Search:rhythm is rhythm

The word classic is a much overused one, but in the case of this much in demand 1999 four tracker, it's no exaggeration. There has been much conjecture over the years over the identity of the producer - or producers - behind the mysterious Clint Foster name, but our lips are sealed, we ain't no grasses. All we will say if you like your techno seriously laced with acid, tough and sinewy but equally funky then then you'll love this. Opener 'Indium' is pinned down by machinefunk handclaps, a gloopy bassline and a synth line that coasts pretty majetsically. 'Patterns' is faster, harder and dubbier, not a million miles in its rhythmic shuffle from Carl Craig's 'My Machines', while 'Throughway' is the truly hypnotic one, big on the atmospheric scale. 'Afterdark' closes things, airy synths swelling and hovering over an addictively chunky beat. No names, no packdrill, just four essentially fantastic bits of classsy techno that haven't dated in all the years since. Essential.

London mainstays Half Baked push beyond a quarter of a century here with Romanian house favourite Dan Andrei debuting on the label. He offers the beautifully clean and serene ambient, minimal and tech fusion that is 'Orange Sunshine' - the sort of 5am gem that soundtracks deep immersion in an alternative world, complete with real beauty in the chords. Sticky' has a more pronounced rhythm and bubbly blend of rubbery drums and bass, while spacecraft-life synths circle the groove and neat melodic patterns unfold with a curious nature. London duo Brainsurfers aka Harry McCanna and Sam Bangura add more drive but keep things deep and crank up the cerebral details.

The label suggests these sounds are something akin to if Tim Hecker met Hudson Mohawke "in a 16-bit video arcade," and we're not going to disagree. Dead Fader is now based in Berlin, but his sound remains out of this world with vapourware trails, glossy synth textures and skeletal rhythms all drenched in trippy colours and low-key melancholy. Ambient, minimal and suspensory synthscapes all drift by with far-sighted reverie encouraged before more weighty rhythms like 'Clowning' and 'fade Out' driving things with extra momentum.

2026 Repress

A gift to the overthinkers and overworked. Those who are over-concerned and always preoccupied. This is an invitation to hang up the bootstraps, take a load off, and visit a place in the mind where the sun is shining, the breeze is soft and the waves lap softly at your feet. Vacation From My Mind is a sonic realignment of melancholic soul, breezy soft rock, & mellow jazz-funk.

This album is a thoughtfully curated collection of 12 rare and obscure tracks from 1973 to 1981. From Jeanette Baker’s hypnotic 70’s soul title track “Vacation From My Mind” to the Latin rhythms of David Buckland’s jazz-funk “Celia”, this compilation was lovingly crafted to ease the stresses and worries of modern life. The Care Package’s song “The Storm” is a larger-than-life production of dreamy harmonies not often found on privately released 45s. Utopia’s “Lejos De Mi” is a slow-burning slice of Bolivian psych that will have you searching for similar sounds. Whatever your preference, we hope that this album will give you a vacation from your mind.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

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

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

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

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

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

Kim Gordon hat Kunst und Noise über Jahrzehnte immer wieder neu gedacht - und dabei nie an Schärfe verloren. Vierzig Jahre nach ihren Anfängen wirkt ihre Vision noch immer provokant. Dieses Abenteuer setzt sie mit ihrem dritten Soloalbum "PLAY ME" fort, das am 13. März bei Matador Records erscheint. Mit der Ankündigung erscheint die erste Single "NOT TODAY", begleitet von einem Kurzfilm der Modedesignerinnen und Filmemacherinnen Kate und Laura Mulleavy (Rodarte). Gordon trägt darin ein eigens für sie gefertigtes, handgefärbtes Seidentüllkleid. Der Song offenbart eine neue, fast poetische Spannung in ihrer Stimme: "Da kam eine andere Stimme zum Vorschein", so Gordon. "PLAY ME" ist ein konzentriertes, direktes Album, das ihren Sound um melodischere Beats und den motorischen Drive des Krautrock erweitert. Entstanden ist es erneut mit Produzent Justin Raisen (Charli XCX, Sky Ferreira, Yves Tumor). Die Songs sind kurz, prägnant und stark rhythmusorientiert - fokussierter und selbstbewusster als zuvor. Nach "No Home Record" (2019) und "The Collective" (2024, zwei Grammy-Nominierungen) richtet Gordon den Blick auf die Gegenwart: Tech-Macht, KI-getriebene Kulturverflachung, den Abbau demokratischer Strukturen und den absurden Alltag des Spätkapitalismus. Trotz dieser Themen ist "PLAY ME" ein nach innen gewandtes, geradezu körperliches und ebenso emotionales Album. Mit verzerrten Stimmen und schroffen Beats legen Songs wie "Square Jaw", "Dirty Tech" oder "Busy Bee" gesellschaftliche Realitäten frei. Der Titeltrack entlarvt die Logik einer durchkuratierten Komfortkultur. "PLAY ME" ist radikal gegenwärtig, widerständig und kompromisslos eigenständig.

