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How do losers dance? According to Helmut, almost weightlessly, with soft feet, warm gestures, sometimes alone, sometimes together. Content Creatures, Helmut's fourth album, evokes the pop archetype of the "beautiful loser", who had almost disappeared from view in so-called late capitalism. In a present in which even suffering is often similarly instrumentalised and tailored to clicks like a competitive sport, this album sets a counterpoint: those who listen to it suddenly want to be enchanting losers again, useless and joyfully messing up, losing something beloved, having their hearts broken, giving up a dream, sinking into beauty.
You don't sink alone. Comforting harmonies envelop you, the voices of friends appear, accompany you for a while and then disappear again. Warm grooves, floating synths and delicate guitar lines characterise an indie sound that remains open and breathes.
Self-produced for the first time in his home studio in Neukölln, 'Content Creatures' sounds thoughtful and light at the same time. The album will be released digitally and on vinyl on 10 April 2026 on Berlin-based label St.Vladimir. There are four songs on one side and four songs on the other. The cover is adorned with an exceptionally pretty guinea pig. Helmut shows the special in the seemingly ordinary: a child's pet, the most ordinary of all, is his cover star and headstrong protagonist.

Wie tanzen Verlierer? Wenn man nach Helmut geht, dann fast schwerelos, mit weichen Füßen, warmen Gesten, manchmal allein, manchmal gemeinsam. Content Creatures, Helmuts viertes Album, evoziert den Pop-Archetypus des "beautiful loser", der im sogenannten Spätkapitalismus fast aus dem Blick geraten war. In einer Gegenwart, in der sogar das Leid oft ähnlich durchinstrumentalisiert und auf Klicks getrimmt ist wie ein Leistungssport, setzt dieses Album einen Kontrapunkt: Wer es hört, möchte auf einmal gern wieder ein bezaubernder Verlierer sein, nutzlos und freudvoll abkacken, etwas Geliebtes verlieren, das Herz gebrochen bekommen, einen Traum aufgeben, in Schönheit versinken.
Man versinkt nicht allein. Tröstende Harmonien legen sich um einen, die Stimmen von Freundinnen tauchen auf, begleiten einen ein Stück weit und verschwinden wieder. Warme Grooves, schwebende Synths und feine Gitarrenlinien prägen einen Indie-Sound, der offen bleibt, atmet. Erstmals in seinem Neuköllner Homestudio selbst produziert, klingt "Content Creatures" bedacht und leicht zugleich.
Das Album erscheint digital und auf Vinyl am 10.04.2026 auf dem Berliner Label St.Vladimir. Es hat vier Songs auf der einen und vier Songs auf der anderen Seite. Das Cover ziert ein außergewöhnlich hübsches Meerschweinchen. Helmut zeigt das Besondere im scheinbar Gewöhnlichen: Ein Kinderhaustier, das normalste von allen, ist bei ihm Coverstar und eigensinnige Protagonistin.

LYAM welcomes duo M1NT and STRNGE with 'Spheres', a breathtaking EP that embodies late night star gazing, all encompassing introspection and deep immersion in feeling.
M1NT and STRNGE, known as NRMNT, have built a compelling foundation for their sound, which speaks broadly with a deft, organic approach and enables intimacy, emotion and mood. They combine their production knowledge with M1NT's trumpet playing, a cornerstone of their unique sound, and move effortlessly through the realms of dance music, drawing inspiration from soft undulations, tonal waves and euphoric melodic frequencies, with strong emphasis on musical evolution.
'Spheres' encapsulates their musicianship, giving the music room to grow and morph as the EP unravels. 'New Horizons' has a hopeful gleam, with synths hinting at sun kissed skies and optimism, while M1NT's trumpet offers graceful cameos and expressive chordal lines over soft yet purposeful drums.
The title track leans into its dream-like synth intro before highly energised drums take hold, and its polyrhythmic keys and tight groove create spiritual release.
'Let Go' leans into the emotive power of melodics, with angelic touches that create a divine atmosphere, sparkling in softly spoken intensity as its wave-like approach washes over the ears.
Edmondson's remix of 'New Horizons' picks up the core motifs, softens the drums and shifts the mix, allowing new features to surface and creating a playful interchange between the trumpet and a creative vocal sample, offering a tour de force that homages the original.

