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Each year, countless people slip quietly out of their own lives, leaving no trace behind. The Japanese have a word – 蒸発 “joha’tsu” – the ones who “evaporate.”

Some flee mundane and heavy lives or simply the shadow of themselves. A few turn to the – 夜逃げーや “yonige-ya” or “night‑movers” – companies that specialize in helping someone vanish and begin again in some distant place.

We are in-between again: FELT founder Fergus Jones surfaces on his own label for the first time with this dreamy, dubby pair of introspective tracks featuring the hazy, elegiac vocals of Thomas Bush, back on FELT after 2023's split cassette with Princess Diana of Wales. The results of a three-day studio bender in Copenhagen, Bush's entrancing vocals gesture towards the unchangeable past and unknowable future, creating a vital, pumping circulatory system of sound, further supported by the saxophone of Italian-Danish artist Francesca Buratelli and the (vinyl debut) of New York's Yumi with a notable interjection on "Untitled (Mix 1)”.



Written, produced and mixed by Fergus Jones & Thomas Bush

Saxophone on Untitled (Mix 1) by Francesca Burattelli

Additional vocals on Untitled (Mix 1) by Yumiko Mannarelli

Mastered by Amir Shoat

Ascendancy presents “Sow The Seed EP” by label co-owner Lo-Lo, with 4 tracks curated in collaboration with Alex Picone, that cover different moments on the dance floor. Likewise, they all share a straightforward dance energy, groovy basslines and melodic textures.

All tracks written & produced by Lo-Lo from Montevideo, Uruguay in 2025. Original graphics by Lo-Lo. Distributed by Small Black Dots. Ascendancy label all rights reserved.

6.3 aka Ben DSP brings here two of the best tunes out on DSP records from the end of the 90s.
Electro Drugs from DSP 02 and Des SPérance from DSP 05.

Remastered by Stefan ZMK and cut by Simon Davey at 45RPM, those two tunes of 7/8 minutes lenght are pure pleasure to listen/mix.

Printed sleeve : visual by VSteeFDB showing the Akira scene in the bar, where the sample "c'est pas un night-club ici !" is taken from.

Enjoy !

Having reworked stone-cold classics and forgotten gems for the first two instalments in the series, the mysterious B returns for 003 with something truly special: an exotic tapestry of sounds and samples, woven together into something fresh and ready to play at the fashion week afterparties in New York, Paris, London and Milan.

**SELECTED BY... Shy One, Tim Sweeney, Bradley Zero, Alexander Nut, Ruby Savage, KON, Ross Allen, Auntie Flo, Adam Port, Benji B, Jamz Supernova, Kasper Borke, Bill Brewster + More...**

We are delighted to welcome back one of our most cherished artists, Life Recorder, for the third instalment of his remarkable Time Moods series on Visions Recordings.
This latest release delivers four vibrant and immersive tracks, blending deep techno textures with refined grooves, another strong statement in the series.
Far from the hype, French DJ and producer Kriss, aka Life Recorder, has been steadily shaping a distinctive sonic identity over the years. Deeply influenced by the heritage of Detroit and Chicago’s house and techno scenes, his sound travels effortlessly across genres while remaining rooted in soulful depth.
Born in the French suburbs of Geneva and now based in Marseille, he began his journey in the 1990s, connecting with music through record shops, DJing, and the evolving club culture of the time.
With this third chapter of Time Moods, Life Recorder continues to craft a timeless and introspective musical narrative.
Alex and Stephane Attias

The A-side delivers two sublime cuts drenched in that
unmistakable Italo-Balearic magic. Warm chords, sun-kissed
melodies and effortless grooves transport you straight back to
the golden days of mid-'90s Italian house music. Eyes closed,
you're cruising along the Riviera with the top down, lost in
pure bliss.
Flip it over and the mood shifts firmly toward the dancefloor.
The B-side explores deeper territory, moving through a range
of shades while keeping things locked into a tough, clubfocused framework. There's a distinct New York stomp running
through these tracks—driving, hypnotic and full of attitude—
yet they never lose the emotional depth and musicality that
have become a Westcoast Goddess trademark.
Just when you think the journey is complete, the EP saves its
ace for last. Closing things out is a hypnotic funk groove built
around silky Rhodes, a tight rhythm section and an iconic
bassline—a fitting finale that leaves a lasting impression.
A seriously strong package from start to finish, and another
essential chapter in the ever-expanding world of D3 Elements.

