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Sven Wegner and Reiner Von Vielen debut on Blur Records with a lush, analogue-driven EP here, which fuses live instrumentation, vintage textures and deep dancefloor spirit. The German producers' opener 'Got To Believe' glows with soulful vocals, dusty drum machines and warm synths, while 'Let's Do It' locks into a funk-fuelled, hypnotic groove. The title track then brings some heartfelt emotion with smooth, silky keys and rolling basslines. Next comes a DJ Popinjay remix, which is flipped into a bumping house workout. Closer 'Reboot Me' brings evocative atmospheres to what is an EP steeped in meaningful human feels.

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.

Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.

Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.

Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.

As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.

Side A – The Head Side

Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.

Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.

Side B

Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.

Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.

Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.

Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.

Another quality release from Tone Dropout Records.

Berlin Based DJ & Producer Johannes Klingebiel returns to Claptrap with “Dolce” a four-track EP served sweet, rich, and ready for peak-time indulgence.

Three original cuts and a heavyweight remix combine for a release that’s equal parts playful and potent. Consider this your sugar rush warning.

The title track, “Dolce,” is a warm and irresistible disco-house groover. Creamy acoustic drums lay the foundation while spicy xylophones and syrupy flute lines weave through the mix, striking a perfect balance between sophistication and pure dancefloor pleasure. It’s smooth, infectious, and built to move bodies.

Next up, “Follow The Line” blends shuffled house rhythms with 303 basslines and grainy vocal stabs. On paper, it’s an unlikely combination, on the floor, it locks tight. The result is hypnotic, driving, and effortlessly smooth.

On the flip, “Pink Forest” ventures into more mysterious territory. Built around an elusive, shifting time signature (one that even jazz-trained drummer Johannes struggles to explain), the track somehow feels both unpredictable and deeply groovy. It bends perception without losing momentum, a heady but danceable excursion into the unknown.

Closing the EP, Sun Damage delivers a remix of “Follow The Line” that both sharpens and distorts the original’s trajectory. Chunkier, weightier, and slightly off-kilter, this rework injects a tougher edge while maintaining the track’s hypnotic core, primed for late-night floors and heavy systems.

“Dolce” is indulgent yet refined, a release that balances musicality with movement, sweetness with punch.
Consume responsibly.

The next chapter in Axis Expressionist Series. A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.



Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listeners, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

The mysterious Gluten People return to the fold, handing over their next vinyl-only transmission. For this second helping of "glutenous" dancefloor heat, the duo has paired up with Giacomo XL, following the massive demand for their debut EP.

Expect more of the same raw, rhythmic energy that made their first outing a must-have for heads and selectors alike. This is essential, no-nonsense club material built specifically for the wax-only connoisseur.

Early Support from: Archie Hamilton, Liquid Earth, Enzo Siragusa, Huxley, La Fleur, Sean Johnston, Make A Dance, Baby Rollen, Ysanne, Eliza Rose, Bartolomeo, Ryan Clover, AGELESS, Alec Falconer, Call Super, Bas Ibellini, ADMNTi, Gearmaster (fka Abdul Raeva), Timo Maas, Christopher Ledger, Moodymanc, Nathan Colinet, Gabski, Greogorio Soave, and many more.

Finally, the long-awaited repress of this tech-house banger by French producer Bobby Parker from ’03. A real classic from DJ Francesco Del Garda. The B-side comes from another sick release on the label, this time with Mogcha. It’s a straight-up electro-house heater, perfect to get that dancefloor hyped. Antinote’s also planning to reissue some of the Monster Funky catalog in the next monthes. Stay tuned!

COME ON Yé!
Spanish hero JAVI MULA is back on an amazing splatter 12”!

With a massive demand on Discogs and prices for ALL other pressings on ALL labels soaring (150 to over 400€), a repress is here!
Including the most-wanted version of this Spanish holiday club classic, the ORIGINAL, and as well with an amazing new remix by Belgian house hero Christopher Phonk, well-known from his classic underground house tracks “Marmalade Skies” and “Why Don’t You Love Me”.

Christopher Phonk has taken this track to the next level.
Also on this release, the acapella and the Robbie Moroder Remix.

MUST HAVE!

