume & Variety”, “Snow Dancing” reignites the drama, with burning guitar by Jonny Nash taking a plucky and sliding lead over wildly fused drums by Max D, we get a test of new depths for Lifted with the somber and exuberant “Whipped Cream”. Crackling like a radio but with modern propulsion in the form of richly evocative pads courtesy of Motion Graphics, it sounds like a dinner, a space trip, a storyboard, a scene, threaded together in bouncing, oblique ways.

"Bobby V" drops refreshingly, timed like a credit roll and leaving an afterglow that feels more tuned-in than ever.

Players on this album include: Luke Stewart (Irreversible Entanglements, Blacks Myths), Jeremy Hyman, Jonny Nash (Melody As Truth), Jordan GCZ, Matt Papich, Josh Levi, Mezey, Hirama, Dawit Eklund (1432 R), Motion Graphics, Max D, Jacob Long (Earthen Sea, Esau)




d 4.Born In The Roof Radio Mix
e 5.Macarena Radio Edit

Fresh off the success of her sold-out self-titled debut ERIN BUKU returns with a collaborative EP with legendary producer DJ SPINNA. Weaving SPINNA's cosmic production with ERIN's rich, honeyed vocals. Feat. collabs from CHALI 2NA, STEVE SPACEK, and more. Full pic sleeve.

Nebula marks its seventh release and keeps its focus firmly on dancefloor functionality, making its releases primed for unique, overwhelming moments in the club.

Samuel Kerridge, with his signature sonic arsenal, stands alone in the worlds of rhythm and noise. A singular artist, his music is to be appreciated on its own terms. Here, he returns to James Ruskin's Blueprint Records with the eleven track album, "Memoir Of Disintegration".

The British producer has been carefully turning techno inside-out for over a decade. Taking a distinctly post-punk approach to the genre, he has become an integral part of Regis' legendary imprint Downwards. Kerridge has helped to define the label's contemporary sound: broken techno and snarling punk, informed by industrial music and metal.

Samuel Kerridge has released seven EPs and five albums (including a collaboration with Dva Damas' Taylor Burch) and his recent, "Kick To Kill", has become something of a statement of intent, blossoming into a new label and event series with a focus that broadens beyond techno tracks into full-blown song writing. Aside from his solo work, he collaborates with OAKE in what he describes as the "power metal techno" duo UF, and has recently started his own guitar band, Death Disco.

Kerridge ran the Berlin-based Contort label and party series and curated the legendary Berlin Atonal festival for three years, underlining his credentials as a stalwart figure in the world of experimental, boundary-pushing techno. He's also an accomplished live performer, most recently developing a hybrid live-DJ set that dismantles hundreds of tracks into a sampler to make new music in real time. It's an inventive process that places him in the lineage of iconic and ground-breaking techno acts, while still carrying the flag for the darkest corners of underground electronic music.

London duo Babeheaven — vocalist Nancy Andersen and producer/multi- instrumentalist Jamie Travis — return after four years with their highly anticipated 5-track EP ‘Slower Than Sound’, released via Scenic Route on October 24.

Following their singles ‘Beloved’ and the 6 Music-premiered track ‘Picture This’, ‘Slower Than Sound’ marks a deeply personal and intimate turn for Babeheaven. Written and recorded largely in Nancy’s home studio, the EP embraces minimal instrumentation, acoustic textures, and spacious arrangements, capturing the emotional vulnerability and euphoria the duo describe as “Post Rave” — the music you listen to on the ride home from a
party.

“It feels like a rebirth in a lot of ways,” says Nancy. “Writing at home gave me space to experiment, make mistakes, and rebuild confidence. Once I brought the songs to Jamie, we shaped them together into what you hear now.”

The EP explores love, reflection, and personal growth. Beloved conjures a comforting, almost mythic presence, while Lost For Words reflects the struggle to connect with the world and oneself. Picture This offers snapshots of a relationship, looking back while imagining its future. The cover Tiny Demons by Todd Rundgren blends seamlessly with the EP’s introspective mood, and Loud Thoughts, featuring Samba Jean-Baptiste, captures heartbreak, burnout, and creative pressure. “I hope people can find their own meaning in these songs,” Nancy says. “I’m writing for myself, but music is for each listener to interpret.”

Since debuting with Friday Sky in 2016, Babeheaven have steadily built a loyal following through their acclaimed albums Home For Now and Sink Into Me, amassing over 65 million Spotify streams and earning support from BBC Radio 1, 6 Music, and KCRW. Their live shows have sold out Village Underground,

Bush Hall, and Jazz Cafe, and they’ve shared stages with Cigarettes After Sex, Loyle Carner, and Nilüfer Yanya. Visually, Babeheaven’s world has been shaped alongside creatives including Margot Bowman, Frank Lebon, Tegen Williams, Sacha Beeley, and Joyce Ng, cementing their reputation as one of the UK’s most distinctive acts.

