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This songs were recorded years ago and were sleeping in the computer for some reasons...

After the Dezzi D tune was released last year on an LP on Chouette Records, All Nations puts out this 12" with the song from Afrikan Simba on the same riddim, plus an extra cut from Puppa Djoul, talented multi instrumentist from France.

Deep cuts for early and late hours. Caldo Verde opens warm and inviting, setting the tone with slow-burning depth. Bacalhau steps in with richness and weight, built for extended rotations. Medronho eases the pace, hazy and smooth, before Pastel De Nata delivers a soft, sweet release. Bica closes the circle, dark, sharp, and made to linger long after the last note.

Farron is back on Shaw Cuts with his next EP called ãHuman LanternsÒ - a tale of social jealousy and long-standing rivalry transformed into 4 bass-heavy broken techno tracks.
The two wealthy kung-fu masters Lung and Tan are embroiled in a long lasting game of perpetual one-upmanship. Vowing to show Tan up, Lung enlists the aid of a man he defeated in a duel years ago in fashioning a masterful lantern for the upcoming festival in which both masters will compete. ãWe Are The WaveÒ and its noisy fragments and broken rhythmics led by a hefty stormy bassline, underline the tension and aversion between the two competing masters.
But the eccentric artisan is more interested in seeking revenge for his old defeat, in taking away everything Lung holds dear. The bass-driven ãSwitch OddÒ and its sharp percussions and phat kick underline the ulterior motives of the shady character.
The evil villainÕs plan of revenge contains kidnapping several beloved women of Lung, skinning them alive and using their flaps of skin to create the ordered lantern. ãGX100Ò and its fast-paced drum pattern carried by virulent synth fragments and raucous pads, epitomises the merciless act of violence.
Tan and Lung falsely accuse each other but feel constrained to eventually team up and hunt the criminal together. ãTalking To ThemÒ rings in furiously and chases the enemy with its rolling bass, chopped vocals and stomping drums, but the villain is sneaky and recalcitrant. Silence before the attackÉ

Unearthed from the original DAT at Strange Weather Studios in South London, Get Fucked's Unearthed Stash traces a chronological journey through the legendary group's earliest recording sessions, from the raw chaos of their 1999 debut album to the more refined dub house explorations that led into their second LP.

Sourced from the best surviving master DATs this collection brings together remastered classics, lost versions and previously unreleased edits, offering unfiltered look into one of the UK underground's most fearless creative period.

Each track has been carefully remastered to preserve the saturated punch, tape grit and raw energy of the original sessions, while expanding definition for modern sound systems.

Pressed on 180g heavyweight black vinyl, Unearthed Stash is strictly for collectors and true heads preserving the energy and attitude that made Get Fucked pioneers of the London underground sound. A raw document of a lost era, revived.

Archival Gold. From The Source. Unearthed at Last.

Experimental Deephouse Afro-futurism album by Dub poetry free spirit Jasmine Tutum, with production by OG Jahtari lads disrupt and Rootah as The Other Others, oscillating between spaced out soundscapes, floaty hoovers and heavy movers.

Tokyo-born, grown up in Jamaica and living in Germany (with various stops in-between) Jasmine’s wild biography translates into sonic territory with this LP, drawing inspiration from Grace Jones and Theo Parrish, newworldaquarium and Roger Robinson alike.d

The Illegal Disco Limited series never misses. It's all about the king of cheeky edits adding his own spin to a carefully curated mix of disco and funk nuggets and, once again, here Monsieur Van Pratt is back with the goods. Though he always nods to the past with these reworks, he beefs them up with grooves designed for loud systems and to move floors. This one opens with the funk licks and disco stylings of 'Watcha Gonna Do' then gets celebratory with the feel good hands in the air vibes of 'The Contest'. Last but not least, 'Dance With Me' explores a more lavish sound with big vocals and lavish string stabs for good times only. Another doozy from Mr Pratt.

Eight years after his last solo EP on NORD LTD, Shkedul makes a formidable return with four absolute dancefloor killers. This release does more than just fill a silence; it reasserts his position as a producer with a fiercely distinctive character and an unmistakable sonic signature.

Ekkel guides Earth Dog to The Destination, a four-pronged psychedelic clinic in the finest Nordic electronic tradition.