Various Artists - Collector IV (FURV4)

Future Romance returns with another V/A EP called „Collector IV“, the next chapter in its vinyl-only series dedicated to the label’s most in-demand releases. This edition brings together four standout tracks that move effortlessly between melodic house and techno, crafted by a handpicked selection of distinctive artists. Each track has already made its mark on dancefloors worldwide, earning strong DJ support and international recognition. Collector IV underlines Future Romance’s ongoing passion for curating timeless club music, pressed with care for true vinyl lovers. Featuring tracks by Solee, Microtrauma, SNYL & Berny, and Cyantist.

Only 200 copies were produced, hand-numbered by Eprom.

In response to the overwhelming interest in Eprom's album "We Are The Biobots," we are releasing the single "Rebelzeit" as a separate product, which appeared as a bonus track on the DELUXE edition of the album.

A new cover has been created, and the 7-inch vinyl is green. The new material is a preview of DJ Eprom's next album...

Jack’s House Recordings kick starts 2026 with a brand new VA featuring talent from all corners of the globe, with artists coming from Portugal, to Australia, the USA and Ibiza !

First up is Alex Arnout with “Baby Let You Know” which is another solid production giving punchy and techy energy with a baseline that will wake you right up when it drops in ! It’s dark, edgy, and has a powerful signature sound that is perfect for the big dance floors as well as your underground intimate ones. Alex is no stranger to the imprint, having been the first artist signed to the label which is about to celebrate it’s 10th year as an independent record label.

Next up, we welcome back popular and talented producer Carlo Gambino with “Time Of Need” which takes you through 6 and a half minutes of a lovely gritty underground groove, and vocal snippets of the track title throughout the arrangement with his warm and unmistakable signature sound.

Then we have AMO (um) & Mills with the more minimal track of the VA, “Therapy” This is a stripped back track but instantly memorable after just one listen. Driven by a simple kick, snare, haunting fills and a riding dark baseline, the track also presents a conversation between two Women having a slightly confusing conversation in a therapy session.

Last up, it is a pleasure to introduce and welcome USA’s Jordan Bernardo & Sharktooth from the Tasteless Thieves crew to the label with their excellent collaboration on the track “So Sorry” This is the light on the VA with this massively uplifting infectious groove. The track is giving skippy swinging beats, filtered vocals which tease in and out of the arrangement, and a great energy that takes you back to the early 2000’s era.

In a nut shell, this fresh Jacks Tracks VA offers 4 unique tracks that can serve any DJ at various points of the night, from warming up, a hands up moment, 3am pushing energy, and a perfect afterparty vibe too. That is always the aim with the Jacks Track VA series, to give vinyl buyers a bit of everything while maintaining talent and the nature of the underground.

Crooked Colours present Dirt Road Gold.

The fourth album from the prolific Australian outfit, the record signifies the next chapter for the acclaimed Crooked Colours; dreamy, poignant and unapologetically emotionally vulnerable.

As a body of work Crooked Colours (Philip Slabber) effortlessly genre-hops, from alternative euphoric builds to upbeat melodies to electronic stabs alongside his instantly recognisable heartbreaking vocals, stacked to perfection.

Key singles ‘Pink Limo’, ‘Come Thru’ and ‘I’m All Yours (feat. Georgi Kay)’ upholding the original elements Crooked Colours have become known for; yet with a modern 2026 approach proving an ever-evolving sonic escape.

Title track ‘Dirt Road Gold’ steps outside the traditional Crooked Colours sound; guitar plucks, raspy vocals and train rhythm snare. Truly highlighting Slabber’s storytelling ability in that space.

Bookended by ‘Oxford’ and ‘Honey Dog’ encapsulating the Crooked Colours aesthetic as a whole, delicate instrumentation and catchy sing-a-long hooks.

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

Warehouse Find!

