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The Noir Music sub-label is back with a cool co-op between Nadja Lind and Mister D. Diggler – Remix support by Markus Suckut (Rekids, SCKT).

Supply Records marks the end of a two-year hiatus With a strong techno EP from the label's own Mechaniker. Pike builds the energy slowly with tight 909 programming and gritty synth work. Tongue puts a twist on big-room techno with its tripping layered vocals and apocalyptic atmosphere..

Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

Almost one year in the making, Bulgaria's outstanding techno talent lands his return to Drumcode with a four-track EP.

Timmo (aka Valeri Ivanov) doesn't do things in half measures. Since the release of his excellent 'System' EP last year and 'Muzik', his inclusion on A-Sides Vol.6, he's committed himself to crafting, refining and polishing a quartet of cuts inspired by the cosmic realms beyond planet earth.

Titled 'Meteorite', its release marks 10 years since he first began producing and stakes its claim as a resounding career highlight with tracks already highlighting gigs for Adam Beyer at Tobacco Dock, Awakenings, Future Kappa Festival and Junction 2.

Beginning with the title track, the streamlined work throbs with a searing synthetic pulse. 'Black Moon' sees the EP land its first blow, kicking with a mixture of undulating synths and understated hoovers.

'Spacetime' stays true to its name delivering intergalactic techno vibes.

'Cosmos' concludes the work, taking us into extra-terrestrial dancefloor territory, with a barrage of trippy synth work and a melodic underbelly the makes the track both beautiful and heavy-hitting in equal measure.

Positive Centre marks the 5th release on his In Silent Series label
with 4 tracks of weighted mechanical workouts that feature his
honed atmospheric style with brooding scenery and sharp
percussive accents. Isolated Loop takes a crunched and spat out
growl of an acid synth and blends it with ever developing drum
machine patterns as a weaponised techno tool. Tension Arm builds
on this with sharp percussion piercing over a hard edged bassline
and atmospheric scenery. Idle Roller is a deep, sub-aquatic rhythm
journeying to parts unknown with subtle switch in rhythm keeping
the momentum going through this textured sound world. Sum
Tolerance fractures open with stretched sounds of otherworldly
instruments, sludge laden beats and humming bass pressure.

The Mutant Frequencies EP is the first transmission from Music That Moves - Shinedoe's new label focussing entirely on her own productions. If this release is anything to go by, the label is set to make its mark just as her other label Intacto has done since 2004.

Early support from Jeff Mills, Jerome Sydenham, DVS1, Ben Klock, and more. Shinedoe launches her new Music That Moves label with 'Mutant Frequencies'. The title track is a gripping, arpeggiated techno roller for the peak time slot

The title track is a gripping, arpeggiated techno roller for the peak time slot - DJ Mag

I'm definitely feeling this, all 3 tracks are doing it for me - Big time!!! DJ Rolando

Track 1 for me for sure! DVS1


Shinedoe has built a stellar reputation in the scene for her unmissable DJ sets and stand-out productions, which have made her one of the most respected names in techno. Kicking off this release, the title track Mutant Frequencies sets out the agenda - a deep driving baseline intertwined with sparking, modulated synth lines and crisp, urgent percussion. The result is a tough techno bomb, but containing Shinedoe's signature subtleties. Over on the flip, the Robert Hood referencing M-Plant is an acid- tinged, bouncy groover - the baseline writhes and wriggles throughout the track while the pulsating kick and fizzing percussion propel the track ever higher, punctuated by an exquisite break. Last but not least, Triplex is a deeply atmospheric cut, slowly building out of a hypnotic synth hook and dark, brooding pads - Shinedoe's masterly production keeps the track full of tension throughout.

Music That Moves (MTM) Founded in 2018, Music That Moves is the latest venture by Amsterdam-based techno maven Shinedoe. Having been jointly responsible for the long running and hugely influential Intacto label with partner in crime 2000 and One, Chinedum Nwosu's new label is a vehicle for her own special musical vision. Focussing entirely on Shinedoe productions, Music That Moves is the home for precision techno with soul - literally music that will move you in every sense.