Co-founder of Norway’s Ute collective, celebrated Oslo-based producer and DJ Ekkel revels in prog naturalis. Previous releases as Alvar and Shadowmages, his duo with S.O.N.S., perfected this tripped-out sound with a heavy emphasis on melody. Following last year’s celebrated appearance at an Earth Dog rave in Brooklyn, he returns to grace the crew’s fourteenth release with The Destination.

Opener Questions About Mindcontrol awakens the discordant synapses, an entanglement of melodies and rhythm with a certain progressive attitude. Home Or In A Dream (Miami Morning Mix) properly ascends with trance-like wonder and ecstatic lucidity, before So Quiet returns to dusk with a tek-no throb and acidic bite. Destination G concludes with a nocturnal shimmer, an unrelenting groove caught in its own hypnosis ‘til the finale.

Mr. YT returns!

The cult deep house alias of Yuji Takenouchi was last seen on Brand New Day in 2017, which compiled a series of soft scenes and deepest soulful house for the ambient techno predator R&S and its Apollo, Generations and Global Cuts sub-labels across the mid-to-late 90s. Quietly and confidently some of the most beautiful house music ever made.

So it's a thrill to announce the Universo EP today on Short Span, and to say that he’s still making incredible new dance music in his studio. This is the first Mr. YT record of brand new material in twenty eight years.

The lushness springs forth as delightfully as ever. The inspirations of Detroit chords floating and interacting with a certain kind of Japanese plasticity and futurism. Crystal clear blue skies, sweet perfume and space race optimism, touched with a gentle wistfulness. The four tracks are each as beautiful and intricately deep musically as they are colourful and buoyed by energy. Ready to delight you.

Universo has some new purpose and drive up front, designed and deployed as his most propulsive dance music as Mr. YT. The tempo is taken up, and tracks frequently break out into virtuosic melody that dances across the pieces. Yuji’s talent for composition that hits as hard as it effortlessly glides hasn’t lost its edge in the quarter century plus break. The kick of “Acuario” and “Escorpio” are finely balanced with the influences of jazz and something a little more padded and cosmic. You could mix these into something by Los Hermanos or Ian O’Brien.

The EP bubbles down to a more yearning, sunsetting ambient house on the B side. The instantly recognisable language of classic Mr. YT, a warm and tender place.

Mr. YT has been absent a while, but Yuji’s busy. He’s established a long career as a musician and sound designer within the Japanese videogaming industry, having his hand in games including FromSoftware’s Dark Souls series surely adds something widescreen and sharply emotionally focused to the direction of his dance music. His Missing Project alias also got some shine from the stellar Music From Memory Virtual Dreams II compilation in 2024, which once again pinned down his enduring importance within the ambient techno movement of Japan. He’s also regularly working with Tokyo’s FORM@ Records and regularly self-publishing interesting work and studio versions. And his Missingsoul alias is still some of the most beautiful deep jazz-house committed to wax on Ron Trent’s Future Vision label. Check it all out!

Luca Lozano has long been an artist whose output as both a producer and designer we've admired and after many years of seeing his records fly off the shelves here at Phonica, we're delighted to be releasing the 'Da Vinci' EP by the Klasse Wrecks boss on our main label. We'll let Lucas, the modern day renaissance man himself, take it from here:

"These four tracks were created over a few sessions while I was settling into a dank basement studio (which was new at the time and now long gone).

‘The Magnificent’ and ‘Delta Force’ were made just after I acquired an old Korg Delta synth, I spent a lot of time getting the 1970s beast to sync up with modern equipment and both tracks make use of it in various elements.

‘Eau De Dave’ is a cheeky homage to a UK producer legend, I’ve been digging into his various older productions recently and went back to a fidget sound for the fun of it.

‘Crunchy Nut’ was kind of inspired by early U.K. tech house, it was the last track confirmed on the EP and came together super quick. As usual it’s a mix of old drum machines like a modded 707 and a bunch of old samples I’ve had on my computer for a couple of decades now. I’m happy I managed to work some slap bass into a track finally…"

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.

Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.
Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.

This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.

Indiana Jones and the Last Crusade original motion picture soundtrack, now available on sand colour vinyl, featuring music composed and conducted by John Williams.