With Where We’re At, Tonique & Man deliver a warm and vibrant second album blending indie pop, soul and soft disco. Staying true to the groove that has become the duo’s signature, the record reveals a more mature and personal side of Jean Tonique and Mi Man.


Both recently becoming fathers, the two musicians are entering a new chapter in their lives, one that naturally shapes the album’s songwriting: a more intimate reflection on how far they’ve come, what they’ve built, and what continues to drive them to create.


Recorded at the legendary Studio Ferber in Paris, Where We’re At also features collaborations with Girl Ultra and Rejjie Snow, bringing new textures to the duo’s sound. An elegant and generous album where pop immediacy meets more intimate songwriting, opening a new chapter for Tonique & Man.

Pirka Vinyl Cuts hits its 11th volume with a nod to the classics, leaning heavily into revered disco and house chops.
Stripped back for maximum impact, these edits flip instantly familiar vocal hooks and grooves into high-grade DJ weapons, revitalizing peak-time sets with a sharp, contemporary edge.

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

Originally released in 1989 with the tagline “Bringing house music into the living room,” Fade Out is a landmark Japanese pop/club crossover produced by Haruo Chikada. At the dawn of Japan’s club culture, the track became a staple around Tokyo’s legendary Shibaura GOLD scene, widely embraced as a “danceable kayōkyoku (Japanese pop)” classic.

Today, among European diggers, Japanese techno kayō is undergoing a strong revival and growing reappraisal. Positioned at the heart of this movement, Fade Out now sees its long-awaited official release, featuring previously unreleased remixes with Soichi Terada, Haruo Chikada & OMB.

Performed by Kyoko Koizumi - still evolving as a cultural icon in Japan - Fade Out stands as one of her defining works and a key contribution to the Japanese underground music scene. A timeless piece, ready to be rediscovered in 2026.

1989年、「お茶の間にハウスを」をキャッチコピーに、近田春夫プロデュースのもと日本で発表された、小泉今日子「Fade Out」。

本作は日本のクラブシーン創世記において、芝浦GOLD周辺で「踊れる歌謡曲」として支持を集めた重要作です。

現在ではヨーロッパのディガーたちの間で再評価が進み、リバイバル真っ最中の「和製テクノ歌謡」ムーヴメントの中核を成す楽曲ともいえる本作が、秘蔵リミックスを収録し待望の公式リリース！

現在進行形で日本のカルチャーアイコンとして更なる進化を遂げているキョンキョンこと小泉今日子による、ジャパニーズアンダーグランドシーンでの貴重な功績のひとつであり代表的な国宝級ワークスを是非！

2026年のあなたのお茶の間にお迎えしましょう。

Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2, Cosmocities returns with the third instalment of its celebrated compilation series dedicated to the rich and ever-evolving world of Japanese electronic music. Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 3 continues the journey through Japan’s diverse sonic landscape, bringing together pioneering artists, cult favourites and contemporary innovators across ambient, house, jazz-infused electronics and experimental sound design.

A carefully curated snapshot of Japanese electronic music past and present, Denshi Ongaku No Bigaku Vol. 3 showcases the depth, innovation and enduring influence of one of the world’s most inspiring musical cultures.

Since its inception, the Denshi Ongaku No Bigaku project has paid tribute to a musical culture that has profoundly influenced the Cosmocities vision. Where the first volume explored dreamy ambient textures and deep electronic moods, and the second shifted focus towards boogie-laden rhythms and jazz-fuelled dancefloor excursions, Volume 3 finds a natural balance between introspection and movement.