Following his acclaimed debut album Whateverism, Italian producer Turbojazz returns with Memorabilia, a heartfelt tribute to the roots of dance music culture and a personal journey through memory, community, and sound.
The album delivers a rich and diverse palette of house and soulful grooves, music to dance with both your feet and your ears, and features a heavyweight lineup of collaborators including Robert Owens, Rona Ray, Javonntte, Cor.Ece, Bad Colours, Doni Nicole, alongside longtime allies Veezo and Broke One.
Crafted with reverence and a forward-thinking spirit, Memorabilia is more than an album. It is a message to the dance music world that culture lives on through those who carry it forward.

A new 12” on Studio Barnhus from Sexy Lazer and Kaktus Einarsson, carrying dis4nguished Icelandic bloodlines into decidedly humid club territory. Across two tracks, the pair favor reduc4on over spectacle: taut beats, disciplined arrangements, and a strong sense of space, with the kind of detail that makes simple ideas hit with pure geyser force. While one side draws on 4ghtly coiled rhythms and freaky nocturnal tension, the flip sees the formula in its straightest, driest and most relentless form. Both sides moving with the calm confidence of a track that knows its DJ is expertly handling their task.

For the first time, several tracks from Machomover's second album 'Bare, Deep & Long' from 2006 are being released on vinyl.
Originally released as a double CD, the album was considered groundbreaking for German deep house at the time. The first four tracks from this album selection are now being released on Flaneurecordings. The two Berlin DJs and producers Oliver Marquardt, alias DJ Jauche, and Björn Brando combine warm grooves with precise drums, atmospheric basslines, warm pads, strings and the unmistakable depth of their house sound. For music lovers who appreciate deep house with substance, this release clearly bridges the gap between the original underground character of the album and its timeless range. Anyone who wants to understand the origins of modern German deep house productions will find a tangible snapshot here, stylishly remastered and presented on a 12-inch that is definitely worth listening to.

Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.

A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.

Roberto Zanetti, better known as Savage or Robyx, is without a doubt a fully realized artist. When he stepped into the world of dance electronics in 1983, success came instantly. Not only across Italy, but far beyond its borders. Alongside his own chart-defining run as Savage, Zanetti was simultaneously shaping the scene from behind the desk, developing talent and refining a signature sound that would define an era. By the late ’80s, Robyx was already an established powerhouse producer. Around that time, he wrote three tunes for Maurizio Felici, performing under the alias Wilson Ferguson. These tracks carried all the hallmarks of Zanetti’s late-’80s aesthetic: lush melodies, smooth, flowing arrangements and high-energy grooves built for the dancefloor. In Europe, where house music was rapidly taking over, this sound faced tougher competition, but in Japan, where Eurobeat was exploding into the mainstream, these productions were untouchable. Felici’s rich, throaty vocal delivery gave the tracks an unmistakable emotional weight and identity.

Responding to long-standing requests from fans, Vintage Pleasure Boutique now revisits the most melancholic and emotionally charged of these three recordings: “I’m Singing Again”, a bittersweet tale of lost love told through the language of Italo disco. It’s a perfect fusion of Savage’s late-’80s sonic elegance and a truly distinctive vocal performance.

For this new release, the story is pushed one step further with a fresh remix, slightly faster in BPM and clearly nodding to Robyx’s classic Eurobeat instincts, a version built to move bodies while keeping the original’s emotional core intact.