Hate Love Trio made a low-key debut last year on this label with the slow, dreamy, dance-pop charms of 'Chan-O-Rama'. We have found out little more about the producer or producers behind it but here they or he or she returns with a full-length album of elegant and inventive downtempo and Balearic that starts off with those singles. Elsewhere, slow, mournful rhythms and melodies encourage inward reflection. 'Loosey Goosey' is a funky dancer for grown-ups, 'Billie Brownie' merges dub pacing with sunny guitar echo and 'Sunday I Don't Know' is a shimmering, jazz-flecked neo-classical warmer for intimate moments. An accomplished and adventurous album that is as good for the mind as it is body and soul.

Melohman and Paco Colombas Unveil 'Palma de Janeiro': A Rhythmic Bridge Between Mallorca and Brazil...

PALMA DE MALLORCA - Producers Melohman and Paco Colombas announce their new EP, 'Palma de Janeiro' on GAMM, a vibrant sonic fusion where Mallorcan tradition meets Brazilian pulse. All together, the result is a highly percussive house workout with a South American feel.

The project centers on a unique dialogue between two worlds: the Mediterranean drone of the Ximbomba and the tropical snap of the Pandeiro.
Inspired by the festive spirit of Mallorca's 'Devil' - a mischievous figure of joy and dance - the EP weaves together communal island roots with the duo's deep-seated passion for Brazilian music.

Born from years of crate-digging and travels across Brazil, 'Palma de Janeiro' is more than a collaboration; it is a celebration of music as a universal language. It is a tribute to the dancefloor, where local heritage and global rhythms collide.

With Hyperbola, Laima Adelaide frames speed as a condition of softness rather than impact. The fan- tasy of flying through the air with effortless move- ment forms its emotional core, as tracks move fast, yet nothing collides: rhythms skim the surface, tex- tures hover, and motion unfolds through glide inste- ad of strike. Energy is continuous and diffused, pro- ducing propulsion without aggression, momentum without weight.

The hyperbola operates as both image and method. Sounds trace curved trajectories, drawing close only to diverge again, suspended in a state of gentle tension. Elements never resolve into force, they re- main airborne, elastic, and permeable, as if shaped by an invisible geometry. Across the EP, velocity becomes a tool for lightness, revealing an ethereal space where motion is elegant, friction dissolves, and intensity is carried through grace rather than pressure.

Credits:
Mastering by HWA
Artwork and Graphic Design by Enrico Caldini
Distributed by One Eye Witness

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

JOCELYN VIRAPIN is one of the master of the Guadeloupean Gwoka percussion.
Born October 17th, 1957 in Basse-Terre, he’s an author, composer, producer and a vinyl digger.
His Gwoka is a pure tribute to the traditional combination of responsorial singing in Guadeloupean creole, rhythms played on the Ka drums and dancing.
He started to play in the 90’s with his band Gwaka. He opened and collaborated with prestigious band such as Kassav or Zouk Machine.
He has a massive discography as arranger and musician: he appears on more than 78 albums! The track "Pasyon" was originally released in 1994 on a rare vinyl , but with the artist we decided to do an edit, so we invited the super talented jazz player Florian Pellissier for a Rhodes improvisation on the original take.
The track "Respè Pou Fanm" was originally released with his band BELOKA in 2010 and was only pressed on a Cd format at a very limited quantity. This beautiful song is a blend of Ka, fantastic jazzy keys on Rhodes, hypnotic bass, sublime creole spiritual chants. With an incredibly joyous feel, the lyrics gave a timeless advice to men: Respect Women .
It definitely deserves a vinyl version for all the music lovers, Dj’s and diggers from all over the world !
Kenbé red pa moli !

