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RAWAX presents Basic Bastard aka Orlando Voorn!
Another great release from the dutch Legend, who teamed up on two tracks with Will B & Barksdale They delieverd here an beautiful hommage to Detroit. Worth to check!

Detroit Legend, Rick Wade joins Collect Records for the first time with Just Beneath EP. A key figure in Detroit's second generation of house producers and founder of Harmonie Park, Rick Wade delivers three deep and hypnotic cuts rooted in jazz, soul and classic machine funk. Warm, stripped-down and functional, with one acid-leaning track adding extra tension to the EP. Underground house music for late night hours. Collect Records operates from Collect, the Lisbon-based record shop and radio located in Cais do Sodre, a meeting point for DJs, collectors and the local underground scene.

Part 1. A collection of raw, dystopian machine funk that we love from dynArec.

"Over the past three decades, Philipp Lauer has produced an incredible body of work, deploying a myriad of aliases, both as a solo artist and as a part of collaborative projects. From his hardware-steeped Frankfurt studio Pyramide 2, he has built this catalogue through original material and remix commissions, taking on the full spectrum of electronic music while retaining an unmistakable signature. He combines a hands-on approach to rhythm and composition with a DIY MO and a love of big hooks. The level of expertise at hand seems to facilitate a playfulness that subtly permeates all layers of his work. He's a pop melody natural who just so happens to love fiddling with synthesizers, drum machines, and effects an equal amount. All of these qualities are exemplified on "Embalmed In Martino": Lauer's four-track ode to the Belgian Martino sauce, a spicy tomato-based condiment, and arguably the essential ingredient to top off the namesake raw meat sandwich. On "Embalmed", which makes use of instrumentation that would fit right in on an early eighties Manchester cut, and "Martino", where a sturdy, electroclash flavored arp bass provides the stamina, a slew of big and small riffs easily work their way in, thirsting for our ears. On the other side, "Transactional" combines Miami basslines and similarly electro-fundamental twinkling synth work with a flanger-laced 4/4 beat, while "Don't You Know" features soaring synthwave patterns and the only vocal samples on the EP. Both sport rich arrangements as well, right down to the cowbell overdubs. Lauer's often lauded for his "summery sound". In this light ALT026 lands right on time - yet we might disagree here, as it's suited for all seasons, and all terrains, both the shiny festival grounds and the dim-lit club floors."

RAWAX produly welcomes the Legend Funk D'Void to the artist family!
We are very happy to present you in future his amazing past and present releases.
Starting with a real GEM which came out originally in 2001 on Blue Recordings.
Our 2026 became a new mastering. Don't miss!

Heavy, reminiscent of a release from the nineties, Younger Than Me pulls us through interdimensional soundscapes on his debut to the label — a wormhole morphing from ultra-emotive breakbeat and hallucinatory progressions into full-blown, boisterous acid techno at its very best. A producer with an endless catalogue of releases, notably on incredible labels including Jennifer Cardini’s Dischi Autunno, now steps up on Neptune Discs with his Vaco Loco EP. The Berlin-based, Italy-born producer is joined by Byron Yeates and label regular Biodive on the B-side, each taking turns remixing A3, Aargh!!!, pulling it in different direction — one leaning into trippy trance atmospheres, the other exploring a more immersive progressive terrain.

Traversing wormholes and flexing versatility, Nicola Cruz gets back on his club-ready biz.

No proper introductions needed here. Sometimes you just have to sit back and appreciate someone at the top of their game. The third portal thing, done masterfully. Hats off.

Time-honoured templates that provide the foundations for his hybrid mutations. Three mescaline-strength techno incursions backed up with a vivid projection of fractal electro.

Big on murk. Properly steeped in introspection, expanding consciousness and horizons. The vision quest endures for the duration.

New levels of insectoid detail and lysergic flourish revealed with every close listen, but he’s always keeping it robust. Giving it chest with some serious dancefloor dramatics until the final unfurling.

Get The Hose is the fabled, long awaited debut release from Montreal duo Plumbing, featuring Martyn Bootyspoon aka Jason Voltaire (Fractal Fantasy/LuckyMe/Fool’s Gold Records) and Stephen Ramsay of Young Galaxy (Paper Bag Records/Smalltown Supersound).

Born in 2018 as a live, analog hardware-based studio project, the duo worked quietly on the periphery of the left-field electro scene, only venturing out to do occasional, legendary winter warehouse DJ sets and a still-vaunted live set at MUTEK in 2021, which was so visceral that it knocked every person present into their seats simultaneously.