Mark Reeve starts 2026 in prime form with ‘Body Drops’, a quick-fire follow-up to his recent A-Sides contribution ‘My Mind’.The veteran artist has an inimitable touch in the studio going back over 15 years and can always be relied upon to deliver high-impact techno creations. Tracks such as ‘Run Back’, ‘Distance’ and his collaboration with Adam Beyer ‘Nine of You’ make thrilling reference points.‘Body Drops’ found its way onto Drumcode via Bart Skils. “Bart and I have a very good musical understanding and we really respect eachother. So, when he said I think this would fit to Drumcode, I was like ok let me send it. Adam came back to me with a massive yes, and it went from there.”He continues: “I can see that a new peak-time sound is evolving. Very modern and groovy sounding, which is exactly what I like. I guess all the other tracks on Drumcode that have come out recently got me very inspired.”The track is a gem. Driven by an otherworldly stomping riff, it immediately strikes you with its unique sonic character. Huge without being banging, watch this fit a variety of high-impact moments.‘Feed My Fire’ is a rolling big-bodied track that sees elements of prog,techno, psy and silky chords combine for a chugging dancefloor cut.“This is a personal favourite of mine simply because it’s so groovy andfits more intimate sessions. But I also tested it in front of bigger crowds and it really does the job.

Repress, Clear Orange Vinyl

Internationally acclaimed producer and DJ Tripmastaz is proud to announce the launch of his sublabel, Respect The Craft.Legacy, a heartfelt tribute to his early creative roots. Marking a significant milestone in his career, the first release on the new sublabel revisits and completes his unreleased projects from the early 2000s.

This series encapsulates an era of raw creativity and innovation, showcasing tracks that were originally started between 2000 and 2004. Until now, these works have remained unfinished and unheard—hidden gems from Tripmastaz’s studio archives. Through the new label, the producer has brought these ideas to life, meticulously completing each track while staying true to the essence of the time they were created.

The series bridges the past and present, blending the raw energy of the early 2000s with today’s refined production techniques. The debut release drops soon, promising a timeless tech & deep underground sound.

“This is a closure for me—an opportunity to honor my creative journey and give these tracks the life they deserve,” Tripmastaz explains. “The early 2000s were a formative period for me as an artist, and these records embody the passion and ideas that shaped my path. Completing and releasing them now feels like a full-circle moment.”

For the fifth volume of the Disco Goodies series, Sundries continues its tradition of delivering carefully hand-picked selections designed to satisfy every vinyl enthusiast, presenting a wide ranging collection of disco oriented cuts. From vocal-heavy disco edits like DJ Laurel’s “Rock The World” and Save The Robots’ “Warm Injections,” to classic disco-house fusions such as the irresistibly catchy, eyes-closed groover “Keep Me Loving U” by Gigi Croccante, and “Like A Fool” by Berlin based producer Shabi driven by Chic-style clipped guitar sample ,delivers pure dancefloor energy with character and warmth. Flipping to the B side, you’ll find the slow-mo disco jam “Keep It Coming,” a proto disco soul rework by producer Ben Jamin. GMGN closes the compilation in style, teasing out a hypnotic cut-up loop and layering it over a hazy, late-night atmosphere elevated by lush sax sections.

Die erfolgreiche Italo-Disco-Reihe „Best Of“ geht in die nächste Runde – und diesmal auf hochwertigem Vinyl!

Mit „Best Of – Duke Lake“ erscheint eine exklusive farbige LP, die die größten Hits des Italo-Disco-Kultkünstlers Duke Lake vereint.

Diese besondere Vinyl-Ausgabe bringt den authentischen 80er-Sound zurück auf den Plattenteller und lässt das Herz jedes Italo-Disco-Fans höherschlagen.

Mit dabei sind unter anderem die Klassiker:
Do You
Dance Tonight
Satisfaction, Love & Passion

Typische Italo-Disco-Synthesizer, treibende Drum-Machines und eingängige Hooklines machen diese Songs zu zeitlosen Dancefloor-Favoriten. Die sorgfältig zusammengestellte Tracklist präsentiert Duke Lakes stärkste Titel in einer hochwertigen Sammler-Edition.

HOUSEWAX presents the 3rd release by FLABAIRE!
We are very happy to have this great artist from Paris again on our imprint.
Ralph delivered anothe outstanding piece of music for our 40th edition.
Don't miss this beauty!