The compilation opens with Yosi Horikawa’s sublime “Bubbles”, an ambient masterpiece whose delicate organic textures gently set the tone. Chari Chari’s “Luna de Ritmos” follows with deep, ethereal house atmospherics before Force Of Nature’s hypnotic “Skyy High” guides listeners further into immersive territory.

The journey continues through the experimental electronics of XTAL’s “Skygazer” and the analogue warmth of Takuya Matsumoto’s “Jump Rope Music”, while regular Cosmocities contributor Yuu Udagawa delivers the sophisticated high-tech jazz house groove of “Little Secrets”.

On the second half of the collection, Kuniyuki’s remix of Slow Didi’s “Follow Me” brings rich jazz-inflected elegance, leading seamlessly into the futuristic techno-swing fusion of DJ Eiji Takehana featuring Yusuke Nakamura’s “Deep Track Jazz”. Tominori Hosoya’s “Summer Dreamers” adds a deeply emotional and dreamlike house moment before Azzurro’s “Just A Touch Of Love” shifts the focus firmly towards the dancefloor with a hypnotic late-night thumper.

Closing the compilation is AcidGelge’s “Fatality 4”, a beautifully spacey and atmospheric finale that leaves the listener suspended somewhere between the club, the cosmos and the imagination.

Balvanera is the project of Agustina Vizcarra and Lucas Palavecino from Buenos Aires, Argentina.

Since 2016, the duo has been building a sonic narrative that moves between the corporeal and the spectral, exploring waves and minimal synth as well as more intense and rhythmic directions closer to Body music, all while sharing the stage with artists such as Clan of Xymox, Boy Harsher, Die Selektion, Kontravoid, NNHMN and Ashcode.

New album Hasta tocar el fondo vacío del lenguaje arrives as an attempt to push expression to the limit, focused on language and sound as expressive forms.
With all tracks sung in Spanish, the album is a declaration of identity and at the same time an exercise with Spanish itself: how to play with a language that sometimes feels baroque and turn it into something stark while retaining its richness. Musically direct, the album occasionally returns to some minimalism reminiscent of the band’s early releases while preserving the intensity and club-oriented feel of their later work. At times intensifying in speed, the record brings the energy of their live performances to visibility, while other tracks feel like an unsettlingly dreamlike atmosphere. The title – meaning Until Touching the Empty Bottom of Language – borrowed from a fragment of Arturo Carrera’s poem Escrito con un nictógrafo, offers a clue to Balvanera’s nocturnal sensibility: those thoughts and images that can only emerge in the sleepless hours of the night, when they reach their most revealing edge.

Hasta tocar el fondo vacío del lenguajen explores death as something hidden within language while allowing each track to find its own form rather than adhering to genre conventions.

Split released with DKA. Out October 1st, 2026 on aquamarine vinyl LP limited to 500 with lyrics insert.

The fifth LP in the long history of the label comes from another Belgian producer who is ready to fly high. After San Soda, Metrobox, Uni Son and label boss Red D it is now time for Tom Smeyers to step up and take us into his universe of warm grooves and sweet house music…with a twist.

Taking in influences from around the full spectrum of electronic music these six tracks represent what Tom is about at the moment. From deepest old school inspired house to more broken beat action right into drum’n’bass territory, with an attention to detail and experienced sound design.

As if that wasn’t enough Tom also took care of the artwork to match his music. We here at WPH call that a 360 artist. Welcome to the family Tom Smeyers!

DTM Funk: Super Dope!

DJ Bone: Really great release. I love every track!

Owain K: Classy grooves for dancefloor moves.

Séa: Lovely!

Simon Caldwell: Beautiful machine house music. Takes me back and takes me forward.

Satoshi Fumi: Really love all!

Severino Panzetta: Great sound.

Ame: Thanks for these.