As cheeky and playful as it is gritty, relentless and overdriven, Plumbing’s new EP showcases their love of the raw and grimy, bare-bulbed basement aesthetic of underground dance music, where Paranoid London, Drexciya, MMM and Blawan meet to steal your drink and ignite the dancefloor.

It’s getting hot in here, it’s time to Get The Hose…

The craft of making music and the exploration of new methods for creating sounds were at the very heart of producing markmechanik’s LP “Invest in Rest”. The months-long production process led to one key insight: music is a tool. And this tool opens up possibilities for slowing down, sets a counterpoint to the fast-paced digital age, and leaves intellectual overthinking behind.

In his second solo release, markmechanik fully dedicates himself to blending sampling with digital and analog sounds. Between the sounds, you can hear the celebrated time spent in the studio—the playful tinkering with sounds and devices has been distilled into the LP’s eight tracks.

This release is an act of breaking out of conventional categories for Seismic records. Established boundaries of genres are completely dissolved into an unpredictable flow of sonic associations. It’s an unexpected collaboration, yet it makes perfect sense from the first kick. Two artists from seemingly opposite ends of the musical universe come together to create a project which fearlessly embarks on the synthesis of hypnotic trance-techno and utter sonic chaos. This project is anything but predictable.

The duality is noticeable from the very first moment. One side brings relentless movement forward in the project: a raw, hypnotic pulse based on rhythm and precision, locking the listener in the present moment and not letting go. Unpredictable textures and psychedelic ornaments are constantly weaving through the rhythmic framework.

A dedicated listener may recognize that the whole EP carries the legacy of David Lynch’s work. The sense of peculiar uneasiness and indecipherability, overridden by the desire to find out what comes next, are exactly what the artists manage to capture and what is so characteristic of Lynch himself. At one point, the EP even reveals a moment as if a red curtain parts in the depths of the track and the listener momentarily catches echoes from the town where owls are not what they seem. Hidden within is a playful nod to the iconic Twin Peaks soundtrack.

Gunnter drops Paris Match EP on wax, blendin’ raw Parisian house vibes with next level grooves. Bloodsport to Distraction, every cut hits hard, straight for the floor. Spin it loud, let the city sweat.

Massive VA with Seclusion's eclectic style, including techno, electro, and ghetto house.With a solid artistic selection: DJ Deeon, DJ Shufflemaster, DJ T-1000, Anné...

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Returning to Peak Oil for a second expedition, veteran Russian producer Kirill Vasin, aka Hoavi, explores an untrodden path on 'architectonics', drawing from his lifelong appreciation of Indonesian gamelan musics to mastermind a rhythmelodic hybrid sound that's sinuous, subtle and remarkably dubby. Over the last three and a half years, Vasin has used the music's methodologies and rhythmic forms to evolve his existing processes and signatures and transform his musical philosophy. To start the exercise, he knew he needed percussion, so used his phone and a contact microphone to pick up nearby sounds, drumming on various tables, railings, empty glasses and other objects to create a library of textured, tonally complex percussive sounds. But the work wasn't done yet - in fact, it was just the beginning of a long process of trial and error: Vasin created two full versions of the album before 'architectonics' was finished.

There are still echoes of the chrome-plated sci-fi atmospheres and complex, stuttering beatscapes that underpinned 2021's 'Invariant', but 'architectonics' asks very different questions, prompting fresher, more innovative responses. Leaning on his bank of organic percussive sounds, Vasin is able to concoct a tactile aura that he fills with eerie fluctuating repetitions that shift subtly, sometimes imperceptibly. The cavernous reverb and booming bass that supported his last few albums is still present, now employed as scaffolding for different architectures: skittering sequences and ornamented overlapping phrases that owe as much to Steve Reich's hallowed minimalist compositions as they do to Indonesian traditional forms. Lulling, almost hypnotic tessellations appear like fractals on the polished surfaces, morphing from jazz to techno and dub while retaining gamelan's haunting xenharmonic resonances and Vasin's concept becomes crystal clear. 'architectonics' isn't an attempt to make a gamelan album, it's Vasin's way of developing his own artistic process by looking far beyond the traditional boundaries of electronic music.