Tetragon ist das zweite Album des Tenorsaxophon-Virtuosen Joe Henderson beim Label Milestone, auf
dem er seinen Sound im Post-Bop-Bereich weiterentwickelte, bevor er sich später in seiner Karriere weiter
in den Bereich des Spiritual Jazz vorwagte, begleitet von einem Weltklasse-Ensemble mit Ron Carter, Jack
DeJohnette, Kenny Barron, Louis Hayes und Don Friedman.
Diese Jazz Dispensary Top Shelf-Neuauflage von Tetragon wurde von Kevin Gray aus den originalen Analogbändern (AAA) geschnitten, bei Fidelity Record Pressing auf 180-Gramm-Vinyl gepresst und kommt in einer
Gatefold-Tip-On-Hülle.

Zero Netcost returns with “Ten Years Later”: an elegant downtempo cut driven by delicate piano and a spellbinding vocal. To beef up the maxi, the legendary duo Bent reunites once again with Zero Netcost, delivering two remixes packed with warm, finely textured detail. And there’s more heavy company: Funki Porcini drops an instrumental version with an oblique, late-night twist. A vinyl made to glide from warm-up to after-hours without losing the thread.

Agustín Giri returns to Rummel with his first album, Universal Maps. The Argentinian producer moves from slower BPM's to faster club music through a dub-influenced selection that represents his unique sound.

A fresh reinterpretation project from 20/20 Vision’s Ralph Lawson and Carl Finlow that revisits their own classic Blaze remixes for 2026.

Originally remixing ‘Lovelee Dae’ back in 1997 for German label Playhouse and ‘Wishing You Were Here’ in 1999 for Slip ‘n’ Slide, these new takes deliver stripped-back dub versions and refined edits crafted for the dancefloor.

The collection blends classic Blaze soul with deeper, groove-driven house textures—highlighting the timeless songwriting of Blaze while giving it a fresh underground perspective

Armada Music are back again with a release packed full of nostalgic flavour, Angie Brown’s grade-A reimagination of the silver-certified ‘I’m Gonna Get You’ is a trip down memory lane tailored to today’s dance floor. A cult classic among ravers young and old, this re-release gives the early-‘90s classic a new lease of life. Now with three fresh new remixes 20 odd years later, following on from the original mix is Jess Bays’ Remix she brings her unique style of production which has been integral to her rise in the world of dance music by making hits for the likes of Defected, Stress, Warner, Universal, Sony and many more. Flipping over to the B side is Robbin Traxx an alias formed by the collaboration of the heavyweight hitters who are Solardo and Joshwa, together they bring their UKG touch to provide a fresh take to the 93’ classic. Finally, rounding off the release is Austin Millz an artist who has established himself as a genre-bending icon. Having performed with artists like Quincy Jones and Beyonce, his music is a deeply textured fusion of soul and dance-floor euphoria. An essential piece of vinyl for fans of classic dance music new & old!

The story continues...Five years after "Twentieth EP," the label bosses return for the label's 31st release.A record comprised of one side each. DJ Steaw on side A and Gunnter on side B. Thisrecord showcases all facets of both artists, 100% in keeping with the label's signaturesound. The record is powerful. Be prepared for the club effect…

Salon Records is proud to welcome Lil Mark & Jason Hodges for the single Wait. Pure house anthem with a strong focus on groove and funky drums declined also in an instrumental version. Stuttgart based producer Anneke Laurent, known for his production with Markus Schatz under Neverm!nd, delivers a classy deep house version of Wait, while Moritz Piske & Antislash, long label buddies joined their forces to produce a badass remix, slightly more funky, minimal and full of off beat humour.

Japanese pressing

First time 7-inch release of two tracks featured on MURO’s compilation album “DIGGIN’ VICTOR: Deep Into The Vaults Of Japanese Fusion / AOR

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.

London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.

‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.

With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.

Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

A true hidden gem from the early days of the internet, TRANCEFELD’s “Love Song” finally resurfaces more than twenty years after its creation.