DJ Merci: Top release!

Red D: So good I just had to release these J

The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.

The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.

Sisonke Xonti is a celebrated South African jazz saxophonist, composer, and bandleader. Originally from Cape Town, he relocated to Johannesburg where he deeply immersed himself in the local jazz scene, collaborating with esteemed artists like Nduduzo Makhathini, Abdullah Ibrahim, Hugh Masekela, Herbie Tsoaeli, and Zim Ngqawana.
6 years later, Sisonke is back with a powerfull album ‘”uKholo” with Shane Cooper on double bass, Yonela Mnana on piano and vocals, Ayanda Sikade on drums, Keenan Ahrends on guitar, and Gontse Makhene on percussion. The album opens with" Khanya (Prayer)", featuring Mandisi Dyantyis —a piece that immediately signals a more mature direction to Sisonke's debut on As-Shams. Between jazz and spiritual jazz, this album will soon become a benchmark in South African jazz history. Produced by Simbad and executive producer Fred “Spider” Jacquier.

Satoshi Tomiie Is Back on Phonogramme With "12b-Dub Pt. 2," the Second Volume of the Acclaimed Ep Series by Legendary Producer Satoshi Tomiie. This 4-Track Ep Continues to Explore Tomiie's Deep and Innovative Soundscapes, Making It an Essential Addition to Any Electronic Music Collection. Available on a Limited Edition Marbled 12'' Vinyl, "12b-Dub Pt. 2" Promises to Deliver a Unique Auditory Experience With Its Rich Textures and Masterful Production. Don't Miss Out on This Exclusive Release From Phonogramme, Showcasing Satoshi Tomiie's Enduring Influence in the World of Electronic Music....

maya ongaku has always been searching for what exists just beyond the edge of perception. Since forming in the seaside towns surrounding Enoshima, the trio has followed a path guided less by intention than intuition, allowing songs, ideas, and experiences to emerge through a process they describe as 自然発生 (shizen hassei), spontaneous occurrence. Nothing Space Music is the deepest expression of that philosophy to date.

Written in the aftermath of several years of international touring, the album emerged from a growing desire to reconnect with silence. As stages became larger and the world around them moved faster, the band found themselves drawn toward the quieter spaces beneath it all. What began as a reflection on stillness & silence eventually expanded into the idea of "Nothing Space". To realise the album, maya ongaku created an entirely new environment for themselves. Near a seaside shrine in their hometown, the trio transformed a large soundproof building into Nothing Space Studio, a space built specifically around the needs of this record.

Nothing Space Music: a meditation on presence, perception, and the possibility of rediscovering the world through attentive listening.

opo’s 666ridims (2020 - 2026), compiled by J.TRIPP, brings together tracks from his 666ridims netlabel, reflecting on the singular sound worlds of some of his solo work. Like a discovery made by neutrino sensors, opo’s tracks research the transformation of rhythm, swing, and structure, aiming for a new grid. Sketchy and raw, processing emotions and experiences, regaling stories, and asking questions, opo relates in trance verse. All tracks here breathe his focus on improvisation, experimentation, and collaboration. Some of the beats featured on 666ridims (2020 - 2026) are outlines for freestyles and songwriting ideas, a practice formed during a long-distance music conversation with illustrator, printmaker, painter, designer, and maker Billy Bigwood. Other tracks are more club-oriented, like speculative genres programmed in odd meters. Japanese Barcelona-based DJ Hanakito contributes to one track, using samples and chops sourced from her vinyl imports.

Through Afroelectronic experimentation and diasporic narratives, opo encodes his soul's past and future through his music. Encoded, activated, returned. Initiate only when you receive permission from all your mental fragments. Keep transmissions in mind and dislodge and follow the command cluster's trail. Strongly influenced by sci-fi, ancestral afro musics, jazz, performance art, and food, as musical lines and shards of meaning cascade, 666ridims (2020 - 2026) is a minimalist dive into strange meters, polyrhythm, and the transcendence of ideas. Fast, slow. Exhilarating. We don’t discover physical laws; we just collaborate on them.