Winding Road Records are proud to present the “Last Disco on Earth EP” from the ever-elusive group of “Mar De Novo” which is M & N, Paraiso and Yse Saint Laur’ant. First up on this EP is the title track ‘Last Disco on Earth’ is a monster slab of modern disco. Fat grooves, cheeky melodies and cool glitchy production. Uplifting, positive and energetic - guaranteed to put a smile on the dancefloor. Next up is ‘Over There’ is a twisted slice of bass-heavy undulating house, punctuated by crazy interludes and samples that fly in from nowhere. Starting things off on the B side is ‘Uncanny Valley’ is a sun-kissed downtempo groover, with dreamy strings and wonderful chilled musicality. Following on from that is ‘Reflection’ exudes space, peace, and calm. Guitars and piano intertwine alongside haunting vocals. Soundtrack bliss. Summer vibes. Finally rounding off the EP is ‘Find Love’ rounds off the package with a dreamy balearic sunset vibe.

Dub-Stuy continues its one-riddim series with Punchliner riddim, an original production crafted by DJ Madd, returning on beatmaking duty since his 2021 relick of the classic Answer Riddim. Driven by syncopated rhythms and a rolling bassline, this new addition to the series provides the perfect backdrop for three standout cuts from an international cast of vocalists.

The late Nazamba offers "Thief," a powerful social commentary in the tradition of dub poets like Linton Kwesi Johnson. UK-based Ras Demo showcases his versatility with "Lyrical Designer," while Spanish vocalist Lasai unleashes rub-a-dub energy on "The Punchliner." An instrumental version is also included.

What better way to celebrate 100 releases than with a handmade box containing soul expanding music!? Höga Nord Rekords have reached an important goal and releases a rare box set containing all 12” from the HNRUK-series plus a new record from Birds, unique for this box. Except Birds, this compilation includes Dark Strands, High Boys, Vox Low, Timothy J. Fairplay, Fontän, Bird Of Paradise, Mythologen, Jamie Paton and Frak.

The music is of course the main focus of all releases on Höga Nord Rekords but what birthday gift comes without a proper wrapping? This exclusive handmade box made in Norrmalms kartongfabrik in Stockholm, is a celebration to the Scandinavian Bronze age. You’ll find rock carvings like those on the artwork scattered over the land but mostly near Gothenburg, home of Höga Nord Rekords on the Swedish west coast.

Archaeological evidence proves similarities in ornaments and pictures between the Nordic and European Bronze age, just like you find common features in the music released on our label. Though the acts in this compilation box come from all over Europe and beyond, they stem from an obscured and mysterious common source of escapism, purity and creativity.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
The album's lead single and sole vocal track, ‘In Touch’, showcases Beatrice M.’s split UK-France upbringing. The track unites French MC Kaba and UK MC Jinnal for a bass-driven anthem that seamlessly trades French and English lyrics. Next up is a vinyl exclusive track: the ‘Remedy Mix’ VIP of ‘Poison’, a rolling, bass-driven tech house/techno crossover version of a track originally released on the Tectonic Sound collection from last year.
‘Here’ sees Beatrice M. collaborating with Jay Carder to create a soulful broken-beat flavoured track as ‘Years’ rounds off the journey with contemplative melancholy, providing a deep and dubby closer.

"Nusa" is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast.

For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes.

Graduated in saxophone from Senzoku Gakuen College of Music, Akira Uchida explores sound through tuning, medieval music, and acoustics, supporting jazz pianists as a piano tuner. After training under instrument maker Masahiro Adachi, he became an independent clavichord builder. In 2020, he created an instrument for Ryuichi Sakamoto. In 2021, he crafted one using reclaimed wood from Kiyomizu-dera Temple (FEEL KIYOMIZUDERA). His work focuses on making, tuning, and performing instruments.

Although humankind has made it to the far side of the Moon and back, there is still more to discover. Strap in… Rex The Dog is taking us further out into the lesser-known realms of space disco.

‘Far Out!’ is a reinterpretation of an early breakbeat rave tune from 1991 by Son’z Of A Loop Da Loop Era. It’s a tribute to a simpler time when all you needed was a cascading piano riff played through a powerful sound system, with your best friend by your side.

In Rex’s version, the breakbeats and piano have been replaced with a punchy 4/4 beat and an arpeggiated synth workout that cuts through the air like a laser. Houston, we have a hit.

