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Paperbark is the ambient project of Jon Mulville, who has been shaping rhythmic and textural soundscapes since 2016. His music is rooted in memory, as a way to process emotional fragments. Guided by time spent in nature and created in response to a culture that often feels lacking empathy, his work aims to create space for reflection.

He has released eight albums, primarily on Seil Records, as well as Constellation Tatsu. 'Light Behind Me' marks his first CD release and only his second appearance on vinyl.

Inspired by Sam Kidel’s ›mimetic hacking‹ concept, Berlin-based composer Jasminev Guffond pipes opiated brass and woodwind motifs into a reverb chamber modelled on an Amazon fulfilment centre.

»Muzak for the Encouragement of Unproductivity« is a poetic inversion of Muzak’s traditional role in stimulating seamless productivity in the workplace. Beginning as a pre-radio music distribution network (1934, U.S.), Muzak was transmitted along electrical wires with the intention of being at once ubiquitous and indiscernible, always present yet easily ignorable. As a pseudo-science the aim was to capitalize on the potential of music to have a psychological effect on listeners, and with the goal of maximum productivity, was employed as a sonic disciplinary force in the work place.

Previously installed for Dystopia Sound Art Biennial (2024), at the Amazon Packing Station located before HAUNT-Frontviews in Berlin, Muzak for the Encouragement of Unproductivity sonically addresses utopic notions of seamless, efficient productivity, inherent to capitalist cultures, and their very real dystopic effects from labour exploitation to the impacts of over-production on the environment. This poetic inversion, further developed as an album, is not meant as a kind of melodic control but rather a reflective space in which to consider the benefits personally, globally and environmentally, of slowing down.

Reverb, essential to the Muzak aesthetic, is programmed (using convolution reverb) with the dimensions of the Berlin Amazon fulfillment centre, DBE2. Amazon fulfillment centers are global contemporary factories, promising a consumer utopia of next day delivery of almost any product imaginable. Inspired by Sam Kidel’s concept of »mimetic hacking«(1), the reverberation characteristics of the DBE2 facility perform a symbolic sonic break-in to the guarded Amazon fulfillment center, a trespass to the flow of production.

Guffond’s ambient Muzak with its drifting horn, clarinet and synth-like modulations is just too down-tempo for upbeat spending. If this is Muzak it is possibly Muzak for the end of the world, thoughtfully seeking transcendence through implied questioning after all avenues for shopping have been exhausted.

The new 012 series opens with “Waveform Studies”, a project that brings together fresh talents on the platform, merging their visions of bleep and hypnotic techno through an interplay of deep and raw frequencies. To launch the EP, label head Claudio PRC sets the tone with “Pulse”, a deep and immersive techno journey, followed by the haunting and mesmerizing soundscapes of “Vacuum” by French DJ and producer Eman. Next, Italian artist Riccardo De Polo contributes “Aseptic”, a raw, hypnotic, and minimalistic techno banger, which seamlessly leads into the spacey and dreamy textures of “Voluta” by Venezuelan-born, Berlin-based DJ and producer Isabel Soto. Finally, emerging artist Leo Cologna closes the release with “Sinus”, a digital bonus that fully embodies the spirit of this compilation. The graphic design and visual aesthetics is curated by the Berlin artist Medas, adopting the light drawing technique, reflecting the rigor and abstraction of the sound and emphasizing the essence of the musical content.

All tracks are written and produced by the respective artists. Artwork by Medas. Mastered at Incidence Studio.

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony. While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy” , a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present.

** Highly limited edition CLEAR VINYL VERSION**

Pt.1 of 2

Gigi Masin's sparkling sonic magic leads us to the light in “Implodendo in una accecante oscurità” (Imploding in a blinding darkness). The mirror reflects nothing but a faint, unfamiliar, mysteriously hostile face, but a glimmer survives, evoked by a painfully solemn romanticism that is salvific, glimmers of light bounce off broad synthetic volutes, a bewitching ambient, airy quiet, they spread, a few veins of darkness shine through, aesthetic beauty equates to clear spirituality, sax and female voices, the elegy that intertwines piano and vocal loops, that omnipresent melancholy, nostalgia, reassuring, which is openness to tomorrow. It is the moment of light, the powerful feeling that nothing is lost, that what awaits to be grasped is more than a remnant, perhaps an overcoming, light that “is not what it shows but what it reveals”, that light that becomes memory that does not need to illuminate to be perceived where it most needs to spread, where darkness has resided for too long

2026 Repress
I am back on Somov with 4 recordings showcasing my sound. A dimension where thought does not exist, and I reflect back on all the beautiful moments these tracks hold on the dance floor. Love.