Ruminant Records looks back at the corners of American rave music that lived on the dancefloor, in record bags, and in local clubs. Dwelling on music from the past and bringing it into the present, the label is as much about where these records can go now as where they come from.

For its first release, Ruminant celebrates the music of the late DJ Dic on the North Carolinian Hoodwink Records imprint. Filled with the untamed possibilities of the early breaks scene, the tracks’ playfulness, color, and ecstasy mix easily onto the dance floors of the present.

The A-side starts with DJ Dic’s “All A Dream,” blurring the lines between breaks and machine funk. Continually shifting and coming into focus, a narcotic vocal repeats “do you remember, I thought you were there” before the track takes a turn for the liquid, opening into something symphonic, cinematic and joyous. Just as it seems to have reached transcendent bliss, the vocal returns whispering in your ear and lulling you into euphoria.

It’s met with a new remix from Kyoto’s Stones Taro, who pulls the track around a feverish refrain and driving break, its pulsating regularity tightening the original into something dizzying, immediate, and built for the club.

If the A-side is exuberant, the B-side begins with a warning. “Hypnotize” is disciplined, tight and hard, its rhythmic coolness slowly sucking you into a vacuum without space or time. The listener is lost, but willingly so for the seduction is the point. Hypnotize indeed.

The Johnny Cage Procrastination Mix takes those same threatening undertones and lets some air back in, filling the space with bounce, drips and a playful silliness. Synth-laden and fun without losing the original’s edge, it brings some of the A-side’s exuberance back around and closes the record where it began.

"Surface Noise Isn’t A Crime" continues NOREPRESS’ exploration of texture, pressure, and imperfect sound as core elements of underground electronic music. Across four tracks, the release moves through Deep Tech House, Dub Techno, Electro, and Breakbeat without settling into fixed genre boundaries, balancing functionality with experimentation throughout.

A1. Tvardovsky feat. Andrey Zverev – Flute Meditation opens the record with a dense, slowly unfolding trip built on dub space, electro tension, and hypnotic Tech House movement. Organic flute phrases drift through layered percussion, evolving bass pressure, and spacious analog textures, creating a strange collision of futurism and nostalgia. The track resists obvious peak-time formulas, choosing gradual transformation over immediate impact and rewarding deeper immersion with every transition.

A2. Osman Öz – Regrets moves into softer territory without losing rhythmic weight. Warm breakbeat structures, airy melodic fragments, and fluid low-end movement give the track a calm but persistent momentum. Osman Öz keeps the arrangement restrained and precise, allowing groove and atmosphere to carry the emotional core of the composition naturally.

On the B-side, Kirill Matveev appears under his Natural Piece Of Aloe alias with two contrasting interpretations of the project’s dub-informed language.

B1. Salto Mortale is playful, unstable, and constantly mutating. Rhythms stretch and reorganize themselves around shifting tonal fragments, while the arrangement moves with the loose unpredictability of an improvisation session. Despite its complexity, the track never loses control, maintaining a strong forward pull through every unexpected turn.

Closing the record, B2. Columbo Beat, Kirill Matveev - Sundub pushes deeper into darker territory. Acid sequences slice through heavy dub atmospheres while rugged drums and saturated low-end pressure drive the track forward with raw physical energy. Distortion, space, and movement interact continuously, turning the track into a hypnotic late-night tool designed for more adventurous dancefloors.

"Surface Noise Isn’t A Crime" captures NOREPRESS at its most confident: raw textures, deep space, broken edges, and timeless club influences reconstructed into a modern dub-driven framework.

NOREPRESS is a division of MixCult Records

Inner Lakes returns to Earth Dog with Muerte Deluxe, a heady twilight of no-nonsense lunar tek from the clubland shadows.