Repress

Modularz Label owner Developer presents his first LP Sold in Three Parts A,B&C
The Title named "In Pure Form' is a real wealth of work that developer has been creating over the last year. Its a fairly large catalog of music focusing on raw rhythms, strong tools and powerful funk fueled techno.
We do advise that this is not your average concept album with ambient and break beat type pieces that the market is flooded with - but instead a more straight to the point no filler type of LP.
This is a massive selection of functional tracks direct from the Developer factory of techno. Already a huge amount of support and positive feedback received on this release from the global heavyweights currently playing a selected amount of tracks from this killer release.
First pressing CLEAR vinyl

Repress

Modularz Label owner Developer presents his first LP Sold in Three Parts A,B&C
The Title named "In Pure Form' is a real wealth of work that developer has been creating over the last year. Its a fairly large catalog of music focusing on raw rhythms, strong tools and powerful funk fueled techno.
We do advise that this is not your average concept album with ambient and break beat type pieces that the market is flooded with - but instead a more straight to the point no filler type of LP.
This is a massive selection of functional tracks direct from the Developer factory of techno. Already a huge amount of support and positive feedback received on this release from the global heavyweights currently playing a selected amount of tracks from this killer release.
First pressing CLEAR vinyl

Tom Flynn marks his first appearance on Exit Strategy, starting off with a strong package of four tracks. Each of them tends towards a slightly different side of his ecstatic and clean production style - making this a very coherent well balanced collection of killers.

Much may have changed over a two-decade period, but Drumcode's commitment to releasing the scene's most cutting-edge and refined techno remains resolute. 2016 saw releases from heavy hitters such as Adam Beyer, Alan Fitzpatrick, Dense & Pika, Sam Paganini and Joseph Capriati, as well as a much coveted Moby remix package. The label pushes forwards again in 2017; bringing fail-safe, club-ready music to the techno community. 2016 was a standout year for Alan Fitzpatrick, with the Drumcode stalwart racing out of the gates in spectacular fashion with the release of his fabric 87 mix. A substantial amount of high profile shows followed, including appearing at the inaugural Junction 2 festival and closing the car park to a packed-to-the-rafterscrowd at Drumcode Halloween.
He returns to Drumcode with 'Brian's Proper Dun One', marking his first appearance on the label since late 2016 when he remixed Moby's seminal 'Porcelain'. The release opens with 'Brian's Proper Dun One', a track which caused a Twitter meltdown on Alan's profile when he first started playing it at the tail end of 2016. Loaded with sharp and pounding drums, this is an ethereal experience from start to finish and packs a real punch. It's a no holds barred, certified main room anthem. 'Wait A Second' feat. mc r1bbz has been a staple of Adam Beyer's sets of late and has been getting a lot of air time on Drumcode Radio.
This rave inspired track takes a raw, stripped back approach and delivers a real killer blow. Alan sampled the vocals of mc r1bbz from an LTJ Bukem tape pack from the early 90s and the record tips its cap to early jungle raves around the M25.
The release closes with 'Trance, Init'; A homage to Alan's days first and foremost as a raver before he became a DJ, with his non-purist attitude when it comes to electronic music shining through. The breakdown is sure to be a hands in the air moment at festivals all over the globe this summer.

Ninth instalment of Redscale. Grad_u with a masterpiece of dub techno. Vinyl only.

"Holdback", an unexpected twist of events for followers of Redscale, is actually a bold step forward in terms of pace and light. The enticing chords work like a magnet, and the potential of the lady on the mic is no lower than that one of a siren. The personal weapons of grad_u, the most powerful of which are the embracing loops, are of course out there, indicating the
producer's inner spirit and roots.

Picking up where "Holdback" left off, "Outwards from Laniakea" is a statement more rugged, yet as absolute as the message on side A. It's an invitation to put that jacket back to the
cloakroom, switch off that phone and let yourself go, again and again. It's, once again, a compelling statement against conformity.

***

Early support by DJ Deep, Cari Lekebusch, Jonas Kopp, Shlømo, Josh Wink, John Osborn, Echoplex, Don Williams, Wata Igarashi, Regal, Mark Broom, Marcus Intalex / Trevino, Ryan James Ford, Francois X, Albert van Abbe and many more... .

Castanea Records returns with its seventh release, we are talking again about an LP this time signed by Paradroid. The artist is the new entry in the label and returns after a long time with an album that draws a definitely microhouse sound which characterizes him being a pioneer of this genre.
An old school sound unique and characteristic perhaps missing in the market since long. 8 tracks cared in minimum and the high quality details mixed and registered 100% in analog tape.
This icing cannot miss in the disk bag of any connoisseur in gender or non. There will be a novelty even on artwork level, this time we have decided to adapt to release a beautiful gatefold rough collectible cover.