Ploughing a different furrow, Alone in a World of Wounds is an album of sweeping gothic tinged Americana, tripped out drones, beautiful world weary vocal melodies and slowly unfurling cello arrangements. Initially inspired by the harmonic resonance of piano and synths and his long standing love of ambient music, Alone in a World of Wounds follows 2021’s No Wilderness Deep Enough in reflective ambience. Opening up his voice in ways he has never done before, the album's genesis came via intuitive improvisations.
The search for deeper connection, living with the sorrow of our separation from the natural world, and relying on gut level intuition to get closer to the primal creative state are all key to Von Till’s creative process.
Recorded mostly at his barn studio at home in Idaho and mixed at Circular Ruin in Brooklyn, NY, with storied producer Randall Dunn (Jóhann Jóhannsson, Sunn O))), Earth, Jim Jarmusch), Alone in a World of Wounds also boasts cover artwork from Spokane, WA based alternative process photographer Brian Deemy - who works with colloidal wet plate ‘tintype’ aesthetics, which compliment Von Till’s uniquely ancient yet grounded aesthetic, and one that perfectly matches his desire to reimagine the connection between the human and the more than human world.

Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan

"Drop That Beat," the cult classic by Ixxel that became a staple in clubs and at festivals in the late '90s, is making its return. The iconic track receives a contemporary interpretation by Mosimann, plus a high-energy club remix from NightFunk. Together marking a rebirth that sounds both timeless and hyper-modern.

Mosimann, the French-Swiss DJ-producer, singer and showman, is a leading figure in the French electronic scene, known for his bold, modern and versatile sound. A six-time DJ Mag Top 100 DJ artist, he stands out with explosive live performances in which he not only mixes, but also sings, plays drums, and commands keyboards, a technical virtuosity that makes him a unique live phenomenon, comparable to showmasters like James Hype. His rework of "Drop That Beat" injects the track with that same hybrid energy and performance-driven power.

Mosimann: "This track is very important to me. Fred Rister was much more than an influence: he was the first to truly get me into music production when I was 20 years old. Before he left us, he handed me the stems of Drop That Beat and told me: 'If one day you feel like it, work on a version.' It took me years of reflection, doubts, and memories before I found the strength to do it. Today, with the blessing of the two original composers, I'm finally releasing this version. It's both a tribute to Fred, a nod to Jacky Core and the Captain where I played so many times, and a way to carry on the legacy of that '90s Belgian techno which, to me, still feels very present today."

Belgian house star NightFunk complements this perfectly with a tight, club-ready remix that pushes the track straight onto today's peak-time dancefloors.

With this dual reboot, the essence of "Drop That Beat" remains intact, while both artists inject the track with their own signature touch. The result is an energetic release that resonates with nostalgic fans and a new generation of ravers alike.

This special edition will be released on vinyl via Serious Beats Classics, once again spotlighting the track's timeless character. A must-have for collectors and DJs eager to weave a piece of dance history into their sets.

Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.

“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.

16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.

Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.

“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”

Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.

This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.

The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”

The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop

With My Best Friend, CHOP — the duo of Cosmo Dance and Whodamanny — return to deliver a new chapter of their analog-driven dance language on Mirella Records.

Built around warmth, groove, and an unspoken dialogue between machines and emotion, My Best Friend reflects CHOP’s purest intentions: to explore rhythm as a living form, to make the floor breathe, and to connect people through sound. Each element feels carefully shaped yet deeply human — the pulse of friendship and creative trust translated into music.

This 7-inch release, pressed on red transparent vinyl, stands as a statement of authenticity. It’s not about spectacle or nostalgia, but about presence — a timeless moment captured in movement and frequency. CHOP invite listeners to tune into the essence of the dancefloor: where simplicity becomes depth, and truth becomes magic.