The Milanese psy-maestro commands the floor in a manner few can resist. A slew of in-demand transmissions for his own Lagunas imprint, Kalahari Oyster Cult and Francesco Del Garda’s Timeless label champion his command on the nocturne dance. The 2025 EP Bongdrift for djfix and Jek’s Earth Dog stable furthered this agenda, and now he seeks a second bite with follow up Muerte Deluxe.

Opener Control maneuvers the night with an acidic bite, its pulsating bassline and psychedelic groove synergised for the peak. The title track aligns ruder, a cheeky stomp igniting the low-slung rhythm with ragga-fuelled fervour. OneWayExit tracks on the infinite with unrelenting delirium in kinetic hypnosis, before R3vision rolls out on the finale; its moon-lit reflections on memories and reality tempering the discordant groove towards its melancholic conclusion.

Collecting Orders For 2026 Repress

Satoshi Tomiie Unveils His Latest Ep, '12b Dub', Exclusively on Phonogramme Records Tokyo &Ndash; Renowned Dj and Producer Satoshi Tomiie Is Back With a Captivating New Ep, '12b Dub', Set to Make Waves in the Electronic Music Scene. This Four-Track Release Marks a Slight Shift Towards a More House-Oriented Sound, Showcasing Tomiie's Versatility and Innovative Approach to Music Production. Having Garnered Acclaim for His Previous Releases and Collaborations, Tomiie Continues to Push Boundaries With '12b-Dub', Solidifying His Reputation as a Trailblazer in the Electronic Music Industry. This Latest Offering on Phonogramme Records Is Sure to Be a Staple in Dj Sets and Playlists Worldwide....

Stepping out of the shadows with refined precision, Saktu returns to Heisenberg with the Fucha EP – a sharp, hypnotic exploration of minimal groove. Sleek rhythms, tactile textures, and playful low-end pressure define this trio of deep, late-night rollers.

Balancing raw functionality with subtle artistry, the Fucha EP captures the essence of what makes Heisenberg a beacon in the modern minimal scene. Crafted for the floor, tested in the booth

Long time label collaborator and dub maestro Havantepe is back on Berg Audio with yet another journey into the deeper, more atmospheric shades of techno, unfolding across four timeless tracks. This release marks the highly awaited come back of the imprint’s “Monument” series, featuring a full cover designed by Juli Jah.

For its 15th Year Anniversary, Knotweed continues its long collaboration with Myk Derill, exploring different shades of bass-heavy dub techno.

Ashley Beedle’s remix of "Unmask Me" by MAMA is a masterpiece of deep, atmospheric house music. Characterized by shimmering chords and shuffling percussion, Beedle transforms the original into a sunlit, Balearic-tinged gem. It famously became a signature track for the late DJ Andrew Weatherall, he notoriously played and closed his set with it at his Convenanza Festival in September 2017. Where a now trended meme video of The Guvnor vibing to the gem, whist the crowd was in absolute euphoria to the magic being made.

Now released on purple vinyl, with all profits donated to our friend Mr Beedle and his ongoing care.

You need this in your life.

FOUNDATIONS004 heralds the Dawn of A New Era from FTL. A thematic 4 tracker evoking 1993 darkside jungle tekno flava. Lead track Braindead Badbwoy sets the scene with heavy kicks, weighty basslines, eerie pads and dark atmospheric stabs that build towards a climactic final drop. Next up, Consciousness kicks things off with uplifting hardcore vibes before dropping into classic rave stabs and a massive bassline built to make the bricks shake. Those familiar with undead lore will instantly recognise the infamous character on the sleeve, perfectly capturing the track’s title: a last brain-cell firing moment from the pattern recognition of a long lost tune. Consciousness in the new dawn. Keeping on theme, Stolen Memories drifts through dark atmospheric landscapes with haunting spoken-word vocals. Another climactic finale and we’re reminded once more of our talismanic protagonist, piecing together broken synapses at the end of an epic allnighter. What actually just happened? Rounding things off, title track Dawn of a New Era emanates with poignant nostalgia and the promise of new awakenings. A jungle tekno romper to carry you through to first light.