‘I Need Your Body’ showcases Rex The Dog’s more introspective side, with yearning vocals spread across a heavily bouncing rhythm track full of mind-boggling dub effects.

This new EP cements Rex The Dog’s status as a unique voice in today’s techno world, as well as an incredibly reliable purveyor of highly emotional dancefloor smash hits.
Obwohl die Menschheit es bereits bis zur Rückseite des Mondes und wieder zurück geschafft hat, gibt es noch immer Neues zu entdecken. Schnallt euch an … Rex The Dog entführt uns noch weiter in die weniger bekannten Gefilde des Space Disco.

„Far Out!“ ist eine Neuinterpretation eines frühen Breakbeat Rave Tracks aus dem Jahr 1991 von Son’z Of A Loop Da Loop Era. Es ist eine Hommage an eine einfachere Zeit, in der man nur ein kaskadenartiges Piano-Riff brauchte, abgespielt über ein kraftvolles Soundsystem, mit dem besten Freund an der Seite.

In Rex’ Version wurden die Breakbeats und das Piano durch einen druckvollen 4/4-Beat und ein arpeggiertes Synth-Riff ersetzt, das wie ein Laser durch die Luft schneidet. Houston, wir haben einen Hit.

„I Need Your Body“ zeigt die eher introspektive Seite von Rex The Dog, mit sehnsüchtigem Gesang, der sich über einen heftig bouncenden Rhythmus-Track voller verblüffender Dub-Effekte erstreckt.

Diese neue EP festigt Rex The Dogs Status als einzigartige Stimme in der heutigen Techno-Welt sowie als unglaublich zuverlässiger Lieferant hoch emotionaler Dancefloor Smash Hits.

Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".

Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.

Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.

Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.

Tucked in the heart of Koreatown, Los Angeles, lies The Libra Hotel—the titular architecture of Nick Malkin's new album and site of his musical and psychogeographic exploration. Unlike most musical "site-specific" studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin's work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled.

Much like Frank Sinatra's own spatial residency immortalized on "Live at The Sands," "At The Libra Hotel" showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light.

Ultimately, the pensive atmosphere of "At The Libra Hotel," powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture."

Sun Ra is better known to most as a musician than a poet, but he identified equally as both. My Words Are Music provides direct access to the sentiments of a poet who never called Earth home. The spoken word album hosts an inspired array of artists who personally chose their favorite Sun Ra poems to recite. Freed from the page, his poetry acquires an unexpected simplicity and poignance it possessed all along.

This all-star and intergenerational lineup of artists conjure wisdom from his words: spoken word elder Abiodun Oweyole of The Last Poets; rapper, and singer-songwriter Saul Williams; jazz experimentalist Melanie Charles; British-Trinidadian poet, novelist and musician Anthony Joseph; poet Mahogany L. Browne; poet, playwright, and conceptual artist Carl Hancock Rux; musician/digital composer L’Rain; singer, actor, and director Tunde Adibempe of TV on the Radio singer; British DJ and BBC radio host Zakia Sewell; ballistic hip-hop poet Jive Poetic; and longtime members of the Sun Ra Arkestra, Marshall Allen, Knoel Scott, and Tara Middleton.

Punctuated by impish electronic interludes composed and played by Marshall Allen, these voices bless Sun Ra’s poetry with new life My Words Are Music offers the opportunity to follow Sun Ra into a
better future. “Prepare for the journey,” he writes in his poem “The Cosmic Age”, “You have a rendezvous / With the living wisdom.” My Words Are Music is a project developed in conjunction with Living Sky, the all-instrumental Sun Ra Arkestra album released on Omni Sound in 2022

Over the last half decade or so, Monsieur Von Pratt has marked himself out as one of the 21st century disco scene's most reliable re-editors, with a party-starting trademark sound built around blends of borrowed instrumentation and rolling, house-style beats. This signature sound is very much evident across the producer's tenth contribution to his own Illegal Disco series. He begins by polishing and tooling up a sparing, horn-heavy disco classic 'Don't Say Goodbye', before rearranging and lightly updating a squelchy synth-bass propelled chunk of disco-boogie goodness ('Gonna Getcha'). Rounding off a fine EP is 'Make Love To You', a more low-down and celebratory chunk of beefed-out disco-fink hedonism.