Building a temple of sound from reduced elements, Decoder's Alchemy EP on T3R allows selected components to generate a strong and steady drive. Using a distinctly organic sound palette, the tone of the release is wordly, sometimes almost wooden with space taking the role of an active element. When melodies or chords appear, they introduce a subtle sense of melancholy, adding emotional weight without pulling the music away from its physicality. In its unfolding storyline, the EP suggests a broader narrative. While each piece explores a slightly different soundscaping approach, a consistent DNA runs through the release - reinforced by Sanskrit and Hindu references as an underlying conceptual thread. Percussion is handled with precision and imagination: Grooves shift, evolve, and reconfigure. Dark, driving sequences are softened by airy pads and atmospheric layers, creating a dual feeling of intensity and serenity. Filters and reverbs are applied with restraint, giving the music a sense of movement and breath. Alchemy showcases an emerging artistic voice driven by aspiration and exploration. Through confident craftsmanship, genuineness and self-reflection translate into a perfectly balanced, inspiring release. ? 2026 The Third Room Written and Produced by Gautham Gaug Mixdown and Mastering by Ahmet Sisman (The Third Room Studios) Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

Rebecca Goldberg presents the release of her debut full-length album, Night City, a deeply personal and expansive body of work that reflects a decade of artistic growth, exploration, and connection. Produced and arranged by Goldberg, this album captures the evolution of her sound through years of practice, travel, collaboration and mentorship.

Including 12 tracks across a 2x LP, Night City draws from the rich lineage of Detroit electronic music. Goldberg cites influences from dystopian cityscapes and futurism to space exploration and the possibilities of technology. The result is a forward-thinking genre-spanning collection.

The album features two notable collaborations: “444,” created with Jnn Aprl and recorded in her studio in Seoul, South Korea, and “Tunnel,” featuring Detroit techno artist Tiptonaires. Each collaboration adds a distinct voice and texture to the record’s immersive sonic world.

Night City was mixed and mastered by Andy Toth, with album artwork illustrated by Mark Sarmel. A limited run of vinyl is available for preorder now, pressed at Archer Record Pressing Co. in Detroit. The album will be released on Detroit Underground.

At its core, Night City is an offering shaped by experience and guided by curiosity, marking a significant milestone in Rebecca Goldberg’s musical journey.

Sa Pa launches Dub Techno For Life: a dedicated outlet for the artist’s more dancefloor-focused material - work that has largely sat outside the conceptual frame of his previous releases.

The label’s first release, Girls on Tour EP, opens with “Mokira Ultra Dub”, a 10-minute club rework of Mokira classic “Manipulation Musik”. Originally produced alongside an ambient version commissioned for Kontra Musik’s 2016 Kontra X compilation, the dancefloor mix was ultimately shelved until now. With Andreas ‘Mokira’ Tilliander’s blessing, it finally surfaces as a standalone Sa Pa production. A track too banging to go unreleased.

“Waiting For You” traces back to Sa Pa’s orbit around the giegling ecosystem via FORUM. Once lined up for an official release on the parent label before plans stalled, the track slipped into the archives. Buoyant and disarmingly pop by Sa Pa standards, it finds its place here as the A2 - tuned to the collective memory of mid-2010s German house music.

Harnessing the spirit of Chain Reaction from the abandoned patches and borrowed machines of a rainy night’s recording in Taipei, the B-side’s “Modular System” captures a late-night, one-take modular jam. A broken yet hopeful “World Saving Banger” closes the EP with some raw and IDM-leaning force, showcasing Sa Pa’s new label - and the Girls On Tour EP - as a space for neo dub techno ideals to take shape.

A1. – Itch & Scratch 5.32

Smoove puts the spotlight firmly on the larger-than-life vocals of Rufus Thomas, peeling things back to reveal hard-hitting breakbeat drums from the very first bar, anchored by a relentless, pounding bassline. Punchy brass stabs and rolling keys collide with dirty funk guitar riffs, all stretched out into an extended rework built for maximum floor impact.

A.2 Bouncy Lady 5.06

A classic jazz-funk break from 1975 gets a fresh twist as Smoove reworks the structure into a groovy, extended build-up. Vocal chants and handclaps take the lead, while the original sax solo is stripped away and replaced by a raw bass-and-guitar workout. The focus shifts squarely to the rhythm section, letting the drums ride all the way to the finish—ending with the studio engineer’s off-mic murmur on the tape: “beautiful.”

B1. – For The Love Of You 6.57


The Isley Brothers classic gets a loving reworking, with the groove locked in tight and the keyboards pushed front and centre letting the drums and bass drive home the groove. Those iconic falsetto vocals are spine-tingling, from start to finish.