Originally composed in 2002 by the underground German producer, this cult deep house track, defined by its unforgettable bassline, psychedelic vocals, and delicate violins, now receives a long-awaited official re-release. It arrives alongside a brand-new single, “Echoes Within Silence,” a hypnotic tech-house journey that immerses listeners in a world of rhythm and emotion. TRANCEFELD’s timeless, Berlin-infused sound is back.

Die Original Vinyl-LP von 1984 wurde in einer kleinen Auflage neu aufgelegt. Die Songs wurden von Barrington Levy im Channel One Studio eingesungen, mit den Roots Radics als Backing Band, um dann von Soldgie Hamiltion, Scientist und Sylvan Morris im Harry J und Channel One Studio abgemischt zu werden, als Produzent zeichnete Henry "Junjo" Lawes verantwortlich. Das Titelstück "Prison Oval Rock" war als Single bereits 1982 erfolgreich in Jamaika erschienen und ist hier neben dem Original auch in der Dubversion zu hören, und wurde später von Collie Buddz in "Hustle" (2001) und von Mr. Vegas' "Mus Come A Road" (2008) gesampled. Als weitere klassische Reggae Riddims wurden identifiziert "Skylarking" ( Song"Good Loving"), Pressure And Slide (Song "Please Jah Jah") und "Boops" (Song "Rip & Run Off").

Five new edits LUXXURY’s infamous series now on wax showcasing some of the LA-based producer’s most sought after cuts: “How Does it Feel?” reworks a classic Mancunian post-punk anthem, while “A Woman’s Man” reveals additional gold hidden under the hood of a well-tread disco classic. “Crystal Visions” and “They Don’t Love You” are new exclusives LUXXURY created to kick off his weekly radio show on Los Angeles station KCRW; while “I’m a Man” disco-fies the legendary 60s UK blue-eyed soul classic.

In discotheques and dark rooms across Europe, Boys’ Shorts have earned the trust of the queer and wider clubbing communities as generous stewards of a timeless sound that, like themselves, never stops moving forward. The duo of Vangelis and Tareq initially met at an underground club in their native Greece. Sensing a rare sonic connection, the pair became friends, forming Boys’ Shorts to meet again and again, travelling from their adopted cities of Thessaloniki and London to appear as far afield as Berlin’s Panorama Bar and New York’s Le Bain, as well as supporting Goldfrapp and Hot Chip on tour. Their motivation? In their own words, “we make people dance!”

Following years of gradual, thoughtful studio sessions, and EP releases on tastemaking electronic labels including Phantasy Sound and Live At Robert Johnson, Boys’ Shorts establish their own imprint, ALL SORTS, in order to deliver a fantastically ambitious debut album, ‘What Does It Take To Make These Men Happy?’

The LP opens with the grandiose, cosmic vista of ‘The Space Between Us’, a classic passage of strings and synthesis, before the shared Boys’ Shorts vision falls back to earthier territory with deep groove of ‘Let’s Fall In Love’, mixing universal sentiment with a patient vision of human potential and the voice of Greek electronic pioneer, K.BHTA. ‘Come’ aligns with NYC’s Michael Cignarale, offering an excitable invitation to the mind and body sculpted by the way of a throbbing, warehouse-sized statement of nineties house sensuality. Channeling heroes Lowe and Tennant at their most introspective, ‘Short Life’ maintains the dance, yet dares to ask, “what if the parties aren’t enough anymore… Can you ask for something more?”

Out of the pet shop and straight into the strobe lights, ‘Disco Romantica’ makes true on the promise of its title, a lovelorn monologue giving way and slipping into rave stabs and whirring synthesis that looks forward to a memorable, emotionally-charged night ahead. Underpinning this feeling of anticipation, ‘Going Out Hoping To See You’ introduces the voice of Justin Strauss to Boys’ Shorts' musical world. A certified icon of club culture, spinning from The Mudd Club to modern day DJ booths, Strauss’s generation spanning experience of nightlife leans into the fundamentals of human connection and the pleasure of musical discovery, wrapped in irresistible chug.