Last year Ace Records were delighted to reissue The Brides of Funkenstein’s debut LP from 1978, “Funk Or Walk”. Featuring their hit single ‘Disco To Go’, this album put the Brides on the map and sold strongly.

Before sessions commenced for a second album, Lynn Mabry left the group before sessions commenced for a second album, leaving Dawn Silva alone at the altar. George Clinton added P-Funk backing singers Jeanette McGruder and Sheila Horne to the mix, creating a three-pronged vocal attack.
Sessions featured the cream of the P-Funk players including keyboard wizard Bernie Worrell, bassist Bootsy Collins and guitarist Garry Shider. The resulting album, released in 1979, was even better that their debut.

The title track ran for over 15 minutes on side one, showcasing the vocal and musical prowess of all concerned. Other tracks included ’Party Up In Here’, ‘Smoke Signals’, ‘Mother May I?’ and the gorgeous ballad ‘Didn’t Mean To Fall In Love’.
Although it did not spawn a hit single, “Never Buy Texas From A Cowboy” sold as strongly as “Funk Or Walk” and over time has been hailed as a classic P-Funk album.
With liner notes from Ace’s Ian Shirley, we are delighted to release it on orange vinyl and CD. You don’t need your mother’s permission to buy it either.

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 1 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Opening track ‘Ever’ plunges us into deep waters with a sense of dubwise command. The momentum picks up on ‘Ocean’, where the vocal snippet "everyday life" circles around reverbed stabs and intricate hi-hat moves. ‘Motion’ sets the pace with its jumpy but rolling rhythm, leading straight into the eyes-down, party-time energy of ‘Disco Corner’.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Given Beatrice M.’s reputation as a prolific collaborator, the LP naturally features a few heavy-hitting joint efforts. Bristol-based Sir Hiss features on the subby, 140bpm techno thumper ‘Juice’, while the LP title track, ‘Sinking’, brings forward Beatrice M.’s fresh take on influences from Tectonic’s past in a bass-driven 4/4 number that demands physical movement. ‘Dear Dubstep’ allows a moment to reflect, placing us in a spacious aqua-cave where atmospheric sounds are punctuated by wumping sub-bass, before we surface with ‘Help’ to catch our breath in the melancholy of the moment.

Titans of the jungle world collide for the latest Over/Shadow boxset. 4 x OG Black vinyl presented in a stunning de-bossed box set.

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

Music From The Star Wars Saga - The Essential Collection is an orchestral music compilation including tracks from Star Wars: Episode I - The Phantom Menace until Star Wars: Episode VIII - The Last Jedi.

On the occasion of the release of the final episode of the nine-part Star Wars saga: The Rise Of Skywalker, all songs were re-recorded by Robert Ziegler, alongside the Slovak National Symphony Orchestra and members of the Slovak Philharmonic Choir. These includes the iconic “Main Title” composition, “Duel Of The Fates”, “Yoda’s Theme” and “The Imperial March”.

Music From The Star Wars Saga - The Essential Collection is available as an exclusive “May The 4th Be With You” edition of 1000 individually numbered copies on 'Hyperspace' blue splatter vinyl. This 2LP is packaged in a gatefold sleeve and includes an insert.

"aethermead", das neue und 20. Studioalbum von Of Montreal, lässt die Sounds der frühen Jahre wieder aufleben, während es gleichzeitig die künstlerischen Grenzen ihres unverkennbaren Indie-Pop/Rock-Stils erweitert. Frontmann & Songwriter Kevin Barnes, bekannt für seinen einzigartig-produktiven Output und großartigen Kollaborationen mit Künstlern wie Solange, Janelle Monáe und Jon Brion, nahm die LP mit Toningenieur Drew Vandenberg (Faye Webster, Toro y Moi) in seinem neuen Heimatort Brooklyn auf. Die Grundspuren wurden live mit Barnes’ langjähriger Live-Band auf einer 16-Spur-Bandmaschine eingespielt. Das Ergebnis schimmert mit Indie-Pop-Elementen ihres 2004er Albums "Satanic Panic In The Attic" sowie der rohen, energiegeladenen Live-Atmosphäre von "Lousy With Sylvianbriar" (2013). Wunderschön-melodische Akkordfolgen wechseln sich mit Rock'n'Roll-Krachern ab, auf eingängige Hymnen folgen surreal-experimentelle Klangwelten. Mit einer neuen Tour am Horizont (erstmal durch Nordamerika) feiern Of Montreal weiterhin ihr Vermächtnis und gehen gleichzeitig mutig in die Zukunft.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from theindustrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 2.