Coral Morphologic is the brainchild of Jared McKay and Colin Foord. A mending of minds, the arts, science, and the sea. Their lab in Miami lies close to the Florida Reef just offshore; the third largest coral barrier reef system in the world. This album composed by Jared echoes the voice of the reef. A reflection of its cosmic connection to our moon. A departure from the earth into deep space. We often wonder what intelligent life exists outside of our own aquatic world. Look and listen to the synchronous celestial satellites and the endless love song they sing. *features a foldout poster with album art by Robert Beatty

lim. 150 blue transparent 180 Gr LP + 7" + Poster / incl. Silent Servant Remix

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music is set to release 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) on the 1st December, the new album from Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico, Alejandro Barba, aka Dellarge, delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. 'INRI' stands for Industria Nacional del Ruido Infinito (National Industry of Infinite Noise) and serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity.

A multifaceted artist and veteran of the music industry for over two decades, his latest musical creation is an intimate and personal album and a departure from previous Techno/EBM-orientated Dellarge releases. 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) offers a mesmerizing blend of ambient, futuristic, and industrial sounds that transport listeners into a realm of mysticism, futurism, and duality and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as 'Viento Androide' and 'Viaje al Sol' offer a glimpse of a hopeful future, while darker compositions such as 'Corpus de Sangre' and 'Toro de Falaris', explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

'Viaje al Sol', the first single to be taken from the album, is set for release on the 27th October, and is also available as an EP which includes a remix from Juan Mendez aka Silent Servant. The remix is also included on the digital version of the album and available on 7" vinyl alongside an exclusive reworking of 'Cascabel' by the founder of Modern Obscure Music, Pedro Vian.

“I've always dreamed of making an album where I could bring together artists I deeply admire, curating voices, energies, and sensibilities that have inspired me,” says Brussels-born producer and multidisciplinary artist ShunGu of his new record, Faith in the Unknown. “It took time, and it grew into something very human, rooted in trust, patience, and creative risk. These songs are conversations, not just between me and the artists, but between worlds, eras, and ways of feeling.”
That spirit of dialogue and discovery is what defines Faith in the Unknown. Emerging from years of steady, meticulous work in the underground, the album is both a bold statement of identity and an invitation into Shungu’s world. Across 14 tracks, each a self-contained vignette, ShunGu guides the listener through shifting moods and perspectives- moments of intimacy, defiance, reflection and release, coalescing into a much larger story.
His distinct touch threads through the surefire cast of collaborators - Pink Siifu, Liv.e, Fly Anakin, Chester Watson, Fatima, Maxo, Navy Blue, Dreamcastmoe, Ruqqiyah, Zekeultra and Goya Gumbani — each track unfolding as a new dimension in the same universe.
ShunGu has long been a boundary-pusher, known for weaving jazz-inflected samples, skilfully constructed textures, and MPC-driven grooves into production that feels timeless yet untethered. With Faith in the Unknown he pushes further still: a project as much about collective energy as it is about personal vision. It’s a leap into uncertainty, carried by trust in the process and the people involved.
From the lo-fi beat tapes that first won him a cult following, to collaborations that span the globe, Shungu has forged a body of work rooted in exploration and community. Faith in the Unknown crystallises those qualities into his most ambitious statement yet; a record that doesn’t just blur boundaries between genres, but asks what happens when vulnerability and experimentation are treated as shared ground.
The result is a record that trades in subtlety. Each artistic contribution adds its own shade to the larger mosaic, pulling the listener deeper into an expanding narrative. If Faith in the Unknown has a message, it’s that art can thrive in uncertainty - that in the spaces where trust, risk, and vulnerability intersect, something entirely new can emerge.