A year after his last outing on the label, Metamethod is back with a second EP for Nightime Drama. The man born Simon Haynes is a veteran of the scene who has worked under many different aliases and is now back at the techno frontline, creating the same sort of powerful grooves that made him so essential back in the 90s.
'Exoshift' opens things up with a lurching, low sung beat that rocks back and forth as frazzled synths and rusty frequencies skate about up top. It's body music that really makes a mark while 'Autofac' then slips into more of a forward moving groove with prickly percussion and woodpecker hits all driving along a bleak techno landscape. Last of all, 'SuperLifter' marries bulky, broken sounding drums with celestial pads that glow white amongst the murk and greyness of the rest for he track. It is atmospheric, grainy techno for serious heads only.

According to numerology the number five is the most energetic and dynamic of all the single numbers. Allow this to be one of your defining expectations when you start listening to '5', the debut album from Parisian maestro Djebali. The number not only marks the number of years that have passed since his label was conceived, but also represents the months it took to complete his very first long-player. The album is a collection of dance floor-focused tracks, interspersed with a few experiments and unified by Djebali's love of deep, sultry grooves and classic house motifs, with a contemporary sheen of course

D-Floor is ready to come back on vinyl with the new EP by NiCe7.
From the title track 'Running man', with catchy vocal hook, to the
more emotional 'Red on sand', this release marks a new series from the talented italian duo. Analog synths, house grooves and old samples working together in both mixes.

Megastar Bruno Mars has unveiled his new album 24K Magic (pronounced twenty-four karat magic), with lead single of the same title. Written and produced by Shampoo Press & Curl, with additional production by The Stereotypes.
The last time Mars dropped an album was December 2012 - four years ago, an eternity for a pop star. He's surfed the intervening years like a pro, with two Super Bowl halftime performances (headlining in 2014, and a cameo last February with Coldplay and Beyoncé), not to mention the biggest-selling song of the past few years, his collaboration with Mark Ronson, "Uptown Funk", spending 14 weeks at Number One - tying for the second-longest run in chart history - and winning the Grammy for Record of the Year. To date, it's sold more than 12 million copies, been streamed nearly 2 billion times and made several dragons want to retire.
This is Bruno Mars. Six Number One singles. Thirty combined weeks at the top of the chart (44 if you count "Uptown"). Two albums, 26 million in sales worldwide, four Grammys and counting.
Throughout 24K Magic , Bruno Mars re-creates the R&B he fell in love with as a child - the likes of Jimmy Jam, Terry Lewis, New Edition, Bobby Brown, Jodeci, Boyz II Men, Teddy Riley, and Babyface.

Adam Beyer's Drumcode juggernaut attracts more fans and critical plaudits with each passing year. Holding firm on its future facing ethos, techno's number one label presents a new volume in its acclaimed A-Sides series with 20 prime tracks to signify its 20th anniversary.

Such is the volume of quality music Adam Beyer receives throughout the course of the year, releasing all of it would be impossible. Enter the blue chip A-Sides series: a chance for the quality-obsessive label head to issue a collection of outstanding tracks that couldn't fit in their regular EP release schedule.

With an eye on future talent, as much as the label's established roster of heavy-hitters, the compilation showcases the full breadth of Drumcode's multifaceted techno sound, equal parts inspiring and functional.

Led by the stealth techno funk of 'Nine of You', Beyer's deft collaboration with Mark Reeve, the compilation takes in exciting highlights from big guns such as Alan Fitzpatrick, Dustin Zahn, Bart Skils, Pleasurekraft, Luca Agnelli, Jay Lumen, Kaiserdisco and Gary Beck.

The rich vein of form displayed by emerging techno talent is similarly given prime position. Rising DJ/producer Boxia makes his Drumcode debut, fresh from a well-received warm up set for the crew at the hugely successful Junction 2 festival in London, while the likes of Enrico Sangiuliano, Juan Sanchez, Ian O'Donovan and Timmo also drop fire, establishing their credentials as some of the most promising talent breaking through the ranks in 2016.


Reinforcing the global scope of the label, artists such as The Junkies from Toronto and Layton Giordani from New York, prove techno is winning a place in the heart of the new generation of artists coming out of North America.

Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister's groundbreaking release, 'The K&D Sessions' reset the bar for what could be achieved in a compilation. Across an array of original tracks, dubs and infamous 'K&D Session' remixes, the DJ and producer duo took the listener on a smoke-filled blunted journey that flowed flawlessly.
Often compared to DJ Shadow's 'Endtroducing' for it's similarly deft craft of rhythm and quoted by Allmusic as "the most blissfully blunted music the world has ever heard", the album has sold over 1,000,000 copies to date and was included in Spin's 'Top 20 albums of 1999'.The album has long since been deleted on Vinyl with original 4LP sets changing hands for €300+ on the collectors market and even a bootleg vinyl copy will set a buyer back over €100. Sixteen years later, this legendary album will be available as a long overdue 5LP reissue remastered by Bernie Grundman Mastering in Hollywood.

Translation returns with the long-awaited Prints of You Remixes EP to continue the sonic exploration of its namesake, which marked Nuage's transition to house and bass music. Up first, veteran London-based outfit Blu Mar Ten deftly re-imagine the album's opening track Colors at a crisp 170 BPM, applying lush atmospherics, energetic breakbeats, and rolling basslines for an uplifting dancefloor vibe. Next, Nuage delves into experimental/postmodern drum & bass territory on his remix of Waterfalls, crafting an immersive, naturesque soundscape with a subdued percussive shuffle, twinkling keys, and bouncing 808 bass. Fellow Saint Petersburg based artist Bop applies his signature "Microfunk" sound to Overseas, juxtaposing crunchy lo-fi drums and glitchy FX with the uplifting house vocals and soothing synths of its predecessor. The Levels end things with a twist, re-imagining the melancholic Shining into an uplifting slice of future soul music with a textural, arpeggiated synth lead, bubbling 808 drums, and fresh verses from Alia Fresco that seamlessly blend into Veronique J's cello performance.

finally repressed !

After a lengthy break Mark Henning returns with his new label Swing and four on-point tracks. 'Stash House' kicks things off with a crisply produced groove with snatched male vocals and rounded bass keeping the swing high. 'Exit Acid' ups the energy levels with an acidic tinged b-line proving a grimier feel whilst flip side's 'James Hughes Blues' is all about the breakdown; a neat synth line and huge bass tones lending it a more anthemic edge. Lastly 'The Horror' opts for a lower key ride, fuller male vocal imbuing the track with a sleazier feeling.

Fresh from the success of 'Say You Won't Ever', Wallflower return with their second single 'Manifest', an ode to honouring what naturally unfolds through surrendering to the Process; not to be confused with having manifest intent of a desired outcome consistently held in the mind's eye.

Leah Floyeur's vibrant piano and Alison Marks' haunting and
mantric vocals combine beautifully with the deeper moody strings to produce a delicately illuminating piece.

The package includes a couple of strong re-interpretations.

On the A Side by Gerd Janson and Phillip Lauer team up again for Rebirth to deliver a mix set to become a classic, combining an old school house feeling with a pulsing disco bass and atmospheric pads.

The vocals shine once more on what is sure to become a real dance-floor filler ! On the B side, Keinemusik's boss Rampa creates a strong remix combining raw percussion and tambourine with an intense synth line to build tension and energy.

German Mark Jackus and Marcus Sur collaborated on this beautiful piece of music with singer/songwriter Golden Parazyth.
Noir Music is delighted to have signed the incredible 'In The Night' song which sits somewhere in between electronica and deephouse. This one works both as a club track and a treat for the ears when you just want some quality music in your life.
Timo Maas and Ed Ed deliver the more clubby vocal versions of the track and Tiger Stripes makes it a club-dub effort. All 3 remixes are a bit more edgy and functional for club plays.
Hit play and get sucked into the sweet melancholy of this track.

After the great success of 'Der Himmel uber Berlin', the second release on 'Envlp imprint' is signed by another South Italy's talent: Drum Communicate is a project of drummer and composer Francesco Varchetta.
The EP take the name from the first track, 'The Fast Line', which show all his talents as a musician, producing an 'Ambient' track with Detroit's influences.
Tuner is the second track, which has a marked groove and much more dancefloor, also remixed by Brendon Moeller in two versions, goes to conclude a release for true connoisseurs of the genre.