Introducing Red D, the Belgian DJ and producer, one half of FCL (alongside San Soda), long standing club promoter (since 1992), owner of We Play House and general all round good guy. With releases on Ferrispark and Delusions Of Grandeur (with MCDE), remixes on Eskimo, regular sets at the likes of Panorama Bar and an RA Mix under his belt you could say things are falling into place nicely. On top of all this his FCL project continues to go from strength to strength with a new
EP dropping soon on Kai 'KZR' Alce's highly regarded NDATL label. When he sent over two originals for Freerange it was love at first listen as the simple, warm beats and emotive chord stabs of title track Chez oozed from the speakers. This sounded to me like house music in it's purest form, from the days when the focus was on a feeling rather than complex sounds or technological
trickery. And the proof is in the pudding with this one as you can feel the dance floor go into some kind of collective bubble of love whenever you play it. The second original follows drawing you into a false sense of security with familiar 707 beats and gentle pads before taking a left turn. Appropriately titled Into Darkness the blissful vibes of the intro begin to fall away as the
track reaches a breakdown and we're treated to the rudest of Chi-Town basslines taking us down a somewhat less wholesome path. Flipping over we're treated to two Jacob Korn remixes, one of each of the originals and if the A side is the good cop, we can trust the Uncanny Valley regular to deliver some pure badness on the flip. His Remix of Chez is clearly inspired by his studio hardware as you can hear the improvised and 'live'
sounding arrangement, the machines taking on a life of their own as things twist and turn in a spontaneous and unpredictable way. A rattling white noise pulse drives the rhythm whilst bubbling synths add some lightness to the pummeling
kick. Into Darkness gets the Korn treatment next and here he puts it right through the sonic mangler, tape saturation distorting the mix to within an inch of it's life. Jacob puts the focus on the bassline of the original, keeping things simple at
first before winding in layers of Juno chords and the bleepiest of synth lines resulting in the finest of raw, bassment house jams.

RareTwo Inc. aka DJ Sneak and Tripmastaz are back together for 33 chambers EP, the next Respect The Craft release.

Words by Sneak:
"On a hot Ibizan summer the Rare Two fellas spent a period of 33 days on the island making tracks in a house garage with a couple of pieces of affordable gear and a whole lot of talent. We managed to create 33 tracks often burning them on CD to take to djs like Ricardo Villalobos at Amnesia and seeing the instant reaction of the crowd. We are a mega team of same mentality dudes who create from the heart breaking all rules and getting music done for a purpose. The Tripmastaz and Sneak Team is one to expect many great dance floor killers. As we call them Guttah Styles!

Words by Tripmastaz:
Recently I found these projects and since they were done on just a laptop and cheap small speakers, I gave them proper analog mixing and mastering.

All tracks remain exactly the same form and arrangement as they were originally done, including track Aww Lawd, that was featured on R. Villalobos BBC Radio 1 Pete Tongs mix back in 2018.

Mike Grinser at Mandmade Mastering did the lacquer cut and made it sound very crisp and loud a lot like it would've been cut in the 90s.

Our next 7” release welcomes young and talented key player Stefano Nardon from Vicenza, Italy.
The record features two jazz-infused broken beat compositions, performed and recorded live, capturing an intimate and organic session feel.
On the A side, “Mangrovia” unfolds as a warm, floating piece built around Fender Rhodes textures, subtle harmonies and a slow-burning groove. A deep and immersive cut, balancing between jazz lounge aesthetics and cinematic mood.
The B side, “Underwater”, was created in collaboration with drummer Stefano Cosi (Padova). His live drum contribution adds movement and depth, giving the track a more dynamic pulse while maintaining the introspective character of the release.

Detroit's Rocksteady Disco its dropping a couple of golden nuggets this season and Brooklyn-based producer, DJ, songwriter, multi-instrumentalist and label-owner JKriv is next up with his 'Adaptation' EP. Opener 'Greene Street Lament' is a swooning, laid back way to open and immediately slows your pulse. 'Adaptation' raises it again with a funky drum and clap combo underpinned by a busy little bassline. 'Total Pleasure' tugs at the heart with an aching vocal riding the mid-tempo, deep cut drums and lavish synth sounds. The mid tempo magic continues on 'Vibetown' which smears synths between gentle broken beats with string flourishes and jazzy keys all rising up. 'Adaptation' gets a dub rework to close out a tasteful EP of heart warming sounds.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

She studied classical music on viola from the age of 3 through into college where she was on a path to be a performer in a large ensemble, but eventually left after feeling frustrated and limited in a world that did not provide much of an outlet for individual creativity. But the doors of perception really opened when she moved to British Columbia and was exposed to the raw beauty of the wilderness there.

She began recording at home using a basic audio setup along with a cello, viola, violin and double bass, and spent time making field recordings of natural sounds in BC. Her next idea was to actually move into nature to record, curious as to “how it would sound if I recorded outside entirely, with the natural reverb and sounds of the environment in the recording from the very beginning. The rustling of the leaves or a raven’s beating wings were as integral to the music as whatever I played.”