After facing cancelled tours, industry pressures, and a period of creative doubt, Slower Than Sound represents a return to the core of their artistry: intimate, honest, and self-produced. Jamie reflects: “Not putting out music for so long was hard, so we hope this is the start of a more prolific period for us, reconnecting with the London music community and beyond.”

EMEX is the emergent project of Modular Expansion. The "né.on" project expresses a contemporary retrofuturism that is based on current but simultaneously changing concepts of "the future". Retrofuturism embodies two overlapping trends that can be summarized as the future as seen from the past and the past as seen from the future.

For our next physical release, FERMA welcomes back home one of the individuals running the project, Romphea. As a co-founder, he has long shaped the label’s uncompromising DIY ethos—placing experimentation, raw energy, and community at the heart of its vision. After releasing in a series of acclaimed platforms, the forward-thinking DJ and producer from Vyronas, Athens returns to vinyl with a genre-defying release. Building on the experimental pulse and reshaping the edge between electro, breaks and techno, Romphea continues that trajectory, weaving together tense polyrhythms, warped melodic fragments, and cavernous spaces.

This release features four, plus three digital bonus original tracks, aiming to provide a clear sound identity for the artist. The A-side opens with “Calls from Salem”, a dystopian slow burner that sets the tone with broken-beat percussion and dissonant synth stabs. “Steel Chair” surges forward with unrelenting force, propelled by serrated arpeggios and a barrage of fragmented vocals that rise and fall within the space, crafted for peak-time eruption.

Flipping to the B-side, “Paid Dividends” reaches full intensity, layering hammering kicks and percussion, while the low end rumbles with tectonic weight, amplifying the energy to fever pitch. Closing the record on a more contemplative note, “We Are The Universe” slows the pace, easing the tension and drifting into deeper territory. Echoing chords drift into space, layered with fragile percussive details and low, throbbing pulses. It’s a meditation on collapse and renewal, offering a moment of breath after the storm.

Straight from the source, defying the norms, devoted to the art. Do not sleep.

This project was created to celebrate fragments of Brazilian underground culture, shining a light on the stories, sounds, and movements that shaped our scene.

We begin in Curitiba, with Rolldabeetz, a duo that became a milestone in the history of Brazilian electronic music. With Fábø’s restless vision combined with Soundman Pako’s 30 years of dancefloor experience, they created a timeless language that inspired a whole generation of clubbers.

These 4 tracks are fragments of that era, produced between 2010 and 2019, when Curitiba’s scene was exploding with identity and boldness. Each one carries the energy of those dancefloors at that moment in time. The sound blends influences of techno, minimal, house, and funk, designed for serious dance floors.

No Speakers scores a major coup here by signing a Detroit legend from Underground Resistance's Galaxy 2 Galaxy. This guy's shared stages with figureheads like Jeff Mills, Carl Craig and Goldie so his creds cannot be questioned. His signature fusion of jazz and electronic fire burns bright here with A-side bangers 'Layers to This' and 'Bridgehouse' primed for future classic status as well as peak-time destruction. Flip it for South London's L.A. Synthesis remix. No stranger to dropping their own iconic techno, their take twists and turns into otherworldly soundscapes. Label boss El Prevost closes the EP with a savage twist of 'Bridgehouse' that is dark and twisted in all the right ways.

DJ Feedback

Kai Alce:
"Bridgehouse is just that, a bridge to the future."

Chris Udoh:
"Bridgehouse is an exceptional cut! "

Kosh:
"Nice release."

D'Julz:
"Best EP I heard in a long time. Lovely."

Radio Slave:
"So good to see La Synthesis here !!! and another great EP. from Jon. Full support."

ICYKOF:
"This is really fun. Love the first track."

Barbara Preisinger:
"The original tracks are sounding great to me and will go into the box. Thanks a lot!"

Orlando Voorn:
"Dopeness, all killer no filler."

Okain:
"Classy stuff."

Cristi Cons:
"Very nice, thanks."

Ryan Crosson:
"El Prevost remix is great, also enjoying the la synthesis remix."

Harri:
"Nice, will play and support."

Domenic Cappello:
"Jon is Detroit royalty, love this."

DJ Hutch:
"Love this release. Bridgehouse remix is crazy."

Harvey Sutherland:
"Bridgehouse is hot, thanks!"

Colin Dale:
"Excellent EP. All the cuts rock."

Greg Gow:
"Nice soulful tracks full support."