Commissar Lag - Absolution EP (Earwiggle)

The 38th Earwiggle release comes from one of our favourites, and a debutant on the label, Serbian studio supremo Commissar Lag. The "Absolution EP" finds Lag delivering his playful vision of techno, dipping into the past while also pointing us to the future, all framed through an exquisite production gleam. Dense, rolling rhythms reminiscent of early '00s Stockholm techno, combined with a catchy repeating vocal sequence (one of Lag's trademark techniques) and rising sirens, result in the monster opening title track "Absolution". "Aim Without Mercy" is another club destroyer - jabbing keys, broken jagged beats, and a series of rising pressure points making it another winner. "The Blessed" meanwhile, shifts the mood from mental to majestic, with interchanging leads and reverb-drenched climaxes marking the big-room peak of the record. Rounding things off is Irish wunderkind Dylan Fogarty, who reimagines "Aim Without Mercy" through a deep and psychedelic lens, layering textural collages over surging, jacking
909s.

Red Motorbike hits the road in '26 with an original production from Berlin's master of boogie funk LJ Simon!

Givin' Up is a soulful modern funk 7" steeped in warm '80s analogue production and classic groove.
The OG version blends vintage synth textures with a deep, understated rhythm section. Known for his love of fat-sounding vintage gear, LJ Simon begins every song with no blueprint, working purely from sound, instinct, and feel, tuning in to receive what the moment brings. The influences are unmistakable, yet the result feels fresh, intuitive and alive.

Vocals are delivered by Denice Brooks, a formidable singer from Austin, Texas, now based in Berlin. Denice built her solo career while performing with an exceptional list of artists including Tina Turner, Roy Ayers, David Bowie, Nancy Wilson, Natalie Cole, and many others. She is notably the only singer to receive Prince's blessing to record an official cover of 'Purple Rain' - a distinction that speaks volumes about her artistry.
Her career has taken her across Germany, Europe, the Middle East, and South Africa, where she even once performed for Nelson Mandela. Her continued experience across stage, studio, television, and musical theatre shines through in a vocal performance rich in depth and soul.

Label head Eddie C offers up his Disko Mix and reframes the track through a '90s street soul lens; stripped-back, dusty, and perfectly tuned for late-night selectors and heads-down dancefloors.

Oinimod Records proudly presents its first-ever vinyl release, Gravity EP, a statement of intent rooted in deep grooves, timeless house aesthetics, and club-driven energy.

Written and produced by Duccio Lopresto, Gravity EP delivers two original cuts that explore different shades of House music, complemented by a powerful remix from Gearmaster, one of Estonia's most respected House talents.

“Gravity” opens the EP with a deep and groovy House journey inspired by the classic Detroit House legacy. A strong rhythmic foundation drives hypnotic acid lines and rich, expressive synths, creating a track that is both raw and elegant, built for the dancefloor yet deeply musical.

“Mirage” reveals a more dreamy and introspective atmosphere. This Deep House track flows with a timeless rhythm, warm grooves, and relaxing yet melodic elements, offering a soulful and immersive listening experience that transcends trends.

Closing the EP, Gearmaster delivers a pure Club House banger remix of Gravity, reinterpreting the original material with precision and power. Tight rhythms, infectious groove, and a modern club sensibility turn the remix into a peak-time weapon, showcasing Gearmaster’s unmistakable touch and deep understanding of the dancefloor.

Gravity EP marks the beginning of Oinimod Records’ vinyl journey — a release that bridges classic influences and contemporary House music, crafted for DJs, collectors, and true House music lovers.

Adrien d'Elzius delivers a sharp blend of acid, electro, and IDM, driven by energetic rhythms, strong physical drive, and deep, atmospheric soundscapes. Tension-and-release dynamics define the EP.

The release is completed by a powerful remix from Serge Geyzel that pushes the impact even further.