Brand new in those deeper days, 'DUB 2 DUST RECORDS' is going to start their vinyl-label, releasing electronic dance music with a special
focus on the various colours of deep Dub-Techno and "Dub" inspired Tech-House.

As artists and remixers Marko Fürstenberg, Gabriel Le Mar, Frank Leicher, Quantec, Luke Hess and youANDme will light a match this year for 'DUB 2 DUST' reflecting their passion and respect for the needs of a Dub head on the floor.

The dub-feeling is clearly the inspiration behind the general flavor of the DUB2DUST-Sound and will demonstrate innovative efforts to offer interesting hybrids of techno/house music. 'DUB 2 DUST RECORDS' is operated from Gabriel Le Mar & Carsten Schorr, and already based in Frankfurt am Main, Germany.

repressed now !!!!

Mentalics debut EP on his own imprint after his great Desperado EP on Microtonal which was remixed by Gabriel Ananda & Dominik Eulberg. Trippy and freaky techno with neverending build-up´s and some great glitching beats. Early support by Gabriel Ananda, Konrad Black, Xpansul, Jennifer Cardini, Mark Henning, Alland Byallo, Oliver Ho, Frankie, Perc, Jeff Samuel, Jamie Stevens, Terje Bakke, stephan bodzin, ...!!

ISKRA is the debut album by Polish multi-instrumentalist and composer Olga Anna Markowska. Starting at “Dawn” and ending at “Dusk”, it is a journey of melancholic depth and true beauty filled with warm memories from what was & what could be.

Using zither, cello, electronics and occasional wordless voice, Olga weaves together something so affecting and under the skin beautiful that it is hard to shake, bringing to mind classics from artists like Jacaszek and William Basinski, or the films of Kieslowski. However, there’s a personal touch in her playing and compositions that stands out. Olga explains: “the cello pieces, in particular, were born from a desire to reconnect with the instrument I’ve known intimately since childhood. However, I had to step away from it for two years to gain perspective and find a fresh approach when I returned.” She continues : “ISKRA is an album about "ignition" — a gradual shift in how I think about music and a search for new values. It also marks the closing of a chapter, blending archival recordings with the dawn of new ideas.”

The album feels deeply personal from the first note, and bridges the difficult point between classical and ambient music in a truly natural way, leaving any typical tropes far off, instead demanding your full attention. Olga uses plenty of loops throughout, which together with the cello and zither builds a transcendent atmosphere. Standouts contain amongst others the stunning “Train Ride Home” - a 7 minute piece with zither as main focal point; “Fever Dream” - a plunge into warm static noise and deep plucks, as well as the beautiful “Helix”, which sounds like a washed out dream with its minimal tape loops and ambient vocal washes. Overall the album connects very well with Olga’s subjects of identity, memory of the places and human relations with nature. There is a deep humanity burrowed within these 40 minutes of music which feels immensely appropriate in these contemporary times.

ISKRA was recorded in different times and places from 2017 to 2022 and lands with perfection on Miasmah - connecting the dots from the early years while reaching into the stars.

Shooting Daggers are a band that never seems to stop. Sal, Bea and Raquel are one of the hardest working outfits out there, constantly playing shows and lending their support to myriad causes all around the U.K. and Europe. So, it’s always an exciting prospect when the band takes some time out from the maelstrom to write and record new material. And 2 years on from the release of their acclaimed debut album ‘Love & Rage’ the band have been in Bear Bites Horse Studio with Wayne Adams (Big Lad, Green Lung) at the controls to come up with the goods once again. ‘The Real Life Thing’ is the latest hardcore sonic missive from one of London’s must-see bands, and it absolutely does not disappoint. Shooting Daggers are the real deal; the best, and most exciting and adventurous hardcore-inspired band in the country. A ‘mini album‘. 7 songs and 20 minutes of driving rocket fuelled punk meets melody picking up from their debut to go further into their own space. A selection of songs that are marked by a fierce energy, variety and cool musical nous, but always with a message firmly at its core. The band says … ‘It's a crucial time to focus on what really matters. Be present, be aware of real things happening in the world, with integrity and love we can make a difference as a community. There is hope out there, and if we all start treating nature, people and animals with respect and empathy we will be able to become better humans and coexist. In this mini album, we express the full range of our emotions through various sounds and genres. From cheerfulness to anger and hopefulness.