Laurent Garnier:
"Cool deepness."

Aleqs Notal:
"Jon Dixon, always on fire!!!"

Man Power:
"Layers to this is great."

DJ Bone:
"Smooth and funky release. Very nice."

Turbo Recordings is proud to present the revival of German techno giant Gregor Tresher’s Sniper Mode alias with the Riot Gear LP. We have been promised that this release will usher in a Golden Age of Electro in which we will serve at the right hand of the Lord for a starting annual salary of €43,000. Not bad.

Riot Gear showcases Tresher’s established production genius over 11 cuts of S-tier electro marked by menace, depth, and sharp melodic hooks. Lead single “Blinded by the Dark” is a collaboration with Dave Clarke, the most respected man in electro and perhaps just in general, and features the most punishing drop in recent memory. The album also includes standout vocal contributions from Detroit techno pioneer Jay Denham (“Sanctuary of Vices”), Miami Bass kingpin Exzakt (“Echoes From a Wasted Land”), dance-world enigma Kira (“Phantom Pain”), and Turbo favorite Perel (“Modesty Is a Virtue”). We would argue that this album represents a landmark achievement in the genre, which you have to admit would reflect pretty well on us as a label.

It is not every day that Turbo Recordings embraces the responsibility of husbanding a full-album release, and you should know that it comes as a cost. The additional listening time, track title typing, and intensive download/upload workload have pushed our dedicated staff of 90 to its breaking point. We have a lot going on over here.

Soft Spoken Secret continues its journey bridging underground sounds across continents. For SSS002, Tokyo-based Rio Kawamoto delivers an extraordinary two-track EP featuring his signature prowess with a remix from Jay Tripwire adding his twisted minimal touch. Built for late-night floors and intimate settings alike, this release further entrenches SSS as a label rooted in timeless grooves.

● Written & Produced by: Rio Kawamoto
● Remix by: Jay Tripwire
● Mastering by: Marco/Analogcut
● Artwork by: スシザワ
● Design by: Carranza

Die legendären und sich ständig weiterentwickelnden Zamrock-Pioniere WITCH (We Intend To Cause Havoc) verschieben mit ihrem neuen Album 'SOGOLO' weiterhin die Grenzen. Nach ihrem bemerkenswerten Comeback und dem von der Kritik gefeierten Zango von 2023 - ihrem ersten Album seit fast 40 Jahren - beweist 'SOGOLO', dass ihr innovativer Geist nach wie vor ungebrochen ist.

Abgeleitet vom sambischen Wort für 'Zukunft', verwebt 'SOGOLO' den von der Garage inspirierten Psych, Funk und Rock, den WITCH in ihrer Blütezeit in den 1970er Jahren buchstäblich miterfunden haben, mit dem experimentellen Geist des Augenblicks. Aufgenommen in Berlin während ihrer Welttournee, strotzt 'SOGOLO' vor Dringlichkeit, Aufregung und Entdeckungen, wie immer angetrieben von der magnetischen Präsenz des Frontmanns Emmanuel „Jagari“ Chanda.

Die Geschichte von WITCH ist fast zu außergewöhnlich, um sie zu glauben. Bekannt als die „Beatles von Sambia“, gründeten sie die Zamrock-Bewegung und veröffentlichten in den 70er und frühen 80er Jahren sieben Alben. Tragischerweise beendete die Aids-Epidemie die Zamrock-Ära und kostete allen Bandmitgliedern außer Jagari das Leben. Ihre Musik wurde 2012 wiederveröffentlicht und löste eine weltweite Wiederentdeckung aus, die zu ihrer triumphalen Rückkehr führte. Zango wurde von der New York Times in den höchsten Tönen gelobt, es gab ausverkaufte Welttourneen und einen preisgekrönten Dokumentarfilm, der weltweit ausgestrahlt wurde.

Mit 'SOGOLO' bestätigen WITCH, dass ihr kreatives Feuer noch immer brennt und beweisen, dass ihr Vermächtnis noch lange nicht zu Ende ist.

- Ltd. Col. LP: (Zamrock Dust (aka Opaque Natural) LP in einfacher Außenhülle und bedruckter Innenhülle)

Oslo based house pushers ́badabing diskos ́ follow up their hyped first release with a four tracker covering a fine specter of modern house vibes. A solo jacking house trip from label honcho Vinny Villbass, followed up by mexican/norwegian percussive collaboration of Picotropico and Vinny give you a full summer club journey The secret alias Smalltownboy ejaculates an eminent homage to sweaty dance floor flirts, while house orchestra LAFT shows off club muscles with a minimal studio escapade.