Fables is a mix of pieces that were recorded in the fall of 2024, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.4, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.

2026 Repress

Maltese talent Human Safari debuts on Mutual Rytm with jazz-influenced techno EP, 'Culture Shock'.

Human Safari is a key player in his native scene in Malta. He's a resident at Glitch Festival, has played cult spots, and has a dynamic sound that brings jazz improvisation to techno, often featuring live instrumental elements. His music has found its place on top labels like R&S Records, and most of this new EP for SHDW's Mutual Rytm imprint was produced during his Colombian summer tour last year - written and recorded amongst inspiring and unusual settings with just a laptop and headphones.

"This EP represents embracing new beginnings that, though might bring uncertainty and fear, the
light always guides you to where you were always meant to be." - Human Safari.

Opener 'Mouse on Keys' has been a key cut for the label boss across the past year, a unique track that peaks curiosity from dancers to DJs whenever it's played. Its cantering techno rhythm is overlaid with delicate, heartfelt piano keys straight from a smoky jazz bar, making for a great counter to the physical drums. 'Fragments' is a deeply personal track dedicated to the artist's late grandfather. It's a funky, soulful techno roller with blissed-out and sunny chords full of hope.

Next, 'Classique' gets more gritty with loopy drums and bass and glitchy percussion that fizzes with energy, while 'The Labyrinth' features piano motifs recorded in just one take. It brings a dark paranoia in the uneasy, off-grid keys which dart about with nervous energy over the booming low ends. There is just as much intensity and edge to the unresolved keys that loop over the raw drums on 'A Rainy Day in Bogota', before digital bonus cuts 'Dorian' and 'Phantom' bring more jazzed out techno madness with warped keys and expressive elements bringing great invention.

Gennaro, formerly known as Blackchild, returns to Cécille Records with his second release on the label, delivering a confident and deeply musical four-track EP that captures the full scope of his sound.

Each track reveals a different facet of Gennaro's musical identity.from stripped-back, groove-driven club tools to more nuanced and emotive moments - all tied together by his unmistakable sense of rhythm and atmosphere. It's a release that feels focused yet expansive, showing an artist who knows exactly where he stands and where he's heading.

Nick Curly and Marc Scholl are proud to continue working with Gennaro and to welcome him back on the label with a release that underlines both artistic growth and creative consistency. This EP isn't about following trends; it's about personality, craftsmanship and club-ready music built with intention.

A strong statement, a natural progression and a clear reflection of Gennaro's range - this is his next step on Cécille Records

2026 Repress

French talent Hyden makes label debut on Mutual Rytm with conceptual new techno EP, 'To Whom It May Concern'. Hyden is a potent force in the French underground, creating powerful techno with dense percussion, immersive grooves and subtle nods to classic influences - all through his own unique lens. Having delivered standout releases in recent years, here he offers up sounds "anchored in psychoanalysis, time, and emotional residue" as he makes his mark on SHDW's Mutual Rytm imprint, delivering influences of dream logic and surrealism as the palette moves between brutality and introspection. "It's hypnotic music for moments of rupture where something breaks or breaks through". Opener 'Manifest Content' is inspired by Freudian theory and explores the surface illusions of thought and dream. It's about the dissonance between what we perceive and the deeper meaning that slips away beneath and is a deep and dubby techno track with flashes of unsettling melody. 'Bruises' is emotional trauma made sonic. This piece delves into invisible scars and traumas, residues of past conflict or intimacy - it's slow-burning, heavy and raw. 'Jikan' is a meditation built on time and its erosion. Inspired by the Japanese concept of impermanence, it reflects fleeting moments, decay and the tension between stillness and motion with jacked up but warm drums and turbulent bass. Next, 'Free Will' is born from inner conflict and plays with deterministic rhythms and evolving layers, questioning whether we are truly in control or just passengers in a prewritten sequence. The vocal mentions, "creatures, you're out of time" to bring darkness to the intense but sleek rhythms. The streamlined physicality of 'Swarm' channels the primal force of collective movement and is a nod to the loss of individuality in group behaviour. In addition, the package is loaded with digital bonus cuts. 'Yumehara' is a dive into surreal dream-states and evokes subconscious landscapes where logic dissolves and emotion reigns, while 'Lu Bu' is brutal and warlike and named after the legendary Chinese general that captures impulsive violence, betrayal and reckless glory with relentless energy and rhythm. Lastly, 'Neon Pale' is a synthetic dreamscape about fading beauty under artificial light - a melancholy ode to cities at night and the loss of warmth in modern life.