“I've always dreamed of making an album where I could bring together artists I deeply admire, curating voices, energies, and sensibilities that have inspired me,” says Brussels-born producer and multidisciplinary artist ShunGu of his new record, Faith in the Unknown. “It took time, and it grew into something very human, rooted in trust, patience, and creative risk. These songs are conversations, not just between me and the artists, but between worlds, eras, and ways of feeling.”
That spirit of dialogue and discovery is what defines Faith in the Unknown. Emerging from years of steady, meticulous work in the underground, the album is both a bold statement of identity and an invitation into Shungu’s world. Across 14 tracks, each a self-contained vignette, ShunGu guides the listener through shifting moods and perspectives- moments of intimacy, defiance, reflection and release, coalescing into a much larger story.
His distinct touch threads through the surefire cast of collaborators - Pink Siifu, Liv.e, Fly Anakin, Chester Watson, Fatima, Maxo, Navy Blue, Dreamcastmoe, Ruqqiyah, Zekeultra and Goya Gumbani — each track unfolding as a new dimension in the same universe.
ShunGu has long been a boundary-pusher, known for weaving jazz-inflected samples, skilfully constructed textures, and MPC-driven grooves into production that feels timeless yet untethered. With Faith in the Unknown he pushes further still: a project as much about collective energy as it is about personal vision. It’s a leap into uncertainty, carried by trust in the process and the people involved.
From the lo-fi beat tapes that first won him a cult following, to collaborations that span the globe, Shungu has forged a body of work rooted in exploration and community. Faith in the Unknown crystallises those qualities into his most ambitious statement yet; a record that doesn’t just blur boundaries between genres, but asks what happens when vulnerability and experimentation are treated as shared ground.
The result is a record that trades in subtlety. Each artistic contribution adds its own shade to the larger mosaic, pulling the listener deeper into an expanding narrative. If Faith in the Unknown has a message, it’s that art can thrive in uncertainty - that in the spaces where trust, risk, and vulnerability intersect, something entirely new can emerge.

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.

We’re thrilled to announce our debut release — Lucid Departure EP, marking the beginning of our journey. Kicking things off in style with David Pasajero and Artesano Titer, each bringing their own unique blend of trance.

David Pasajero’s A1 Matter of the Mind and A2 Stage One showcase his distinctive touch — a driving fusion of Goa textures and heavier trance energy that sets the tone for what’s to come.

Artesano Titer’s B1 Declaration and B2 The Sparrow reflect his Uruguayan roots, weaving dark, progressive layers into an atmospheric trance experience.

Pt.2 of 2

Gigi Masin's sparkling sonic magic leads us to the light in “Implodendo in una accecante oscurità” (Imploding in a blinding darkness). The mirror reflects nothing but a faint, unfamiliar, mysteriously hostile face, but a glimmer survives, evoked by a painfully solemn romanticism that is salvific, glimmers of light bounce off broad synthetic volutes, a bewitching ambient, airy quiet, they spread, a few veins of darkness shine through, aesthetic beauty equates to clear spirituality, sax and female voices, the elegy that intertwines piano and vocal loops, that omnipresent melancholy, nostalgia, reassuring, which is openness to tomorrow. It is the moment of light, the powerful feeling that nothing is lost, that what awaits to be grasped is more than a remnant, perhaps an overcoming, light that “is not what it shows but what it reveals”, that light that becomes memory that does not need to illuminate to be perceived where it most needs to spread, where darkness has resided for too long

Hanagasumi, or "flowering haze," is a Japanese term that poetically describes the smoky, blurred appearance of numerous cherry blossoms visible from a distance. This image is often compared to a floral mist or fog. Through this word, the Japanese convey the visual effect created by a large number of flowers forming a soft, diffused, and ethereal picture. Such a description beautifully resonates with the musical palette of the new release. Introducing the long-awaited album Agera by the mysterious musician Jon'Smu. The record combines elements of classic deep house and ambient music, creating a unique atmosphere and the author's distinctive signature. The album features 8 stunning tracks, carefully selected and compiled into a cohesive story. A few words from the author: "This album, spanning a vast timeline of creativity, is about how important and interesting it is to be in motion and in constant search of something new. The recordings presented cover a significant interval of my musical journey through the diversity of genres and sound experimentation. At the core of the music lies Nature - it is the primary source of inspiration for me, and Action is a key moment of life for everything in nature. A wide range of instruments was used in the recording process, whether fully digital compositions or those featuring vintage analog instruments. I hope my love for an immense variety of genres is reflected in this album and brings joy to the listeners."

Departure Lounge Records returns with its 7th vinyl release from Ode To 97, delivering unmistakable club cuts infused with a romantic, nostalgic vibe. These tracks blend emotion reminiscent of yesteryear, and driving rhythms, perfect for late-night dance floors and reflective moments alike. Known for its warm, eclectic house selections curated by label owner and producer, Brandon Pinel, Departure Lounge continues to craft music that's both intimate and dancefloor-ready.

3 of Brazil's most important artists of the past 10 years team up in this Tribalistas project  a genre-blurring set of tracks that recalls similar efforts of the Tropicalista generation, updated to reflect the styles of the 3 artists involved, with some nice complicated production touches from Monte herself. Titles include "Carnavalia", "La De Longe", "O Amor E Feio", "Passe Em Casa", "Velha Infancia", and "Ja Sei Namorar".