B.2– I’m Trying 4.48

Lush, soulful strings and a deep-groove piano line glide over this drum-driven reinterpretation, opening up the raw, emotive vocal breakdowns of Carla Thomas and Pervis Staples. Originally scored by Isaac Hayes, this rework digs deep into the multitracks, uncovering previously unheard moments and giving them room to breathe.

Sindh presents the Vagali EP, a striking continuation of his tunnelling, futuristic take on techno. Growling synths, driving basslines, alien atmospherics and finely tuned percussion define a sound that feels unmistakably his own.
Following his Komudo series — which has built a devoted following since its debut in 2024 — this latest release leans further into his signature sound design, pairing hypnotic sequences and menacing synth lines which feel right

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

In Soft Power, Funk Assault turns their surgical precision toward the invisible forces that shape modern life - control not through force, but through aesthetics, etiquette, and algorithms. Across five tightly woven tracks, the duo dissects how obedience is engineered through desire, conformity, and digital seduction.

From the sterile luxury of Aesthetics of Desire to the algorithmic exhibitionism of Like Me, Watch Me, and the chilling calm of Obedience Spa, this EP is a reflection on how control has evolved -smoother, quieter, but no less powerful. Soft Power invites listeners to dance, reflect, and perhaps notice the strings they didn't know were there.

2026 Repress

FFF returns to 3AM Eternal with a 4 track ep. Side a features 2 soundclash infused rare groove amen tunes that are atmospheric, melancholic but still guaranteed ruff!
The B side is less smooth. 100% riot beats! Mentasm mayhem!! Rotterdam based Newk's remix goes even deeper into jungle tekno territory.

It's 5 AM. The golden hour. That moment suspended on the lips of the night that is leaving us. Where the dance still refuses to die as sweat dries, bodies float and minds drift. Some immerse themselves in the dripping surroundings while others emerge or pretend. Outside, nature reclaims its rights. When the moon sets over Kizipolis, the music doesn't stop: it transforms us.

To celebrate our 10th anniversary, the pillars of the label were invited to compose the track they would play at this precise moment. The one that no longer seeks to prove itself, that accompanies the ebb of shadows, connecting the senses to the light.

Kizipolis Vol.1 is the soundtrack to an imaginary but familiar city, a city where raving is a way of life, where music acts as a climate, where at 5am, anything is still possible.

2026 Repress

The Architects of Shadows explores the volatile undercurrents shaping today's polarized world, where extremes on all sides vie for influence and control. Against a backdrop of rising nationalism, digital echo chambers, and deepening distrust, each track captures a stage in the gradual radicalization of society. Through dark, immersive soundscapes, the album delves into how unseen architects exploit fear, amplify division, and pull the strings of public sentiment, leading society toward ideological extremes. The Architects of Shadows invites listeners to confront the forces behind the fracturing of Western societies in an era marked by profound political and cultural polarization.

Nu Groove spotlights the artists that made this cult NYC label a favourite of crate diggers then and now with this special vinyl release of their vital tracks revisited by leading selectors of today. The label, born in 1988 by Frank and Karen Mendez as an outlet for the experimental works of the Burrell Brothers, quickly became a home for up-and-coming genre pioneers. ‘Nu Groove Edits, Vol. 8’ opens with DJ Steaw’s Autumn Reshape of ‘Window Guards’, originally by N.Y. House’n Authority - a moniker of Rheji Burrell. Next up is Steve Mac’s remix of NYC favourites The Sound Vandals’ ‘Tonight’s The Night’, followed by another seminal N.Y. House’n Authority record, ‘APT. 3B’ remixed by Dazzle Drums. A third track from the mind Rheji Burrell closes out this vinyl collection of future record box staples, with Seamus Haji reworking The Utopia Project’s ‘File #1’.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Oath sub-label Last Year At Marienbad is proud to present the latest spellbinding work from producer Holo, 'Astro', a record that emulates never-ending ethereal, emotively pure, and endlessly danceable frequencies…
Berlin-based Holo makes dance music that speaks in carefree whispers, through a brilliantly constructed sound that leans as much on the hypnotically emotive as on the core fundamentals of composition.
'Astro' is the next phase of his musical journey, and as a contained experience, it gives over all that Holo has become celebrated for, alongside explorations of invigorating spaces in which his sound has grown. The title track is an airy, free-flowing affair, with its semi-stepping drum pattern providing the frame for the light chimes of the keys to set the soul going. 'Spirits' ups the ante with its tempo change, its direction more towards a dancefloor in some faraway paradise.
'Sympatika' kicks off the B-side in a similar fashion, with its extensive groove fuelling bated breath for the arrival of the synths. 'Cycles' wraps up the EP, which again shifts focus to a more cavernous, absorbing kind of sound. A final blend of audio excellence that wraps up a one-of-a-kind record from a one-of-a-kind producer.