Clear Coloured Vinyl incl. Booklet in silk screened pvc sleeve

Sound fragments unfold across Zurich, making loss, memory, and cultural change physically and acoustically perceptible. In The Rhythm of Design, Zurich-based fine arts duo Michael Meier & Christoph Franz explore urban displacement and its impact on the local music scene.

Focusing on six venues that have disappeared or are under threat, the artists collected materials on site—wood, metal, and other architectural elements—and, with the support of professional instrument builders, transformed them into six musical instruments. Six artists and groups connected to these spaces—namely Kalabrese, Tobibi Ferrari-Bienz, Rafal Skoczek, Lucien Badoux & Jeremy Sauter, Nicola Kazimir, and Dualism—each composed a piece for them, forming the basis for site-specific performances in September 2025. Rather than performing as an ensemble, the works—ranging from experimental funk and punk to kraut, noise, and drone—unfolded simultaneously in spatial fragments at the original locations. Only through movement and listening across the city did the composition emerge as a whole. ​​The work was realized in collaboration with the City of Zurich, Art in Public Space (KiöR).

Eight months after the original performances took place, the pieces are released via Switzerland-based publishing platform Präsens Editionen. The record—available as a limited-edition coloured vinyl with a special artwork, as a digital album, and for streaming—carries the fragmented sounds of Zurich into a new form of collective memory, extending the work beyond its original locations as a lasting document of urban transformation.


* Edition of 300 clear color vinyl
* Special artwork feat. silk-screen printed plastic sleeve and an extensive booklet, designed by award-winning graphic design studio A Language, Melina Wilson and Martin Stoecklin
* Published by Präsens Editionen

Nach zwei gefeierten Studioalben kündigt die britische Band BIG SPECIAL ihre neue EP mit folgenden Worten an: "Diese neue Platte besteht aus den verworfenen Teilen unserer ersten beiden Alben. Wir haben sie wieder hervorgeholt und mit ins Studio genommen, um sie zu überarbeiten und zu verfeinern. So entstand ein eigenständiges Werk, das unser bisheriges Schaffen reflektiert. Die Songs, die nicht zur richtigen Zeit an den richtigen Ort passten. Darunter auch Songs, die die Alben damals vielleicht zu lang gemacht und zu düster geraten lassen hätten, obwohl wir eigentlich die Balance einer emotionalen Reise bewahren wollten, als ob man einen Film mit geschlossenen Augen schaut. Also haben wir O'JOY! gemacht."

Mit Africanism Vol. 5 kehrt das legendäre Afro-House-Kollektiv rund um Bob Sinclar zurück und präsentiert ein kraftvolles, globales Club-Statement voller Rhythmus, Identität und musikalischer Verbindung. Das Album vereint herausragende Produzenten und Artists wie DJ Gregory, Moonlight Benjamin, Boddhi Satva, Arkadyan, Jesús Fernández, Bonga u. v. a. in zwölf Tracks, die moderne House-Produktionen mit afrikanischer Energie, traditionellen Instrumenten und organischen Grooves verschmelzen lassen. Von der voodoo-getränkten Intensität von "Zanmi Kanmarad" über die angolanische Tiefenwärme von "Mulemba Xangola" bis hin zum treibenden Club-Momentum von "Block Party (Baron Remix)" oder "Salsa House" liefert Africanism Vol. 5 ein Panorama aktueller Afro-House-Kultur. Die musikalische Bandbreite reicht von haitianischer Soul-Elektronik über pan-afrikanische Percussion bis zu modernen House-Arrangements mit französischer Produktionshandschrift. Ein hochkarätiges Producer-Album, das die DNA des Africanism-Sounds konsequent fortschreibt: international, zeitgemäß, tanzbar und voller musikalischer Identität.