Lay Down The Groove returns with their first release in four years — and it marks a milestone. ChordPlay is the debut full- length album by the label heads, following their 2021 EP Pursuit of Sound.

Spanning seven tracks, the album captures a period of personal and artistic growth for the duo. Written and recorded across multiple studios and seasons over the past years, it flows effortlessly through tempos and moods while staying rooted in the pair’s emotive, synth-forward identity.

With a shift toward higher BPMs and more club-oriented energy — without losing the warmth and musicality that define the LDG sound dPlay signals a new chapter in the Lay Down The Groove story. Influenced by the rich legacies of Detroit and Chicago, the record features hardware-driven textures shaped by the Juno 6, SH-101, Prophet 8, Analog Rytm and MicroKorg.

Rooted in rhythm and feeling, ChordPlay captures Lay Down The Groove in evolution — looking forward while honouring their foundations.

Deeppa Record is turning five with a superb two-part compilation, and this second half dives into deeper waters than the first. It comes from a mix of both longtime contributors and contemporary artists whose evolving sounds inspire the label's direction today. Lars Behrenroth remix kick off with a tender and vulnerable deep house sound and Christophe Salin's gets more physical but no less gooey with its lush pads and rubbery kicks. Elsewhere, Thierry Tomas layers up lush r&b vocals and warming synth hues, Darryl Baalki brings jazzy expression to his fulsome house grooves and Eloi's 'Take Your Time' is a dusty closer laced up with lovely pianos. This is house for mature dance floors.

Musikalisch bleiben Northern Lite ihrer DNA treu. Elektronische Popästhetik trifft auf clubtaugliche Beats und gitarrengetriebene Rockmomente. Die Songs balancieren zwischen tanzbarem Electropop und introspektiven Arrangements, mal kühl und reduziert, mal warm pulsierend. Es ist ein Klangbild, das vertraut und doch neu wirkt, getragen von klarer Produktion, in der Vocals, Synths und Gitarren zu einem atmenden Ganzen verschmelzen.

Die Texte kreisen um Alltag, Zweifel, Hoffnung und das Sichbesinnen. Statt lauter Parolen gibt es ein Gespräch: direkt, manchmal ironisch, manchmal verletzlich, aber immer mit dem Blick nach vorn. Parallel zur Veröffentlichung des Albums startet im November die Vorwärts Leben Tour, mit der Northern Lite ihre neuen Songs und ihre beliebtesten Klassiker dorthin bringen, wo sie ihre größte Kraft entfalten - auf die Bühne und mitten ins Publikum.

Vorwärts Leben ist kein trotziges „alles wieder gut“. Es ist ein Plädoyer fürs Weitermachen. Northern Lite liefern damit nicht nur ein Album, sondern eine Haltung: realistisch, zugewandt und zukunftsorientiert.

Eddie C's Disko Universal continues its run of deep and diverse releases with 'A New Chapter' EP from Southside Chicago legend Ellery Cowles and Austin up-and-comer Open Soul...

Ellery Cowles lives House Music. He's rocked it with Lil Louis, Roy Davis Jr, Steve Poindexter and the Chicago Bad Boys.
Here we dive straight into Midwest territory - raw machine funk, smoky house grooves, and the kind of no-nonsense acid you'd expect from someone with DJAX and Cajual credentials.

Timeless, floor-ready material from true craftsmen - deep groove, no filler.
Sounds like the kind of record you'd pull from a beat-up crate in a corner of Detroit Threads and never put back.

It's ten up for Ira James's so-far-so-superb Vessel Recordings Group label as the duo of Nonfiction and Kid Enigma step up for a fresh new single. 'Make It Look Good' is an instant house classic with all the key elements nailed: the drums are deep but driving, while the percussion adds texture and bite. And who better to add some further layers of house authenticity than the one and only Chicago don DJ Sneak. First up he goes raw and loop as you would expect, then dubs things out with his second offering. Another doozy from this imprint.

Since the late 1960s, jazz drummer Takeo Moriyama has been a dominant force in the free jazz scene, initially with the Yosuke Yamashita Trio, and more recently, collaborating with the KYOTO JAZZ SEXTET, earning respect from past to present. Recorded in 1980 with his quartet featuring Fumio Itabashi, this album is renowned for being the first to include the emotionally rich Japanese masterpiece "Watarase". Other highlights include the spirited "Exchange" and the beautifully poignant "Goodbye". Each track is a standout, offering a grand-scale performance where tranquility and movement organically intertwine, making it one of the top albums in the history of Japanese jazz.