Travellin Music returns with its next vinyl-only release: three deep, techy originals from Prakash, blending hypnotic grooves and late-night moods, rounded off by a sleek, stripped-back remix from UK underground icon 100Hz.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his de but from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on over coming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.


Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re play er, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.


All this brash, wry Redman-inspired storytelling continues on the new pro ject. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rap per say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

Formed in 1969, Soul Media set out with a clear mission to fuse jazz and rock. That approach took a decisive next step with In The Groove, recorded in 1973. Here, the sharpness of jazz is brought to the forefront, rock elements are dissolved and refined to give a cutting edge, and funk is injected to add drive, elasticity, and physical force. The result is a body of music that transcends existing genre labels—jazz-rock, jazz-funk, or fusion—and stands instead as something simply, undeniably cool: strong yet sophisticated.

This album is often described as Soul Media’s response to The Crusaders, a band that saxophonist Jiro Inagaki was paying close attention to at the time. The aim hit its mark. With In The Groove, Soul Media acquired a “refined black feeling”, setting them firmly on the path toward their ultimate destination: Funky Stuff.

2025 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

Helena Hauff's Return To Disorder keeps it disordered with legendary producer DeFeKT next up with his vision of twisted electro. 'My Mother' has a dark undercurrent but is doused in synth radiance that provides great comfort, so if you ask us, it's a fitting title. It's texture that again stands out on 'Disastrous Infinity which has a squelch, acidic lead wriggling about the mix, pounding drums and crispy percussion that all pull back to reveal pixel-thin and eerie pads. 'No Coffee' is a dense and gauzy world of ice-cold melody and rigid grooves, and 'Soaked' turns the same vibe up to 11. 'Phaser' and 'Early Morning Tea' close out with opposing energies - raw and prickly, then more smooth and serene.

2026 Repress

French DJ and producer Hemka makes a striking solo debut on Mutual Rytm with 'Introspection'.

Born in Marseille and based in Paris, Hemka has been shaping her take on techno for over a decade, steadily growing her international presence with music on respected imprints such as Token. Her music fuses the raw energy of 90s techno with modern textures and is fast-paced, groovy and laced with subtle psychedelia. By weaving in her own vocals, Hemka adds a deeply personal and authentic layer that resonates with both the body and mind. Following the strong reception of her track 'Fragrance' on the 'Federation Of Rytm III' compilation, this potent new EP is a powerful reflection of her bold, emotional and forward-thinking artistic voice and the start of an exciting new chapter with SHDW's Mutual Rytm.

'Abyss' kicks off with tightly coiled, heavy-hitting drum funk and eerie synths that never let up while ghoulish vocals layer in extra darkness and anxiety. 'Time' is another sleek, stripped-back but banging wedge of linear techno excellence and 'I Can't Shine' layers up paranoid vocals with high-speed glitches and rubbery drums to ensure maximum impact in the club. The excellence continues with 'The Bad Place' with booming drums and moody synth atmospheres, getting you up on your toes and keeping you there. Last, 'Unchanged' fizzes with static electricity as wordless vocals refract around the mix next to wispy synths and icy hi-hats. Digital bonus cuts 'Voice In My Head' and 'Eternity' round things out with more heady and intense techno for driving deep into the night.

One of the UK’s rising talents in recent times, J6 continues his upward trajectory with an enormous four-tracker on underground fan favourites, Locked In Dam. The party starting crew go hand in hand with the refined J6 ethos, as he delivers a dynamite selection of tracks for your record bag. His familiar low end driven sound, combined with tinges of acid and futuristic textures moving between house and modern electro, shapes the ‘Devil Baby’ EP into a cohesive and powerful statement.

The title track is built upon powerful drums and squelchy, spaced-out tones, combined with trippy vocal stabs from Martina, who features on the record. This is prime J6 territory and not to be underestimated. Next up, ‘Biohazard’ introduces mysterious synths that create a transcending atmosphere, shifting the dance floor into the next gear with further twisted acid movements. On the flip side, the Manchester based beatmaker teams up with Ben Gough for ‘Time Capsule’, delivering pacey energy that never lets up, driven by nostalgic tech house drums and icy hi-hats. Rounding off the EP, ‘Emergence’ simmers with an emotive dark energy throughout; if we weren’t dancing with the devil before, we certainly are now.