FEAR - das gemeinsame Album von Jared Mattson von The Mattson 2 und Ruban Nielson von Unknown Mortal Orchestra - wurde im Juni 2024 aufgenommen. Alle Aufnahmen und der Mix fanden in Palm Springs statt. Gemastert von Matt Colton in den Metropolis Studios in London. --- "Ich wachte gegen Mittag auf, desorientiert, noch halb im Traum. Musik lief - unbekannt, voll ausgereift, die Art von Klang, von der man annimmt, dass sie zum Leben eines anderen gehört. Einen Moment lang dachte ich, ich würde noch schlafen und Musik hören, von der ich mir wünschte, ich hätte sie gemacht. Dann dämmerte es mir: Ruban Nielson war bereits wach, im Studio, und hörte sich an, was wir geschaffen hatten. Wir wussten es beide. Diese Musik hatte etwas Unvermeidliches an sich - als wäre sie weniger geschaffen als vielmehr entdeckt worden. Wir hörten sie uns immer wieder an, lachten und schüttelten den Kopf. Ein Track rief ein gemeinsames Bild hervor: einen immergrünen Wald an einem See bei Sonnenuntergang. Ruban blickte plötzlich auf, die Augen weit aufgerissen, als hätte man ihm gerade eine Botschaft überreicht. ,Ich habe den Titel", sagte er. American Eagle. Der Name wirkte genauso wie die Musik - klar, offensichtlich, unbestreitbar. Der amerikanische Traum: Hot Dogs, Cola, Fahrten bei Sonnenuntergang. Wir brachen beide in Gelächter aus, Tränen in den Augen, weil wir minutenlang so heftig lachten. Wir schwammen in seinem Pool. Das Gespräch hörte nie auf. Der Fluss blieb konstant, nährend, mühelos. Dann sagte Ruban es noch einmal - den Satz, der bereits zu einem Grundsatz geworden war: ,Lass uns mehr davon machen, das genau so klingt." Also taten wir das. Zwei Tage später war ,FEAR" fertig." - Jared Mattson

Seit mehr als drei Jahrzehnten befindet sich AFI in einem nahezu ständigen Prozess der Neuerfindung. Die Band hat es sich zum Ziel gesetzt, sich mit jedem Album weiterzuentwickeln - manchmal sogar dramatisch - und sich niemals zu sehr in einem Genre einzurichten oder sich auf ihren beeindruckenden Erfolgen auszuruhen. Dieser Ansatz hat ihr Publikum vergrößert, aber auch herausgefordert mit einer klanglichen Identität, die sich in wilde, unerwartete Richtungen entwickeln kann. Mit ihrem zwölften Album "Silver Bleeds the Black Sun_" stehen AFI erneut am Anfang eines mutigen neuen Kapitels, nur dass sie es diesmal geschafft haben, sich selbst zu überraschen. Wie schafft es eine Band, die für kreative Umbrüche bekannt ist, immer wieder Wege zu finden, sich selbst aus ihrer Komfortzone herauszuziehen? Normalerweise beginnt die Band ein Album, indem sie sich sofort in das Schreiben stürzt und sich einfach von ihrer intuitiven musikalischen Sprache leiten lässt. Für "Silver Bleeds the Black Sun_" jedoch haben AFI sich bewusst dazu entschlossen, ihren kreativen Ansatz komplett zu ändern. Diesmal begann alles mit einer Frage: Wie könnten sie neue Wege beschreiten? Der Schlüssel zum Fortschritt lag letztendlich in der gemeinsamen Vergangenheit von AFI. "Wir begannen mit etwas, das wie Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produzierte und abmischte. "Aber schließlich landeten wir bei dieser Mischung aus Death Rock und Postpunk - all diesen Einflüssen aus den späten 70ern und frühen 80ern, mit denen wir aufgewachsen sind, wie Sisters of Mercy, Bauhaus und Siouxsie and the Banshees." Das Ziel war es, ein Album mit einer einzigartigen Stimmung zu schaffen, etwas Verträumtes und Ätherisches, und die Bandmitglieder tauchten kopfüber in Einflüsse ein, die schon immer tief in der Musik von AFI verwurzelt waren, jetzt aber in den Vordergrund rückten. "Silver Bleeds the Black Sun_" ist düster und jenseitig, aber auch grandios und würdevoll, bissig und schön zugleich - mit anderen Worten: Es ist sehr AFI, aber doch anders als alles, was man bisher von der Band gehört hat.