Takeo Moriyama (Drums)
Yoshio Kuniyasu (Tenor & Soprano Sax)
Fumio Itabashi (Piano)
Hideaki Mochizuki (Bass)
Koichi Matsukaze (Alto & Tenor Sax, Flute)

Ring The Alarm! Nach der Neuauflage von Sister Nancys „Bam Bam“, die eine reißenden Absatz fand, folgt nun der nächste unverzichtbare Track auf dem Stalag Riddim vom verstorbenen, großartigen Tenor Saw. Dies ist die ultimative Soundsystem-Waffe und ein Muss für jeden Selector, der etwas auf sich hält. Zurück mit dem entscheidenden Original-Keyboard-Workout von Ansell Collins Stalag 17, aufgenommen für Techniques, ist Stalag einer der Eckpfeiler der Reggae-Musik, der von einer ganzen Galaxie von Superstars der Musikwelt verwendet und genutzt wird, darunter Big Audio Dynamite, Public Enemy, Run DMC, Alicia Keys, Kanye West, Sublime usw. Ein Original Twin-Killer-Doppelsider – limitierte Auflage in illustrierter Hülle. Verpassen Sie es nicht!

Mit Selenites, Selenites! präsentiert Jimi Tenor das erste Album seiner neuen Band - ein Meilenstein in der Karriere des finnischen Multiinstrumentalisten, der 2025 seinen 60. Geburtstag feierte. Tenor, bekannt für seine genreübergreifenden Visionen, vereint hier Afrobeat, Electronica, Spiritual Jazz und experimentelle Klangwelten zu einem kraftvollen, organischen Sound. Seit den 1990er Jahren prägt Tenor die internationale Musikszene mit Veröffentlichungen auf Labels wie Sähko und Warp Records. Seine Zusammenarbeit mit Künstlern wie Tony Allen, dem UMO Helsinki Jazz Orchestra und Florence Adooni zeigt seine Offenheit für musikalische Kulturen und seine Fähigkeit, scheinbar Gegensätzliches zu verbinden. Die JIMI TENOR BAND entstand in Helsinki und besteht aus fünf virtuosen Musiker:innen, die ihre Stücke live erprobt und verinnerlicht haben. Die Aufnahmen spiegeln diese Energie wider: Direkt, roh und voller Spielfreude. Die Songs wirken wie Live-Mitschnitte - spontan, intensiv und nahbar. Mit Selenites, Selenites! gelingt Tenor ein Album, das nicht nur musikalisch überzeugt, sondern auch seine Rolle als stilprägender Künstler unterstreicht.

A legend of the Chicago house scene, befriending Ron Hardy and Frankie Knuckles in his teens before forming influential house trio Risque III, and still prolific today via releases on Marcel Dettman’s ‘Bad Manners’ imprint, K'Alexi Shelby partners with Tony Loveless for their Planet E debut, ‘Ancestral Rhythm’.

Across a rolling nine-minute odyssey of old-school but future-facing jack, ‘Ancestral Rhythm’ finds the pair tapping into their most uncompromising rhythmic instincts, melding the tough machines of their studio with organic percussion and oscillating plunges into raw, escalating electronics.

In complimentary fashion, Carl Craig expands on the existing material for a subtle, tight C2 edit of the pair’s original material. Roadtested over the summer season in Ibiza and beyond, Craig masterfully sharpens the original’s frenetic edges, while adding another chorus of chants to Shelby and Loveless’s psychedelic soup.

R.i.O. welcomes a new member. Straight in full length. An album created by Dorsten,North-Rhine-Westfalia based producer Aroma Von Troisdorf - a man who refuses to be putin a box. Unlike others, who politely stay in one lane, he is a tuneful shape shifter. Alreadyhis 2021 debut on the Cologne based label Papercup Records smashed Krautrock, Synthpop,Electro, Ambient, and dub together. His 2023 and 2024 Papercup Ep's "Buttergolem"and "Rodeln am Rhein" added Italo-Disco, Synth-pop and a drop of experimental Electroto his versatility. Now eight new creations, brilliantly composed, yet - even in odd flashes -effortlessly catchy. They bring once more a stylistic melting pot, now enlarged with TheCure-ish dreamscapes, stretching over guitar riffs and bass grooves, like in the closingambient-folk star "Zeiten" or the dreamy opening track "Fog Frog Green". There is themotorik krautrock pulse of "Osmopower", that boogies heavy in drum machine hypnosisunder Aroma's entrancing new-wave vocals. Tunes like "Dreams Unfold" or "AmplifyShrooms" are likewise propulsive, each one psyching in its very own rhythmic sector. Morevoices are present too. In the two-minute manic preacher "Colas", were Togolese rapperand political activist Yao Bobby chants edgy. Or in "Closer", where singer Aprico sendsspoken-word trances echoing through the cosmic jacking. And there is "Lovers Lake", ahypnotic drift of witchy vocals, bluesy chords, and endless synthscapes, that makes youswim on your feed. Shift the shapes, "Blaumilch" opens the gates.