A brainchild of YAKO440 & GODBODY108, 'Dub In Full' began with a series of studio visits between two artist-musicians who saw themselves reflected in each other's work. From those early conversations came an idea rooted in instinct and a shared reverence for musical innovation: a mighty dub reinterpretation of golden-era hip hop classics.

Emerging from the University of the West Indies (UWI) in Jamaica during the late 1970s, Main Attraction was a group of talented singers whose music captured the social and political energy of their time. With a sound that blended reggae and soulful ballads, their songs were both a reflection and a response to the challenges of the era.

The group originally featured Sonia Copeland, a gifted writer, arranger, and back-up singer, alongside Sharon Jones, whose velvet voice led many of their reggae tracks. They were joined by Allison Smith, Marjorie Smith, and Shahiba Ali, forming the group’s first lineup. As time passed, Michelle Thompson and Lileth O’Connor joined, further enriching the group’s dynamic harmony.

Main Attraction’s musical journey began with their debut recording, a cover of Once Upon a Time, produced by David Haughton under the management of Clayton Downie. Later, with Owen Palmer as their manager and producer, the group expanded their horizons, performing in cabaret gigs with the band Mind Benders and embarking on an overseas tour that showcased their talent in New York City. While Sharon Jones led reggae tracks like Jam Up, Allison Peart and Shahiba Ali brought their soulful touch to R&B songs, creating a rich, versatile repertoire that captivated audiences.

Jam Up was the group’s first original recording, composed and arranged by Sonia Copeland. Performed as part of the Reggae Song Competition during Carnival in 1978, the song is a rallying cry for unity and progress. With powerful lyrics and a Shaka rhythm, Jam Up calls on Jamaicans to come together, strive for economic growth, and uplift the nation collectively.

Sonia’s vision was clear: that Jamaicans from all walks of life would find inspiration in the song’s message, motivating them to improve their standard of living and contribute to the country’s growth and prosperity. Decades later, the lyrics remain just as relevant — a timeless call to action for social and economic strength.

Hold this record in your hands, let the music play, and feel the enduring power of reggae music to transform, uplift, and connect.

The interstellar electronics are once more pushed to the fore on closer '80 Axes', where jaunty synth lines combine with soft bongo hits to create an instinctive rhythm, and intergalactic melodies sprint between the speakers. You can dance if you want to, but lying down is very much encouraged.
As part of the label's mission to champion Dutch talent, Voyage Direct has always promoted new, up and coming, and little-known producers. Boss Tom Trago's master plan includes building a family of artists, in part through helping unheralded local producers to fulfill their potential.

On the label's latest release, he continues that approach, serving up a debut 12' from a mysterious young producer known only as Darling. Those paying close attention to the wider Dutch house and techno scene may have spotted his recent rework of Awanto3's 'Star Butchers' on Dekmantel, in which the man or woman of mystery added some killer keys to the Amsterdam legend's woozy, deep house original.

While that rework was undoubtedly superb, Jacob's Lead offers a truer reflection of the shadowy producer's previously hidden talents. As debut EPs go, it's a bit of a cracker.

The title track, in particular, is a beauty. Its' restless, hypnotic rhythm tips a wink to classic Dutch techno of old, while the undulating, analogue electronics and swirling pads recall the far-sighted retro-futurism of vintage Motor City material. Throw in some of Darling's trademark spine-tingling keys and a deliciously loved-up breakdown, and you have a choice chunk of life-affirming techno.

On the flip, Darling heads towards deeper territory with the bubbling melodies, starburst electronics and saucer-eyed chords of 'Video'. Unashamedly positive in sound and intent, it sounds like the kind of track that will be cited as a classic in two decades time. Melodious and infectious, it casts Darling as the Netherlands' answer to Larry Heard.

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.

South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.

Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.

Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”

Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.

Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]

Uruguayan-based Diego Infanzon makes his debut on Partout with a powerful EP that bridges the energy of classic House and the raw pulse of Techno. Known for his groove-driven productions and hypnotic rhythmic language, Infanzon delivers a collection of tracks built for heavy rotation, blending sharp drum work, deep atmospheres and his unmistakable sense of movement on the dancefloor. Carrying the spirit of openness to genres and freedom in sound, the EP reflects the forward-thinking approach that has defined Infanzon’s rise across labels like Cod3QR, Turbo Recordings and Sous Music, now landing naturally within Partout’s vision.