Another transformative figure in club music, Fischerspooner’s own Casey Spooner dips into French for the Motorik cyber sleaze of ‘MECANIMAUX’, their own vocals pitching up and down with playful EBM abandon. ‘Montage’ offers a different kind of composition, conjuring an ecstatic club banger that finds inspiration in nineties indie rock motifs alongside the rave scene, while ‘Run’ promises to blow out sound systems before its weighty electro bassline succumbs to waves of glistening synths.

Such bombast into beauty perfectly sets up the record’s blissful conclusion; ‘The Stars Are Out For You’ is electro-pop so delicate as to heal aching feet (and mend broken hearts), while offering the final tender moments of the album as a form of tribute on ‘Untitled (For Mitsi)’. It’s a thoughtful ending to a thrilling trip through a shared passion for electronic and pop music in all its glorious potential. What does it take to make these men happy? It’s a pleasure to find out.

Our latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes & marimba. Features Diane Reeves (vocals) & Adele Sebastian (flute)!

Heavyweight 180g LP with tip-on sleeve, individually numbered 1-1000, card enclosed for liner notes & audio download

"Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune."

These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life.

It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming.

The next thing Johnson said was "You call the best jazz musicians. How'd you like to play with Billy Higgins?", a line that would seal it for anyone; for a youngster like Rickey just starting out in the business, you just don't turn down the opportunity to play with the likes of highly accomplished musicians, especially those of the calibre of legendary jazz drummer Billy Higgins.

Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood with his son John. Some of the other music professionals set to record with Kelley that day were flautist Adele Sebastian, bass player Tony Dumas, saxophonist Charles Owens and vocalist Diane Reeves, none of whom had previously played with Kelly before.

Kelly was impressed with the studio, with the gold records displayed on the walls and the famous musicians hanging out. 'It took a lot of humility for me to record with them, I mean I was nobody, nothing, and for not a lot of money either' remembers Rickey in a later interview with Calvin Lincoln, 'It taught me a lot, to practice hard, and study for the rest of your life, to give your all, and there's a lot of all to give'.

As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP 'My Kind of Music' was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label.

Kelly remains humble and proud of his debut album to this day. 'I was still a beginner' he says, 'These masters walked in, smiling, and gave me something worth gold'.

FLO are leading the modern revival of the British girl group — and doing so at a scale not seen in over two decades. With over half a billion global streams, the trio have delivered the highest-selling tour by a British girl group in more than 20 years, becoming the first since the Spice Girls to reach that milestone. They are also the first British girl group to receive a Grammy nomination in two decades, alongside three MOBO nominations in 2026, cementing their status as both a commercial and cultural force. Rather than simply revisiting the past, FLO are reshaping the possibilities for what a contemporary girl group can be.

Comprised of Renée Downer, Stella Quaresma and Jorja Douglas, FLO’s story is one of intention, craft and deep-rooted connection. The trio had long been aware of one another through theatre school circles, social media and shared creative worlds before coming together as a group in 2019. That early familiarity quickly grew into a sisterhood, shaped behind the scenes through years of studio work, vocal development and trust. Raised by strong single mothers and immersed in performance from a young age, each member brings resilience, emotional intelligence and discipline into the group — qualities that underpin both their sound and their dynamic.

Individually, FLO’s balance comes from contrast. Renée is the group’s compass: composed, business-minded and creatively precise, grounding the trio with clarity and vision. Stella is the spark and the glue — sociable, emotionally intuitive and collaborative — shaped by a childhood between England and Mozambique where music was communal, expressive and felt. Jorja is the fire: outspoken, instinctive and vocally commanding, with a natural ear for harmony and arrangement. Their roles shift and evolve, but together they form a unit built on mutual respect, honesty and shared authorship.

That chemistry is central to FLO’s music. Drawing from classic R&B and soul while pushing it forward through modern production, their sound centres vocal harmony, emotional nuance and storytelling that reflects the realities of young womanhood. FLO reject the idea that strength requires emotional distance; instead, they explore power through vulnerability, confidence and control. From independence and self-worth to intimacy and desire, their writing is direct and unapologetically theirs. As Jorja puts it, FLO are “the brains, the heart and the soul” behind everything they do.