From hardcore punk, to shoegaze, to post hardcore and riot grrrl. We embrace our authentic self, with sensitivity in response to injustice, we act out, and all the while savouring every moment, being unapologetically yourself, empowering ourselves and each other’. With the help of some very special guests in the form of ‘The Menstrual Cramps' and Dennis Lyxzén from Refused, that message is driven home ‘big time’. ‘Adrenaline’ is as full on and heavy as Daggers have ever been, all buzzsaw riffs and rousing vocals, it’s a smart and catchy punch in the face to kick off proceedings. ‘My Oh My’ sweetens the vibe if only a bit with its layered post shoegaze guitars and anthemic vocals, exquisitely arranged we may add. It really shows how Daggers have taken the 90’s elements from Love & Rage and expanded it into something all their own. ‘T.R.L.T.’ back to ‘in yer face’ Daggers trademark off kilter punk, chants, fast bit, slow bits all straight into your head. ‘We just Wanna Play’ is, as Daggers put it ... ‘Empowering playground song for girls and queers to sing and play’. The perfect intro to … ‘Loud Mouths’ the first track to feature bestie guesties ‘The Menstrual Cramps’. A riotous call to arms. We are united with our sisters and queer folks in punk and hardcore, queercore is strong and more alive than ever. Together we will denounce problematic behaviours unapologetically, we won't shut up. Things must change and it’s happening when problems are pointed out and sorted. The scene is for everybody, and we are making it happen’. ‘Le Soleil’ is another step forward … a left field, almost dubby vibe with a dreamy melodic swirling vocal performance from Sal.

When Daggers decide to step outside the box, they do it seductively in style. ‘Glow’ is the second collaboration; this one featuring Dennis Lyxzén from Refused on dual vocal duties. A no brainer it seems … ‘Refused has been a band that never wanted to fit in with a specific sound, they are pioneers of experimental punk while still being rooted in hardcore. They believe in what we believe in, antifascism, veganism, social justice and Dennis on stage is anything but a generic hardcore singer’. It’s a celebration. It’s fuzzy, it's hooky and it’s heavy with, dare we say it, a bit of My Bloody Valentine in there too, generic hardcore it is not. And that pretty much sums up ‘The Real Life Thing’. This album and this band are anything but ‘generic’. They never stand still and continue to push the boundaries of what is ‘hardcore’ or ‘punk’ or whatever people think they are. T.R.L.T. is a delight and a surprise from start to finish, refreshing, abrasive, melodic and with a true beating heart. Embrace it.

Easy Beat Productions are pleased to announce their latest release, an upbeat horns instrumental which see's Solution Sound System operator and selector Mark Solution join forces with stalwart reggae trumpet player, D.Fullwood AKA D.Cosmic.

Regular attendees of Solution Sound System events will be familiar with this one as it’s been mashing up dances on dubplate for a little while now!

Listeners are treated to the main horns mix as well as a stripped back dub excursion.

"Remnants" is an album marked by the ambiguity of presence and absence. The pieces, recorded using minimal equipment in what Suzuki describes as a ritual-like atmosphere, began as a way of processing the loss of her father in 2019. But beyond this, they also come to speak to the ways in which loss changes our relationship with someone, and our experiences of the world. Indeed, the experience of loss is not marked merely by a single event, but is instead a process that unfolds over time. Despite the other's absence, a particular location, the smell of a certain brand of tobacco, a look on a friend's face - traces such as these are enough to bring about a renewed presence.

It is through these subtle traces and remnants, encountered over time, that we come to understand loss as not only the acceptance of absence, but the recognition of a continued presence. As Suzuki says, "this is not a solo album." Its creation was instead shaped by an ongoing dialogue, the continued elaboration of a complex and ambivalent relationship. At once melancholic, warm, and embracing, it is this ambiguity, these subtle traces, that Suzuki’s compositions speak to. These are not merely the sounds of mourning, but instead have been shaped by the evolving dialectic of presence and absence into something far more subtle and haunting. (Zefan Sramek, 2026)