A certain tip for the tastemakers amongst us, these are four dynamic dance floor cuts to be shared deep within the dark realms of the night.

Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.

Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.

Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.

Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.

In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.

So… what are we actually supposed to tell you about HCL? Honestly, it’s a pretty nice story. A collaboration the way it’s meant to be.

HCL stands for Horkheimer, Consti aka Zeitstill, and Delenz — not hydrochloric acid, but liquid music. One shared idea of sound, without a fully mastered plan. Most of the tracks were born during long studio sessions — long nights, extended jams, ideas taking shape naturally. No big concept, just working it out together and seeing where things go (or not).

After the first two HCL tracks found their way onto various samplers — including the 25 Years of Live at Robert Johnson compilation and Freeride Millennium’s own Queer Base Vol. 2 — it felt like the right moment to take the next step and release the first pattern. Not as a conclusion, but more as a checkpoint. This is far from the end. There are more patterns, more sessions, more ideas already waiting to be published.

Describing the genre is, as always, not that easy. It drifts somewhere between techno and all the other things orbiting around it. Purely electronic music, rooted in the club, but not obsessed with functionality. In a way, it reminds us of the early 2000s — deep, slightly twisted, hypnotic, driving but never aggressive. Music that takes its time, creates space, and pulls you in rather than pushing you forward.

For moments that are meant to last — tracks you don’t want to hear mixed out. For getting lost on the dancefloor, for forgetting the noise and madness outside for a while, for drifting into yourself and letting time fly. Honest club music, built for immersion.

Enjoy the music. Enjoy yourself. Love.

Yours, HCL

2026 Repress

Up next in Champion’s LTD 12 inch reissue series is Sandy B’s club stomper, ‘Make The World Go Round’ with Washington D.C. don’s Deep Dish on remix duties. Iconic ’96 stateside house gold. On the B, Deep Dish take on, ‘Ain’t No Need To Hide’ with their ‘97 Sequel Re-edit with a dose of vocal house at its finest.

Worldwide Connexion (JGRVWAX007) is the seventh vinyl release on Junked Groove, bringing together five artists from four countries on one deep house / house record.

Side A opens with BMB SpaceKid, delivering an explosive cut driven by swinging percussion, vocal chops, and a heavy low-end. His beat-making roots are front and center, resulting in an undeniable dancefloor mover. Next up, DFRA & Nick Weaver take things into a more hypnotic territory: jazzy, minimal, and smooth, with flowing harmonies and subtle synth movements that quietly reveal a solid classical foundation behind the music.

On Side B, Detroit’s own Javonntte offers a raw house anthem. Pure groove, timeless energy, and that unmistakable feeling of being locked inside the track from the very first synth line. Closing the record, Junky Palms brings a UK-rooted groove built around classic house chords, layered with psychedelic and slightly tense synths. Cold Manchester air and rave nostalgia drift through the mix.

One record, four countries, five perspectives, one groove.

Repress

Underground stalwarts Voodoos & Taboos make their Duality Trax debut alongside a remix from rising talent Bertie, set to drop on November 8th. Now on its seventh release, Holly Lester’s vinyl imprint blends seasoned pioneers with the next generation of producers. A serendipitous moment at London’s E1 in 2023 was the genesis for the labels latest release, when DT label head Holly Lester unknowingly dropped a Voodoos & Taboos track only for the duo to walk in mid-way. Already known for their standout releases on iconic labels like Phonica, Bordello a Parigi, and Palms Trax's
CWPT, this chance encounter sparked a creative connection between Holly and the pair.

‘Time Out’ kicks things off with swirling synths and the duo's signature alien electronics, set to a playful breaks infused rhythm and morphing bassline, as command and control rings out overhead. ‘Endless Game’ comes with the usual V&T trimmings; an infectious bassline and with a scattering of curious sounds and samples, with a healthy dose of italo-inspired groove - the type of track reserved for bringing a dash of joy to the dance­oor amidst a heads down body-moving groove. On the B-side, Australian newcomer Bertie steps up with her remix of ‘Time Out’, following her breakout EP and high-pro¬le remix by Ciel. In a short space of time, Bertie has already developed a signature sound injecting her productions with nostalgic 90s house and contemporary subtext; glued together by crunchy drums and a penchant for wide-eyed rhythms. Sticking to her guns, Bertie’s ­ip of ‘Time Out’ packs a serious punch, showingwhy she’s an artist on the rise. The EP closes out with the psychedelic ‘All Action’ with its vocoder vocal samples, bubbling acid and teleporting top-lines.