Wilt returns with a new deep house EP on his own label, Thé Chaud Records. The French DJ and producer delivers a twosided release showcasing his dual approach to club music.

On the A-side, Wilt settles into a deep, late-night groove with two carefully crafted cuts built for the floor. Crisp drums and warm, rolling basslines drive a steady pulse, with subtle arrangements that let the tracks breathe. The B-side highlights his love for old-school sampling, blending warm textures and nostalgic touches into a more intimate, soulful atmosphere. A concise yet balanced EP, moving between refined club functionality and timeless deep house depth.

Leuchtende Pop-Hymnen aus der diorama-Dunkelkammer. a substitute for light kreist um das Motiv des Lichts - als Verheißung, Orientierung und Täuschung. Es flackert in Monitoren, spiegelt sich in Oberflächen und lässt Erinnerungen im Schatten verschwimmen. Zwischen ausrangierter Liebe und digitaler Erstarrung suchen die Songs nach einem echten Funken - geboren aus Bewusstsein, nicht aus Strom. Auf ihrem elften Studioalbum zeigen diorama, dass weniger mehr sein kann: klare Arrangements, prägnante Melodien und Vocals mit ordentlich Punch. Zwischen clubtauglicher Wucht, hypnotischen Balladen und schwebender Melancholie entsteht ein Sound, der sofort zündet - und lange nachhallt. Trost in der Dunkelheit. Ein Ersatz für Licht.

Loud Ambient 2 picks up directly from where Loud Ambient left off. After picking the drum machines back up, we returned to the colourfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off.

Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality.

The creative side landed easily this time. There is some- thing about working with colourfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response.

With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result.

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

WRWTFWW Records is pleased to announce its fifth collaboration with NY-LA ambient / jazz / downtempo musician Danny Scott Lane with the first ever vinyl release of his 2022 full-length album Holy Goodnight, available on limited edition LP (500 copies worldwide) housed in a heavyweight sleeve.
After Home Decor, Shower, Caput, and Songs For Sex, here’s another Danny Scott Lane classic. On Holy Goodnight, he handles synths, keyboards, bass, guitar, percussion, and field recordings for a smooth nightride through city pop, contemplative jazz, vaporwave, slow funk, cozy ambient, library music vibes, and relaxed moods.
Holy Goodnight feels like cruising through a half-asleep city with the windows down and the radio low—lush harmonies and soft grooves guiding the way. It’s warm and hazy music for late hours and early mornings, introspective, comforting, cinematic, intimate…
Following the release of chillout staples on WRWTFWW, Danny Scott Lane further cements his unmistakable sonic universe. Complete the collection and sink deeper into the night.
Points of interest
For fans of ambient jazz, city pop, downtempo, smooth funk, vaporwave, library music, night drives, neon lights, quiet introspection, cozy late hours, and peaceful goodnights.
Super limited edition vinyl (500 copies worldwide) of Danny Scott Lane’s Holy Goodnight, available on vinyl for the first time ever.

“It’s been on my wishlist for a while that the incredibly talented Julienne Dessagne does a techno EP for us,” Michael Mayer says. You can hear why, straight up, on Speicher 139, as Dessagne’s project Fantastic Twins is finally let loose on Kompakt’s storied series. The key words: psychedelic acid trax. “False Index” is peeled back to core: a fearsome rhythm, with an endlessly helixing synth pattern twisting around your skull, crinkling like cellophane and warping like burnt plastic, while Dessagne’s Sprechstimme floats above everything – detached but effortlessly perceptive. “New Systems” is a new kind of Europe Endless – hypnotic and lush, its deep drones pinpricked by sonar bleep. “Uninhibited” is catchy in a way that only Dessagne can make possible, its vocal tattoo burnt into your mind as it echoes through massive architectures, tones dropping from scaffold and splashing at your feet as glitch-work burrows its way up through the floor, directly into your earholes. Uninhibited? Everything here’s simultaneously under control, all under the watchful, guiding eye of Dessagne, and playfully, wildly out of control, little arrangements of phenomena let loose to build new worlds. Organised chaos, and chaotic organisation.