The success of their debut album marked a defining moment — not only for FLO, but for British pop more broadly. It confirmed the appetite for harmony-led, female-fronted groups operating with creative agency, and propelled FLO onto global stages, from sold-out headline tours to major festivals and international television. Along the way they have earned respect from R&B legends and peers alike, performing during Grammy Week for icons including Mariah Carey, Brandy and Chaka Khan, and showcasing their vocal chemistry on NPR’s Tiny Desk — a moment that further underlined the trio’s technical precision and emotional depth.

With their next chapter, Therapy At The Club, FLO expand this emotional honesty into a fully realised creative universe. The concept reimagines the club not just as a place of nightlife, but as a site of release, confession and self-possession — encompassing the moments before, during and after the night out. From mirror affirmations and pre-game chaos, to late-night Uber conversations, dance-floor catharsis and the clarity of the morning after, Therapy At The Club captures how women process desire, heartbreak, confidence and healing in real time, together. It is both fantasy and reality: cinematic, fashion-led and emotionally raw, grounded in sisterhood as a form of survival.

Sonically, the new music leans into dark, euphoric R&B and pop with sharper edges, built on vocal mastery and diaristic storytelling. Lead single “Leak It” sets the tone for the era — playful, charged and unapologetically self-aware — exploring what happens when desire spills over, secrets surface and control is reclaimed. Across the new songs, FLO move fluidly between intimacy and euphoria, turning the club into a space where vulnerability is power and feeling everything is the point.

As a trio built on discipline, joy and deep creative trust, FLO represent a new model for the British girl group: one rooted in authorship, harmony and cultural impact. Balancing softness with strength and ambition with authenticity, they are shaping the future of R&B and pop on their own terms. FLO are not looking backwards — they are setting the standard for what comes next.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

Roland Leesker Remixes Inner City Classic ‘Pennies From Heaven’
Definitive Recordings presents a powerful new remix by Roland Leesker of ‘Pennies From Heaven’, the timeless house classic by Inner City, originally released in 1992.
Founded by Kevin Saunderson, one of the legendary Belleville Three and a key architect of Detroit techno, Inner City shaped the sound of electronic music with global hits like ‘Big Fun’ and ‘Good Life’. With over six million records sold and decades of influence, their catalogue remains a cornerstone of dance music culture.
On his remix, Roland Leesker transforms ‘Pennies From Heaven’ into a driving, floor-focused house weapon. Built around a heavy, straight TR-909 groove, the track gradually introduces elements from the original in a layered, loop-based arrangement.
The remix reaches its peak in a powerful breakdown, where the full main theme and vocals unfold, creating a classic hands-inthe-air moment before dropping back into the stomping groove. The result is a modern interpretation that stays true to the spirit of the original while delivering maximum impact on today’s dancefloors.
Roland Leesker, a long-standing figure in house music, has been active since the late 80s, with roots in Frankfurt’s club scene and later key roles in New York, Berlin, and the global music industry. From his early days at Delirium Records to his work with Get Physical Music and beyond, Leesker has consistently contributed to shaping electronic music culture.
This remix brings past and present together, offering a respectful reimagining of a classic for today’s house music dancefloors. The vinyl release is completed by an additional Acapella Tool on the B-side, offering DJs a stripped-back version focused on the iconic vocal elements of the track — perfect for creative mixing and extended club moments.

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

Michael Forzza unveils Obscure, a two-track EP navigating the darker edges of atmospheric techno with precision and intent.

A) Obscure is a peak-time weapon built on powerful percussive drive and a commanding groove. The rhythm pushes forward with controlled intensity, locking the dancefloor into motion. As the track evolves, the rhythmic pressure gradually recedes, allowing a shadowed melodic atmosphere to emerge in the final moments, adding depth and contrast without losing its dark identity.

B) Torture ventures into a more industrial realm. Dense textures, mechanical tension and hypnotic repetition shape its core, creating a sustained rhythmic strain. Then, when the pulse finally withdraws, the structure opens into a striking melodic finale, transforming the track into a suspended, almost cinematic closing atmosphere.