Ian F. Svenonius and the philosopher of fuzz, black-jacket beat-bopper, bandstand bolshevik, single note savant, tear-stained tape deck, last refuge of ineptitude, sin is in group, ESCAPE-ISM stopped by our Detroit location one spring afternoon and recorded this pan-sonic polymorphously perverse plastic platter live on the Blue Stage. TOP SECRET. DO NOT BUY.

Nightcode EP finds UK deep-house craftsman Jacksonville in full control, lacing warm chords, swinging drums and basslines built for red-lit basements. Across “Nightcode”, “Ecstasy in Starlight”, “Octobers in Love” and “Blind Spot”, he fuses classic Detroit/UK house textures with his own emotional, story-telling touch—timeless deep house for DJs who play past sunrise.

Feedbacks:


Laurent Garnier : Octobers in Love <3 <3 <3
Nick Holder : dope
Gina Breeze (Classic / Get Up / Homoelectric) : Feeling the deepness! Look forward to playing.
Nightmares On Wax (Warp Records) : Ecstasy in starl;ight and Blind spot are my jams !
Josh Wink (Ovum) : Deep, old old school flavored with new school production.
Alexkid (Rawax / FUSE / NG Trax) : Lovely
Lauren Lo Sung (LOLiFE records, e1even records) : Octobers in love is nice!
Dj Hutch (Ambers / Rinse FM) : grooves
Louise Chen (NTS) : This is so so sooo good! Can't wait to play on the radio!
Rob Pearson (Evasive Records / Sine 102.6fm) : Nightcode is the standout for me, will play tonight on Evasive
Eviltron / Paul Donton (Bombis / Triangle) : Blind Spot and Ecstasy in Starlight are the ones on the
D'Julz (Bass Culture) : feeling night code and blind spot . merci!
Junior Sanchez (Strictly Rhythm / Cube Recordings) : Really Cool EP!
DJ Three : this is all very high quality house that feels very much a
nd_baumecker (Ostgut Ton) : Nightcode and Octobers In Love for me. Quality as usual.
Sasha (Last Night On Earth) : Downloading for Sasha
William Kiss (Rekids) : very nice!
Monty Luke (Rekids / Black Catalogue) : thx for this...
Mystic Bill (Classic / Trax / Relief) : Will try some of these out, thanks!
Carista : beautiful
Crackazat (Freerange / Local Talk) : Sick sick sick
Jhobei (Bizarre Trax / FUSE / Felon 5) : Nice smooth deep
Khadija (Rek'd / Rafiki Collective) : Danke
Ben Sims : Now downloading - will check asap!
DJ Bone (FURTHER) : Very nice tunes here, thanks
Bake (All Caps/Rinse FM) : thank you!
Dj Deep (Deeply Rooted) : very nice tracks!
Oliver $ (Classic Music Company / Play It Down) : nice one!
Tripmastaz (Plant 74) : Nightcode is tight
Harvey Sutherland (MCDE / PPU / Voltaire Records) : couple of nice tunes here!
Anthony Collins (Frank & Tony / Scissor & Thread) : super nice deep tunes
Marcel Dettmann : thx
Voigtmann (Subsequent) : Ecstacy in Starlight is the one!
Gerd (4Lux / Clone) : dope house trax from the phonogramme crew once again!
Groove Armada : Great EP - Love Nightcode, Ocotber is love so good too±
Harri (Sub Club) : nice, will play and support
Jorkes (Freeride Millenium) : ecstasy in starlight..yes yes yes yes
DJ Minx (Women On Wax Recordings) : Every one of these...top tier! I'm on 'em!
DJ Rocca (Nang Records, Mantra Vibes) : Great EP. Nightcode is great, super bassline indeed
Jacques Renault : Ectasy In Starlight for me here!
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Mark Farina : dig it
Âme (Innervisions) : thanks
Djebali ( ( djebali ) / INFUSE / Freak n Chic) : Love it ! thanks for sharing. Blind Spot is my fav
Jaye Ward (Dalston Super Store / Netil Radio) : wicked release!! night code is a belter!!! thx
Iron Curtis (Mule Musiq, Morris Audio) : thank you!

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.