DJ Support: Dj Harvey, Artwork, Pete Herbert, Sean Johnston ALFOS, Howler, Bill Brewster, Logan Fisher (Tryouts)

The Totem Projects hit last year and caused a huge stir, especially after solid support and plays of “dream forever” from DJ Harvey for well over a year at most of his international sets. Therefore demand on a vinyl release was high, so we acted…so sow say hello to the new TOTEM PROJECTS vinyl series. with full EPs of original tracks, and more exclusive edits to come. TOTEM duo Justin Deighton and Leo Zero are joined on this first outing by Pete Herbert and Howler.

In the late summer of 1994, Upadhmanyia (John Mackaay & Michel Rehatta) invited Leo Verhoef (LFU) to collaborate on a track. They met a few more times afterward at a power station converted into a studio in IJsselstein, The Netherlands. "Hasiya" was quickly born and was already in stores by early November 1994. John & Leo drove to house club iT in Amsterdam, where they gave the track to DJ Marcello, resulting in an iT hit! The track was quickly picked up by DJs worldwide, and Richie Hawtin used it in a live set in Denver on November 19th of that year, which can be heard on SoundCloud (Hasiya is mixed around 43:00). The track was also a huge hit on dance floors in England and Spain.
In late 1994, Hasiya appeared on a CNR Music EP titled "Welcome To The Club," along with four other hits from producers like Pete Lazonby, The Shaker, and Drum Club. A double CD of the same name followed in early 1995, released in Belgium, featuring Hasiya alongside artists like Robert Miles, Digital Express, Aura, Natural Born Grooves, and other hits of the era. In early 1995, Arcade released "House Party '95 the Kinky Klubmixx," mixed by Koen Groeneveld & Addy van der Zwan. The same CD was released in Scandinavia as "House Party '95 (5)." Hasiya flourished among the most popular house tracks of the time. The record spent three weeks in the Dance Music Mega Top 30 and peaked at number 22 around the holidays of late 1994.
For 31 years, Hasiya was only available on record, CD, tape, or YouTube. Starting November 21, 2025, it will be resurrected from the underground into the world of digital downloads and streaming. The 2025 Remaster, along with five new mixes, will be widely available, including a limited vinyl release of 350 copies. The 30 test pressings have already been received with open arms by various DJs and received immediate support from Eris Drew and Octa Octa during ADE.
Because Hasiya was created in 1994, the only available remix material is the original DAT tape, which, thankfully, was still stored in an old box in a dusty attic. Most of the sounds for the new versions have been recreated and re-recorded.
Rehatta's Reanimated Mix:
This remix - created by one of the two founders of Upadhmaniya - combines driving, percussive beats with a thrilling, progressive break featuring ascending, dizzying strings. This trick returns shortly afterward to rev things up again. An accessible remix for dance floors worldwide.
LFU 2025 Version:
This straightforward, raw techno version with a touch of acid is ready to rock dance floors. LFU's updated version of the 1994 original, which he created with Michel & John, will undoubtedly remain a head shaker from here on out.
John Consemulder Metaphysical Mix:
With a pumping groove and a funky bassline as an intro, John Consemulder's remix immediately strikes a chord. A refined and elegant approach to the original, with sounds as mysterious and exciting as the flowing lava in the 'Gruta das Torres' - a cave in the Azores - the setting where this tech-trance remix was created.
Davje Remix:
Davje's version begins with the typical club and hard-trance bassline of the late '90s. You're drawn into a trance journey where beat changes sometimes try to throw you off track. Davje's creative Hammond organ interpretation of the Hasiya theme surprises and transports you back to the hippie era by the end of his remix.
Bojcot Remix:
Junglist Bojcot creates an exciting, nuanced, and mathematical remix with a beat that feels like jungle and half-tempo. He conjures up the sounds of LFU's 2025 Version, creates a bassline that sounds like a disturbed bumblebee, and adds a surprising string section. Massive!