‘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

Berlin-based label Ascension on Wax continues its deep, jazz-inflected trajectory with the forthcoming release A Quiet Storm EP from DFRA, arriving June on 12" vinyl and digital formats (Cat No: AOW005). Available to buy and pre-order from May 15, the EP showcases DFRA's refined blend of soul, jazz, and classic house sensibilities, enriched further by a remix from Detroit's Jon Dixon.
Hailing from Colombia and now based in Buenos Aires, DFRA (Diego Ruiz) brings a deeply musical approach shaped by formal studies in composition and a lifelong immersion in hip-hop, gospel, soul, and disco. His productions balance two complementary sides, lush, jazz-rooted musicality and the raw, driving energy of Detroit and Chicago house. This duality is fully realised across A Quiet Storm EP, marking another step in his evolving sonic identity.
The title track, "Quiet Storm," opens the record with a deep, rolling groove elevated by exquisite saxophone work, setting an introspective yet dancefloor-ready tone. "Strings" follows with a dreamy atmosphere, rich piano textures, and a warm jazz undercurrent that highlights DFRA's compositional finesse. On "Charlene," soulful vocals intertwine with chord progressions reminiscent of early Motor City Drum Ensemble, delivering a nostalgic yet forward-looking house cut.
Completing the package, Jon Dixon reimagines "Charlene" through a distinctly Detroit lens. Stripping the track back and rebuilding it with deeper textures and signature keys, Dixon channels the spirit of Underground Resistance while pushing into more meditative territory, bridging jazz improvisation with machine-driven rhythm.
Founded in Berlin, Ascension on Wax continues to honour the legacy of jazz within house music, pairing contemporary producers with a strong visual identity and limited vinyl releases. With A Quiet Storm EP, the label reinforces its commitment to soulful, authentic club music rooted in the traditions of the 90s US scene while looking firmly ahead.

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their bestselling CLASSIC Studio One collections all released on limitededition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics. Studio One Roots set the standard for Soul Jazz Records’ long-standing series and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining in-house groups of Jamaican reggae history - The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. The album is filled with a mixture of seminal cuts and super-rarities from the vast vaults of 13 Brentford Road.

Stand-out tracks include Alton Ellis’s ‘Blackish White’, a surreal and powerful Afro-centric dream, Count Ossie’s Rastafarian drummers’ genre-defying interpretation of Booker T and The MGs ‘Meditation’, Willie Williams aweinspiring versioning of the Skatalites' seminal Rastafari anthem ‘Addis Ababa’ and many, many more. Original sleevenotes by Lloyd Bradley (author of When Reggae Was King), compiled by Mark Ainley (Honest Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner sleeves. “There isn't a weak number across these 16 tracks, from the Gaylads’ ode to ‘Africa’ and Devon Russell's version of the heavyweight ‘Drum Song’ rhythm, to stunning instrumentals such as Jackie Mittoo and the Cyclones with nyahbinghi drummer Count Ossie on ‘Meditation’, Lenny Hibbert’s sparkling vibe work over Mittoo's ‘Ghetto Organ’ and The Sound Dimension’s ‘Congo Rock.” Pitchfork “The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection.” All Music

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

ICONIC FRENCH LABEL VULTURE RETURNS WITH A NEW CHAPTER.

Marking its 25th anniversary, Alan Braxe label Vulture looks beyond its archive, from the French Touch imprint of “Intro” and “In Love With You” to The Upper Cuts, entering a new phase.



This chapter opens with Femme d’Intérieur. Developed in close collaboration with Million Miles and Braxe, the debut introduces French lyrics to the label’s catalogue, shifting toward a nocturnal strain of French Boogie and soulful songwriting.



The B-side reconnects the project to the label’s club lineage through remixes by Shakedown and JKriv (Razor-N-Tape).

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

Ramping up the intensity from his 2025 debut, Joe Milli returns to Livity Sound with a spring-loaded EP of upfront club workouts that once again split the difference between techno propulsion and UK Funky swagger.

Milli's previous release, Deep Forest, carried a dubby atmosphere on top of its bassweight rhythms. On this new four-track EP, the shroud lifts and he leans in on raw, impactful drums and sparse sound fields.

'Retreat' piles percussion into an uptempo stomper with a looped intensity and carnival accents on top, and 'Mantra' offers a similar 4/4 thrust around the 140 mark. Meanwhile, 'Revival' locks down low into a heavy dembow-informed groove and 'The Less You Know' prizes tense, precisely arranged hand drums with a minimal finish primed for creative blends.

Zeroing in on stark, heads-down production for the club, the Repetitions EP offers a different slant on Milli's emergent, sharply executed sound.