One of the most notable features of the duo's music is their ability to let things evolve over time, their music often accompanied by strong storytelling, an art that has been almost lost in today’s era of instant grati¬cation; their instrumentation often taking on a life form of their own and dosed with surprises.

If It Goes is Coflo at his Deepest. The Bay Area producer has long been making his name at the organic end of Deep House with releases on labels such as Tribal Winds, Ocha and Yoruba Records. If It Goes is a true spiritual journey. A glorious flute, flexing guitar and a whole host of other instruments create a soul touching groove on this fantastic track. If that wasn’t enough, the Deeper Mix is a thoughtful counterpoint where a demonstrative flute and expressive keys dominate. Sweden’s Cataleya Music shows just how deep they can go on the imaginative If It Goes. File next to records by Joe Claussell, Antonio Ocasio and Ron Trent.

Dreamweavers II sees Mark de Clive-Lowe reunited with Italian rhythm masters Andrea Lombardini and Tommaso Cappellato for the next chapter in their electro-acoustic trio journey.
Recorded at Sotto il Mare Recording Studios in Verona, Italy in summer 2024, the album builds on the cosmic, hypnotic language established on Dreamweavers (2020) while pushing deeper into groove-driven terrain, dancefloor jazz and textural improvisation. Across eight tracks, the trio explore the elastic space between jazz tradition, beat culture, and club-influenced momentum – without samples or looping – relying purely on live interaction, feel and shared intuition.Opening with the Azymuth-inspired “Terra de Luz,” the album immediately signals its global outlook. “Kaze no Michi” follows with late-night Tokyo energy – dancefloor jazz that feels equally at home in jazz clubs or after-hours rooms. Two intentional reinterpretations bridge jazz and beat culture: J Dilla’s “Raise It Up” (from Slum Village – Fantastic Vol. 2) is reimagined with its original groove and bass line as the launch pad, while “The Bass That Don’t Stop” becomes a lush house-jazz tribute to the late Phil Asher, originally co-created by Asher and de Clive-Lowe in 2002 under the moniker musiclovelife.Bassist Andrea Lombardini’s “Pam” brings the album inward – introspective, spacious, and deeply melodic; while “Lucid Dreams” draws on the trio’s shared love of jungle, drum’n’bass and the exploratory spirit of greats like Chick Corea, amplifying the journey with forward motion and harmonic curiosity.Dreamweavers II is a concisely intentional sound narrative: a trio record rooted in jazz lineage, shaped by beat culture and guided by a collective curiosity for texture, rhythm, and movement.

For the next Respect The Craft Enterprises release, the myth, the legend — Santos — joins forces with Tripmastaz for a powerful combo EP.

Showcasing what both artists do best, the release delivers raw house and garage beatz, driven by complex, detailed layers of production, and topped with crispy, loud, club-focused mastering.

Designed with the dancefloor in mind yet rich in character, this vinyl EP represents a true meeting of minds — uncompromising, high-energy, and rooted in craftsmanship.

Miles Borghese’s Direct Styles, up next on Jupiter’s Depth, explores a meditative dub techno palette that sits somewhere between dub, tech-house, and minimalist club music. Following a run of standout releases on 9FINITY and Squid Recordings, among others, we’re thrilled to welcome that alien modern club sound to the label.

The floor-focused Direct Styles opens with the title track, driven by a hyperactive bassline and layered with delay-drenched synth chords, galloping through time with restless momentum. On A2, a more tempestuous techno side of Miles Borghese reveals itself on “Dark Plan,” charging the release with a mind-bending looped groove, pulling everything on earth into a hypnotic, blitzed state.

“Climber” — a storm of immaculately constructed, phase-shifting textures that drags us deep into the B-side; a real dub-techno delight made for outer space. Closing the EP, Miles joins forces with Pipo Renault on the lush “Parapluie”: warm and groove-focused, a captivating, house-leaning masterclass built to keep you moving.

A Bandcamp-only digital bonus, Substance, awaits those willing to dig a little deeper.