Drumcode launches a new V/A series ‘DC4’ inspired by their popular A-Sides compilations. ‘DC4’ showcases a quartet of sure-fire heaters from the label’s extended family of artists. The EP features two mainstays of Drumcode, Timmo and Mark Reeve, while fleshing out the techno sides of Kaufmann and Goom Gum (in collaboration with rising London artists RDNK) after they debuted on Truesoul in recent times. Kaufmann’s curiously titled ‘Broncho’s Sandman’ kicks things off, a punchy slice of dancefloor tackle marked by a catchy vocal line, with a foot in techno and progressive alike. Timmo follows up last year’s tidy contribution to A-Sides Vol.13, with a technicoloured techno cut that bubbles with bags of personality, as any cut titled ‘Miami Vice’ should! The Bulgarian has poured plenty of hours into the creation of the track, which espouses an otherworldly celestial energy. It's been four years since Mark Reeve’s last contribution on Drumcode, with the excellent mini album ‘Breathe’. The Frankfurt-based British producer makes a timely return with the storming ‘Stop, Go’, that fuses together elements of techno, hard trance and pop for an inspired five minute dancefloor workout. Goom Gum & RDNK team up for the first time ‘It’s Time To Get High. The track begins life as a crisp melodic cut, before transforming into a trippy slab of psychedelia in the second half. This is begging to be rinse in an outdoor party setting.

2026 Repress

Saha Gnawa’s self-titled debut pairs Moroccan Gnawa with NYC jazz and groove, channeling North African futurism through cross-cultural improvisation. Building off centuries-old practices, traditional song forms dissolve into psychedelic outer-space explorations.

Steering clear of his usual diet of 90s rave stabs, woolly pads and contemporary R&B vocals, Coco Bryce offers up a full album focussing on non-western sample sources. Drawing from, amongst other things, traditional Azerbaijani folk songs, Indonesian Gamelan experiments, Kenyan Taarab and ancient Sephardi hymns, it traverses half the globe across its ten tracks.

Molecular Recordings Presents "Structure Series 2" — Continuing a Legacy of Techno Innovation

Following the success of the first volume, Molecular Recordings returns with Structure Series 2, the next chapter in its celebrated vinyl series that honors the label’s enduring influence on underground techno.

This 12" release deepens the label’s exploration of forward-thinking sound, pairing iconic names from the Molecular archive with groundbreaking contributions from the new vanguard of producers. Each track reflects the uncompromising spirit and sonic evolution that have defined the label for over three decades.

Structure Series 2 is both a continuation and a progression — a curated fusion of past and future that underscores Molecular’s role as a pioneer and incubator of techno culture. It stands not only as a collector’s item but as a bold artistic statement.

With Structure Series 2, Molecular Recordings reaffirms its commitment to pushing boundaries while remaining rooted in the authenticity that has shaped its legacy since day one.

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions. OK Cowboy is a landmark album in electronic music, a pivotal record between eras. It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.

The electronic producer Franz Kirmann returns to Bytes for his eighth solo album. The “Almadies” are long wooden boats used by Senegalese fishermen. It is also the name of the neighborhood where Kirmann grew up, in the suburbs of Dakar, Senegal, near the Atlantic Ocean. "These new compositions are the result of sound experiments conducted over the past few months and reflections on the concept of mind-constructed geographies," Kirmann explains. "The way memories and souvenirs shape an image of a place or country that is part reality, part fantasy, part cliché, yet also deeply personal. This experience is influenced by education, social background, history, and other socio-economic factors. " The ten tracks are crafted from collages of electronic sounds blended with field recordings from various places Kirmann has visited — from Dakar to the Caribbean, as well as London and Paris. His aim is to blur the line between electronically generated sounds and real soundscapes, creating music where it becomes difficult to distinguish the real from the constructed. All the sounds on the album were produced using synthesizers and field recordings. No drum machines, percussion or traditional acoustic instruments were used. Influences include Brian Eno and John Hassell’s Fourth World, Vol. 1: Possible Musics (1980), described by Hassell as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques" , which also works in the context of Almadies. Another big influence was Ariel Kalma’s Le Temps Des Moissons (1975) as well as artists including O Yuki Conjugate and Robert Aiki Aubrey Lowe to Susumu Yokota and Michael Banabila.

A DJ, producer and prolific collaborator, Greg Paulus’s musical career has led to a truly enviable discography. Born in Minnesota and now an essential part of New York’s sprawling musical landscape, Paulus has taken the foundations of an organic childhood education by his father, the composer Stephen Paulus, and seen it blossom into an unpredictable musical journey encompassing house, soul, jazz and hip-hop.

While touring as a trumpet player with indie band Beirut, as well as in Matthew Dear’s live ensemble, back home he was helping to redefine New York’s underground dance scene as one half of No Regular Play. Alongside childhood friend Nick DeBruyn, the pair brought their deeply musical sound to no less than fifty countries across the world. A decade on, and Paulus arrives on Seth Troxler’s Slacker 85 imprint for his long-awaited debut solo LP, ‘Close To Home’, a deeply felt long-play celebration of his personal cornerstones; family, trust and hope.