Repetitive Rhythm Research presents: FW25/26 The sound of the season? Or a tongue-in-cheek reflection on fleeting trends? Techno has always moved in cycles--styles fade in and out of focus, but true character stands the test of time. As the genre enters its fourth decade, it's fascinating to see how experimentation sometimes becomes formula, and how fresh ideas can either break the mould or quietly slide into the mainstream. This new compilation on Repetitive Rhythm Research explores exactly that tension. 12 tracks by 12 artists--ranging from rising talents to established names--each bringing their own distinct approach. This isn't your typical 'cut from the same cloth' compilation. It's a diverse journey through contemporary techno with all its depth, quirks, and raw energy. From Marcel Dettmann's dark and spooky slow-burner This Is a Test, to Peder Mannerfelt's forward-thinking Alternate Current. Force Reaction dives into trippy terrain with Mysteries Unfolding, while Sanna Mun and Dynamic Forces channel classic Detroit vibrations. Section 6 (a well-known Dutch producer) and Sonic Propaganda (aka Earwax and Rosati) deliver peak-time power. UFO95 takes you on an epic trip with Apollo95, while Conrad Van Orton's Plaintive Drift operates in a lane of its own--fast-paced, hypnotic, and emotionally rich. And then there's the ever-consistent Jeroen Search, the fierce energy of Kerrie, and the unmistakable sonic fingerprint of Aleksi Per?l?--each contributing to this wide-ranging exploration of techno's current landscape. This Fall/Winter 25/26 release isn't just another techno compilation. It's a curated statement that embraces contrast, personality, and forward momentum. Pick your favorites. Revisit the outliers. Let the rhythms unfold.

Finally out is this eagerly-awaited release of SUNANDBASS Recordings, Hits Me In Waves EP by Mark System. Friends and close members of the SAB family know it's been brewing for the last decade, appearing in bits in aftermovies and we are beyond excited to now share it with the world.

'Hits Me In Waves' unveils three currents at once, the surging pull of inspiration, the sweep of new love, and the beautiful embrace of La Cinta's waters, all washing over in unison. Thus, each track of the EP explores a wide range of emotions and moods, expressed in multiple styles within drum & bass; the lead single 'On An Island', sets the tone with unmatched sound design, rich musical elements, and raw, uncompromising production. Next comes 'Point Of Reference', built for the dancefloor and eternally young in its refined appeal. 'Celebration' follows, a powerful track that ties the listening journey together, pairing heavy low-end weight with slick musicality to keep it both melodic and full of energy. 'Where's The Dog' stands out for its playability and tough bass synthesis, making it the hardest-hitting cut on the record. Closing the EP is the beautiful and introspective 'Started At The End', a deep dive into Mark's musical mind, offering a classic, emotive finale.

Hits Me In Waves is more than just a collection of tracks, it's a reflection of Mark's long-standing relationship with SUNANDBASS and our shared vision for music that speaks to the soul and stands the test of time. Spanning from Ibiza, this release embodies the SAB spirit: pushing the boundaries of drum & bass while fostering connection through rhythm, movement, and community.

The 12-track record is the first album on SHDW's influential label and explores the past, present, and future of techno.

Planet X label head and 20-year scene veteran Exos, hailing from Iceland, draws on his native country's influences in his work, which explores the interplay between light and dark, warmth and cold. His high-octane sounds over the last 20 years have appeared on vital imprints like Tresor, X/OZ, and, of course, Mutual Rytm, with his releases for
the label having been extremely well received, garnering support from the scene's key DJs. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s style. This new album follows Exos's inaugural X-Release, the Infrared 10", the Icebreaker 12" from last year, and his track on the latest Federation of Rytm IV compilation. It's a real journey through all facets of his sound, including a trip back to his dub techno roots, ambient
explorations, and emotional vocal pieces with lifelong memories fused into sounds that reflect the artist's decades spent in Iceland.