Split#5 marks the fifth and final installment of the Split series on the Various Artists catalogue of Pi Electronics, pairing Spanish producer Hurtado and Greek producer Nikitas Grs. Despite their distinct approaches, Hurtado's industrial-leaning broken beat funk and Nikitas Grs' psychedelia-infused noise techno converge through a shared aesthetic of textured sound design, raw energy and dark atmospheres. On the A-side, Hurtado showcases his trademark production style through the driving cuts "Show of Force" and "Bad Company", while "The End", featuring vocals by Genevieve GV, reveals a more experimental side of his production. The B-side welcomes Nikitas Grs with two compositions that blur the boundaries between techno, trance and industrial music. The live version of "Susano" unfolds as a rolling, hypnotic dancefloor trip, while "Anoriotos" balances heavy rhythmic impact with an underlying sense of ambient nostalgia. The digital bonus track, "Pollinator 5000", reveals yet another facet of Nikitas Grs' sound palette: a relentless piece of noise-techno that rounds off the release with uncompromising intensity.

MASA 007 sees DJ Sodeyama at his most incisive and introspective, delivering three cuts of direct, mental techno, complemented by a powerful remix from Atomic moog. Across four tracks, the record flows with clarity and purpose, driven by sharply defined drums and acid-tinged textures, while layered with expansive ambient pads and evolving atmospheres, resulting in a sound that is both forceful and deeply immersive. Atomic moog’s reinterpretation, a signature of this modular wizard duo, built around earthy psychedelic pads, field recordings and organic synths, cements MASA 007 as a refined statement of modern techno’s cerebral intensity and emotional depth.

Rebecca Delle Piane makes her return on EMERALD with six tracks covering' Titania EP'. Driven by a steely determination to push herself further through sonic exploration and new creative approaches, she unveils a new direction in sound. A direction that feels both harsh and precise, yet equally clear and refined.

2026 Repress

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

Wisconsin house music legends Solid Gold Playaz return with Minds Beneath Atlantis EP, a timeless deep house gem first released in 2003 on Silver Network before receiving a sought-after reissue from Still Music in 2017. Long out of print and highly coveted by collectors, copies have regularly fetched upwards of £50 on the second-hand market. Thankfully, Still Music have answered the call with a welcome repress, making this essential release available once again for DJs, collectors, and deep house enthusiasts who missed out the first time around.

Rapidly gaining momentum, Drumcode’s new DC4 series returns to serve up a collaborative feast for its fourth edition.

Since debuting in summer 2025, DC4 has done exactly what it says on the tin: serving up four elite tracks that deserve the spot to shine.

You know you’re going to get A+ quality when you cue up a Victor Ruiz & Alex Stein collaboration. The Brazilians have a long history of studio jaunts and they deliver the goods via ‘Core’, a brilliant brain-scrambling outing with a strong dramatic arc.

Charles D & Weska follow up last year’s ‘The Answer’ on 1001 Recordings with ‘Can’t Get Enough’ feat. Bexxie. With a foot in prog and techno alike, this is driven by low-slung grooves and Bexxie’s sexy vox, packing an exhilarating energy throughout.

Enter two Drumcode debutants – SCRIPT & OKAYVAL. The former is a fast-rising American artist who is coming off collaborating with Brazilian superstar ALOK, while the latter is a Colombian born, US-based artist whose earned gigs at EDC Vegas and Tomorrowland this year. ‘LIKE THAT’ is a high-energy jam marked by tight rolling percussion and a sharp vocal loop designed for peak-time impact.

Another pair of fresh faces land on the comp as Martin Costas & Gabriel Gil drop ‘It’s All Around’. Lock in for a pulsating slice of prog driven by hypnotic rhythms and lush melodic textures. A versatile cut fit for a variety of party situations.