From the opening, organic swell of ‘Perot’, arranged with Seth Troxler himself alongside John Camp, ‘Close To Home’ introduces itself as a focused, conscious trip, it’s languid trumpet spilling over into the reflective ‘World Keeps Changing’, which introduces Paulus’s philosophy of music as a constant. ‘Midtown Mirage’ meanwhile leans into the idea of the city itself as a collaborator, resisting pressure and finding its own restful groove. Back over the river, ‘Bond’ roots itself in Brooklyn with a contribution from resident Dillon Cooper, flipping rap standards amid psychedelic flourishes.

Paulus nods toward his dancefloor form on ‘NRG’, a slinky, lo-slung club groove that seamlessly evolves to meld the artist’s nocturnal and studio instincts. In contrast, ‘Real Job’ switches the tempo on Paulus’s MPC to embody an old-school, beatdown flavour, subtly teased out alongside composer and sound designer, Taylor Bense. Doubling down on this languorous groove, ‘Hat Down’ introduces a full-scale No Regular Play reunion, the first of two collaborative tracks that recall the duo’s imperial phase of confidently minimal productions, while evolving their craft.

Following a few missed calls made with love taken from Paulus’s answering machine on ‘$1000’ the minimal, reflective arrangement of ‘Hold Dear’ finds the artist stripping back his layered sound for a skittering, vulnerable exploration of intimacy and life’s devotions.

For a memorable finale, Paulus recruits jazz prodigy Michael Feinberg to deliver upright funk on the deliciously rich ‘Sometimes It’s About Us’. A purely celebratory collage of bopping rhythms and vocals, sharply plucked guitars and archive samples, ‘Close To Home’ concludes with Paulus leading his friends, ensemble and many influences in rare harmony.

The album delivers masterful arrangements, inventive rhythms, rich harmonies, and a perfect balance of flute and saxophone interplay. Funk, Jazz, Gospel, Afro, and traditional elements all merge seamlessly into something unique and timeless.
Joshua Sithole (1947–1999) was a self-taught multi-instrumentalist and vocalist from South Africa who first started busking with the Kwela kids in 1959 and then went solo in 1978. He became popular in the 80’s, performing widely in Durban and Cape Town.

Originally released in 1975, this overlooked masterpiece is now reissued for the first time by Voom Voom Records — the first 500 copies include a poster of Vladimir Tretchikoff's painting, "The Pennywhistlers" which captures the beauty of Joshua's playing.

“Joshua Sithole, Errol Dyers, and Jonathan Butler come from some of the most influential and esteemed musical families in South Africa. You cannot write about Jazz in Cape Town and not mention some of these families and their contributions to the art form.” — Fanie Jason (Music Photographer - Cape Town)

"South African spiritual funk gem. slick guitar, banks of horns" - Chris Albertyn (Matsuli Records)
"Dynamic South African funk. An album that will make you want to dance from start to finish" - Franck Descollonges (Heavenly Sweetness)

Hania Rani ist eine mehrfach preisgekrönte Komponistin und Pianistin, die mühelos zwischen der Welt der
klassischen und der experimentellen Musik wechselt.
Aufgenommen in den Abbey Road Studios mit einem 45-köpfigen Orchester, markiert „Non Fiction“ einen
neuen Abschnitt in Ranis Karriere, da sie von den elektronischen Klängen ihres gefeierten Albums „Ghosts“
in den symphonischen Bereich übergeht und eine Brücke zwischen ihrem eleganten Experimentalismus und
ihrer klassischen Ausbildung schlägt.
Non Fiction ist Ranis erstes Klavierkonzert und symphonisches Werk. Es ist auch eine Reaktion auf die Entdeckung der Kompositionen des jungen Musikwunderkindes, Josima Feldschuh, die während der Schrecken
des Zweiten Weltkriegs im Warschauer Ghetto entstanden sind. Bewegt von der Geschichte des jungen
Mädchens, beschloss Rani, sie durch die Linse der aktuellen Schreckenssituationen in der Ukraine und im
Gazastreifen zu betrachten und zu untersuchen, wie wir diese durch moderne Medien wahrnehmen. Dabei
erforscht Rani die ständige Koexistenz von Harmonie und Unordnung, schafft eine klangliche Metapher
für das Überleben des menschlichen Geistes angesichts von Gewalt und nutzt den emotionalen Wert von
Klängen, um diese irgendwie fernen Konflikte für uns auf menschlicher Ebene nachvollziehbarer zu machen.

Legendary Mello Music Group producer Apollo Brown's feature packed album including Oddisee, Evidence, Freddie Gibbs, Masta Ace, Vinnie Paz, Westside Gunn, Sean Price and more! 19 full boom bap classics. A celebrated fan favorite with over 20 million streams is finally back on vinyl with this special double lp olive green edition.