'Sweet Dreams' opens with an atmospheric intro in the form of a 28-year-old collaboration with his father. This full-bodied analogue ambient piece is rich with the mysterious tones of the Nord Modular and was recorded during their shared studio days at D17 in Reykjavik. The title track is a hypnotic, linear groove with icy synth modulations and glistening melodies. 'Hinn Vioforli' then brings dub warmth while 'State of Mind' recalls the spirit of the legendary Reykjavik club 'Thomsen', a cornerstone of Iceland's late 90s underground scene. 'Glaour Og Reifur' and
'Fogur Er Hlioin'pay homage to the echoes of ancient Viking heritage, 'North of January' conveys the cold of Exos's homeland, and 'Hvarvetna' brings textured percussion and darker undertones before '101 After Dark' slows to a bass-heavy broken beat exploration of texture and post-dubstep pressure.

After the heady and atmospheric sound of 'The Dolphin Oracle', another key collaboration comes with 'Freefall', an emotional breakbeat piece featuring vocalist Amelia Rodriguez,' who also lends her voice to 'Shock', a magnificent track that channels Exos's modern techno energy. The album closes with a haunting paradox, 'Paradise Lost,' questioning whether our sweet dreams are truly moments of bliss or simply reflections of what we've already left behind. The three bonus digital cuts offer sleek minimalism, punchy deep techno, and suspenseful ambient.

The Mi-Mnemonic EP by Karma is one of those records that preserves a genuine fragment of the Italian electronic scene of the late ’90s. Originally released back then and now reissued in 2025, it carries the raw energy of a time defined by clubs, after-hours, and pure analog experimentation.

Behind the machines were Francesco Passantino and Davide Calì, two young DJs and producers who brought to life legendary nights between Taverna Jory in Aulla and the iconic Club Imperiale in Tirrenia. It was a period when electronic music was more than entertainment — it was a shared language: from the dancefloors to the studio sessions filled with drum machines, sequencers, and analog synthesizers.

The EP is built on hypnotic grooves, deep basslines, and a raw sound that perfectly reflects the spirit of that era: no frills, just pure sonic energy. The 2025 reissue brings back that same freshness, offering a chance to rediscover a record that smells of endless nights, spinning vinyl, and an underground scene that thrived on community and vision.

Today, Mi-Mnemonic is more than just a track from the past: it is living memory, a testimony of a time when analog sound was the driving force of freedom and connection

Produced by Francesco Passantino & Davide Calì

From commanding festival mainstages to shaping the Belgian house scene with his SHOMI brand, DJ Licious has consistently delivered music that connects beyond borders. With his debut album "So Far", he brings together the highlights of his career "so far", while setting the stage for "what's next" - a sonic story of passion, persistence, and the universal power of dance music.

A Journey Through Hit Records and New Horizons

"So Far" gathers DJ Licious's biggest anthems to date, including his massive hit "Magic With You", for which he received a golden record and spent over 30 weeks in the Ultratop 50. The album also features Top 10 hits like "Hope" (with Armen Paul) (Platinum) and "Million Moons" (Gold), alongside fan favorites such as "Ibiza Sky", "Beautiful Liar", "Voices", and his latest single "One More Day."

In addition to these beloved tracks, "So Far" includes two brand-new, unreleased songs, offering listeners a glimpse into the next chapter of DJ Licious's musical journey - a seamless blend of feel-good grooves, melodic energy, and emotional depth.

"'So Far' is a reflection of everything I've experienced on this journey - the highs, the love, the dancefloors, and the people I've met along the way. It's a thank-you to everyone who's been part of it," says DJ Licious.

Azu Tiwaline & Cinna Peyghamy, Amotik, Quelza, and Alarico remix four tracks from Ben Klock and Fadi Mohem’s collaborative album ‘Layer One’. Released last year on the pair’s label LAYER, each artist on the ‘Layer One Remixes’ EP retains the weighty, low-end edge that shaped the album, while reinterpreting four tracks through a myriad of techno, IDM, bass, and experimental shades.

Honouring the conceptual direction of ‘Layer One’, which delved into a post-human world and offered a serene reflection on a realm that continued to flourish in the absence of humanity, the ‘Layer One Remixes’ EP echoes the same theme. The remaining human survivors on Earth signal a remembrance of their sensibilities, told through the powerful lyrics and vocals of grime MC Flowdan and interdisciplinary artist Coby Sey.