„Es stand schon seit einiger Zeit auf meiner Wunschliste, dass die unglaublich talentierte Julienne Dessagne eine Techno-EP für uns produziert“, sagt Michael Mayer. Auf Speicher 139 kann man sofort hören, warum, denn Dessagnes Projekt Fantastic Twins erscheint endlich in der legendären Serie von Kompakt. Die Schlüsselwörter: psychedelische Acid-Trax. „False Index“ ist auf das Wesentliche reduziert: ein furchteinflößender Rhythmus mit einem sich endlos windenden Synth-Pattern, das sich um den Schädel dreht, wie Zellophan knistert und sich wie verbranntes Plastik verzieht, während Dessagnes Sprechstimme über allem schwebt – distanziert, aber mühelos wahrnehmbar. „New Systems“ ist eine neue Art von Europa Endlos – hypnotisch und üppig, seine tiefen Drones von Sonar-Pieptönen durchbrochen. „Uninhibited“ ist eingängig auf eine Weise, wie es nur Dessagne möglich macht, ihre Stimme brennt sich in dein Gedächtnis ein, während sie durch massive Architekturen hallt, Töne fallen vom Gerüst und spritzen an deinen Füßen, während sich Glitch-Work seinen Weg durch den Boden bahnt, direkt in deine Ohren. Hemmungslos? Hier ist alles gleichzeitig unter Kontrolle, alles unter dem wachsamen, leitenden Blick von Dessagne, und spielerisch, wild außer Kontrolle, lassen sich kleine Arrangements von Phänomenen los, um neue Welten zu erschaffen. Organisiertes Chaos und chaotische Organisation.

After “Messin plutôt que français / Enfonce-toi dans la ville” and “Gloire à Satan,” Noir Boy George, an iconic artist from Metz and a key figure in the French underground scene, unveils a new album: “Polytoxicomane de toi.”

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.

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Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

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

Colophon creates electronic music using synthesizers and drum machines from the '80s and '90s that are no longer in production. Everything beeps and crackles, shaping atmospheric soundscapes layered with deep basslines and melancholic pads full of character.

'Dimension Six EP' delivers a six-track journey, moving through techno, acid, slow burners, and ambient. Imperfections are left intact, giving the music a raw, human feel rather than something overly clean, clinical, or artificial. It's the meeting point between old and new technology that makes the process so fascinating and inspiring - the endless places you can go, discovering new sounds within sounds.

Alongside producing music, Colophon also runs 'Loop of Life', a record label where music, fine art, and graphic design converge, releasing limited-edition vinyl with handmade artwork covers.

Reviews
'The excellent, excellent sounds of Colophon' Ben Sims on NTS Radio, London
'My favourite tracks of the moment' ASOK on Rinse FM, London

Coming in hot on Berlin's Toy Tonics label: a new EP by the talented duo ALMA NEGRA!

Founded in 2013, Alma Negra is a Swiss collective centered around the brother duo Dersu and Diego Figueira, whose diverse roots in Switzerland and Cape Verde inform their sound. The project was launched with the ambitious vision to explore the world's diverse rhythms and drive musical innovation by mixing different styles. Their work is anchored in a process of digging and sampling, skillfully blending traditional sounds-from Fela Kuti-influenced Nigerian afrobeat and Angolan Lamento to Caribbean Zouk and the Maloya sound of Réunion-into a contemporary dance music context.

The Figueira brothers' eclectic DJ sets embody this ethos, peppering disco and house with salsa, samba, jazz, and Afro-Caribbean carnival rhythms, all under their guiding motto: "As long as it's Funky."

Since 2014, Alma Negra has made an important contribution to intercultural exchange in their hometown of Basel. Their international presence began in 2015 with their first shows abroad in countries like France, the Netherlands, and Portugal. From 2016 to 2019, their reach expanded significantly, with performances in major hubs like London, Paris, and Berlin, as well as Istanbul, Tel Aviv, and Tunisia. Highlights from this period include sets at the Montreux Jazz Festival, Dimensions Croatia, and Fuse Club in Brussels. Their standing is further cemented by releases on respected labels like Heist Recordings, Sofrito, and Basic Fingers, alongside remixes from an elite group of peers, including Soulphiction, Kuniyuki, and Yuksek.

Parallel to their studio and DJ work, the project expanded into the Alma Negra Live Band, formed with jazz musicians from Basel. While the band is currently on hiatus, this collaboration made live instrumentation increasingly central to their productions, creating a dynamic they feel is essential for any dancefloor. The live band has performed in cities like London and Hamburg and has led to collaborations with artists such as French singer Pat Kalla and jazz trumpeter Bodo Maier.