With OBSCURE, Michael Forzza explores the fragile line between impact and introspection, pressure and release. A release crafted for intense peak-time moments and the shadows that follow.


Français

Michael Forzza dévoile Obscure, un EP deux titres qui explore les territoires les plus sombres de la techno atmosphérique avec précision et intensité.

A) Obscure est un véritable track peak time, porté par une puissance percussive affirmée et un groove implacable. La tension rythmique s’installe et maintient le dancefloor sous pression, avant de s’effacer progressivement en fin de morceau pour laisser émerger une atmosphère sombre et mélodique, apportant profondeur et contraste.

B) Torture s’aventure dans une dimension plus industrielle. Textures denses, tension mécanique et répétition hypnotique construisent une montée intense. Puis, lorsque la pression rythmique disparaît, le titre bascule vers une finale mélodique surprenante, transformant l’énergie brute en une atmosphère finale plus immersive.

Avec OBSCURE, Michael Forzza joue sur l’équilibre entre impact et relâchement, puissance et émotion. Un EP taillé pour les heures sombres et les dancefloors exigeants.

Skyjack — the borderless five piece band spread across South Africa and Switzerland — announce their fourth studio album, Let The Sky Open Under Your Feet, out 3rd July.

Recorded in December 2025 at a secluded studio outside Stellenbosch, South Africa, the album captures the vibrant live energy of the band at its most expansive — drawing together free improvisation, South African jazz traditions, chamber music, kinetic groove, and ecstatic collective interplay into a singular body of work.

“This record is a very articulate representation of our sound, having grown deep roots into the earth with high branches reaching upward and outward”, says bassist Shane Cooper. “My desire is always to create sonic universes that can envelope the listener.”

The album’s title comes from a line in a poem by the 13th-century Persian poet Rumi, reflecting the music’s balance between groundedness and transcendence. Here, Skyjack move fluidly between meditative improvisation and lush orchestration across twelve tracks of free-spirited, cosmic journeying. Inspired both by the cultural traditions and natural environments of South Africa, Let The Sky Open Under Your Feet is a testament to the band’s intuitive connection and innate musical curiosity.

It arrives just over a year after Light Cycle (2024), a short gap that reflects the momentum built on tour. After exchanging sketches remotely across two continents, the band reunited in Johannesburg in late 2025, workshopped the new material onstage across South Africa, and then headed directly into the studio, where much of the album was recorded live in first takes — preserving the looseness and unpredictability central to Skyjack’s sound.

Comprised of Kyle Shepherd (piano), Shane Cooper (bass), Jonno Sweetman (drums), Andreas Tschopp (trombone), and Marc Stucki (saxophones), Skyjack first formed in Cape Town in 2013 during a fertile moment in South African jazz, as a new generation of musicians pushed against rigid genre definitions and opened the music outward toward broader sonic possibilities. Over the past decade, the band has built a singular sound drawing equally on South African groove traditions and European improvisation.

Individually, the members move between jazz, electronic music, film scoring, rock, hip-hop and experimental composition, with collaborations spanning artists including William Parker, Lionel Loueke, Zim Ngqawana, Ben LaMar Gay, Jorge Rossy, Shabaka Hutchings, William Kentridge, Makaya McCraven and Sylvie Courvoisier.

Since their self-titled debut in 2015, followed by The Hunter (2019) and Light Cycle (2024), the group has developed a reputation for immersive live performances and music that continuously reshapes itself in motion — rooted in what they describe as “warm menacing African grooves,” while refusing fixed stylistic borders.

Two deep, meditative house tracks built on warmth and repetition. Comes with insert in a silver sleeve.

On “Ritual of Dance,” Nhojj’s voice guides the listener onto a (makeshift) dance floor, as the track builds in intensity, mirroring the rising energy of a dance session. On the flip, “Groove Extracts” leans further into a stripped, hypnotic space. Driven by percussion, bass, and a wandering key solo. It draws you inward towards the more meditative side of losing yourself in the groove. Inviting the body to take over where the mind dissolves.

Ritual of Dance EP is about the journey of dancing alone or together.