Azu Tiwaline & Cinna Peyghamy open the EP with their remix of ‘Our Sector’ featuring the commanding vocals of Flowdan. Fragmented bass-driven textures skitter across the sparse soundscape, culminating in a track primed for the weirder hours of the night. On ‘Ultimately’, Amotik delivers his take on the original featuring spoken word by Coby Sey, and whips up a rolling four-four number pierced with bleepy percussion.

On the flip, Quelza’s reinterpretation of ‘Our Sector’ unfolds with zappy motifs and technoid flourishes, permeating the shadowy pads and spine-chilling harmonics that slink through the atmosphere. Alarico remixes ‘Clean Slate’, serving a potent techno track laced with equal parts restraint and release, enhanced by Coby Sey’s taut vocals.

While the original album represented the more exploratory sides of Ben Klock and Fadi Mohem, the ‘Layer One Remixes’ EP offers a further step into the void, led by five contemporary artists who are unafraid to delve into the murkiest corners of the dystopian world conjured up by Klock and Mohem.

Hanyo van Oosterom lived in the small cave of the Kallikatsou in the early eighties, finding inspiration there for the Chi project (1983-1986). From the nineties to 2006 he created drones, loops, samples and soundscapes, traveling numerous times annually back and forth to the Kallikatsou for fine-tuning. With the Original Recordings and Bamboo Recordings, both strongly connected to the Kallikatsou, creating the perfect timeframe, 'the circle is closed. Together these recordings reflect and express the different aspects of the experience. A trilogy of random dream-catching over 30 years.

Lost Gospel Gem - Exitiment "Rap For Jesus" by Columbus Native Kenneth Jordan Rediscovered Nearly 40 Years Later

Columbus, GA — In the late 1980s, Columbus native Kenneth Jordan was such a powerhouse on the local music scene that talent shows had to rewrite their rules. His voice was so captivating (and his wins so frequent) that some claimed the competitions were rigged.

Jordan, deeply rooted in the city's thriving R&B circuit, eventually turned his creative energy toward faith-based music. Teaming up with several local musicians, he recorded "Excitement (Rap For Jesus)", a gospel-infused rap track that aimed to connect with a younger audience enthralled by the sound of hip-hop. His goal was simple: to give youth something uplifting to rap about and listen to.

In 1985, following a personal health scare and a period of reflection, Jordan transitioned from R&B to gospel music. "I took it as a sign from above that it was time to make a change," he later shared. Though his lyrics found new purpose, his signature soulful style remained unchanged.

Fast forward to December 2022 in Little Rock, Arkansas, where record collector and producer Brian Sears stumbled upon a well-loved copy of "Excitement (Rap For Jesus)" while purchasing over a thousand vinyl records from the trunk of an SUV in a Lowe's parking lot. Struck by the track's energy and message, Sears went into "detective mode" to uncover the story behind the voice—and the man—on the record.

Today, Kenneth Jordan continues to share his gift with his community, leading spirited performances every Sunday at his local church in Columbus. Nearly four decades later, his music and message still resonate with the same joy and conviction that first made him a hometown legend.

Following the acclaimed reissue of Sa Discossa earlier this year, Jo Tongo's third solo album Those Flowers returns to the spotlight.

Originally released just a year and a half after Sa Discossa, this 1982 gem came out on the small Context label and, in Tongo's own words, the two records are "like twins." Recorded with many of the same musicians, Those Flowers continues the vibrant fusion of disco-funk and reggae - this time dedicating one side to each, leaning slightly more into his Western influences.

But there's more than groove beneath the surface. Tracks like "People Need Peace" and "We Human Beings" channel his enduring themes of resistance, identity, and freedom. The synthesizer at the beginning of the song mimics the ominous drone of warplanes, and lyrics speak directly to global struggles - reminders that his music is both deeply personal and powerfully political. "I paid for these ideals in my career," Tongo reflects, alluding to the personal costs of his outspoken stance against colonialism and injustice.

Still, Those Flowers carries joy at its heart. Songs like "Ain't No Man Like A Real Friend" celebrate trust and loyalty, while the title track offers a tender ode to love and kindness - "picking flowers from the soul," as Tongo puts it. These songs reveal the inner world of a man who has always viewed music as a mirror of life.

This reissue marks the second installment in the African Edge series from The Outer Edge label. Fully restored and remastered, Those Flowers is now set to bloom again - another vital chapter in the legacy of Jo Tongo.