The second vinyl release on Platz fur Tanz continues the narrative of techno's past and future. Experienced artists reinterpret the shadowy vibe of dancefloors around the world, giving it new form and depth.
The record opens with a track by Swedish techno futurist Lakej, featuring his signature sound of machinery on a working factory floor. The music immediately transports you into the industrial atmosphere of a rave.
This time, the Italian-born, Berlin-based artist VSK takes us on a journey through the emotional waves of deep techno. A slightly jazzy groove makes this track perfect for peak time dancefloors.
Latvian producer Ksenia Kamikaza stays true to her style, transporting us into a world of visualized melodies and rhythms. The bassline sets the groove, while the unhurried rhythm allows you to fully surrender to the dance.
Liza Aikin brings an uncompromising Berlin vibrations to the release, reminding us how a true rave should sound. Her style is not heavy but persistent. Liza never stops experimenting, and this track will be a highlight of any DJ set.
Another Latvian electronic talent closes the release. Igors Vorobjovs blends the best of electro and techno in his track. Nervous rhythms and loud sounds stir the emotions, while the raw, untamed resonance will leave no true connoisseur of feral techno indifferent.

The king of cheeky edits of timeless disco and funk is back with a wicked trip through obscure French grooves, flipped, filtered, and fired up for contemporary dancefloors. These three edits from Monsieur Van Pratt on Illegal Disco 008 don't just nod to the past, they grab it by the collar and drag it under the mirrorball. The opener 'Danse Danse' struts in a sunny groove built for open-air euphoria, 'Pas Chez Toi' slides deeper, a go-go-soaked funk jam with razor-sharp percussion then 'Ombre De Plaisir' detonates with horns blaring, rhythm pumping and pure disco adrenaline. Another gem from Mr Pratt.

Lucas Santtana’s tenth album celebrates the vitality and musicality of the Romance languages.
The heir to Brazilian tropicalism, Santtana marks 25 years of his career with Brasiliano, a true collective celebration that brings together prestigious collaborators: Gilberto Gil, Oxmo Puccino, Flavia Coelho, Piers Faccini, Chico César, Paralamas do Sucesso, Cocanha, Dimartino, Karyna Gomes, Tainara Takua, Rachel Reis and Maria Lado.
Sung in eight different languages, Brasiliano is both an ode to linguistic diversity and a testament to its symbolic power. Carried by luminous and layered arrangements where voices intertwine like a polyphonic conversation, the album treats language as a musical instrument in its own right, but also as a political tool. Santtana questions cultural heritage, identity, colonial memory, and the possibility of a shared language. With his singular approach—blending popular rhythms, contemporary soundscapes and vibrant melodies—he celebrates the love and exchange embodied in Romance languages, where music becomes fertile ground for encounters and reinvention.

Ruf Dug flies to Duca with 4 edits showcasing his Ruf Kutz have never been far from the mind.

Rhythm Section, International Feel, Pinchy & Friends, Wolf Music, Music For Dreams and Klasse Wrecks all released the Dug, it’s super honouary to board.

Manchester to Guadalope to Ibiza, his reputation as a DJ, producer and toker is example to all. Here we go. Dug dives in, drum machines ready, mutated across scenes. Street Soul, si! Industriale, buono! Beatdown, no problemo !

Ruffy’s Big Decision is UK Disco meets back alley Boogie, love pains galore over driving funk bass. You Are The One !

Ruffy’s TV Channel is metalica. Heavy beats, unrelenting. Funk to 11. Sherwood. Ciao. Pursuit of trivia. Television, The Drug Of The Nations !

Ruffy Electric Bill. Now we move. Cowbell chiunque? New York ‘81. Smoke stacks. Cars bouncing Downtown. Nobody gets to meet the Duke. Set. It. Off !

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

Denver Cuss presents her first 7" single release and her debut with UK independent label LRK Records.

'Crossed My Mind' backed with 'You Don't Get It' is out on streaming services on the 30 January, with the 7" out on the 27th February. It follows her 2024 album 'Leaving Me', which was described as "a nostalgic masterpiece" - Sommer Zeit magazine, earning a feature in Rolling Stone Germany, and a series digital singles, which have been played on the Craig Charles Funk & Soul Show on BB6 Music as well as Noble & Heath's Soho Radio show.

Denver is an Irish, London-based musician and producer, who makes classic R&B and Soul-influenced music, having graduated as the prize-winning jazz vocalist from the London College Of Music. She has since stepped into a world of live and session singing, alongside her solo project, delving deep into girl-group harmony, Northern Soul and classic Rhythm and Blues.

For this release, she captures the essence of '60s record-making, working with collaborator/producer PM Warson and engineer Ed Deegan at the all-analogue Gizzard Recording in East London. Backed by some of London's finest young musicians, she cut her vocal live, bypassing the trend for layered productions and imitation, in favour of a direct, live and soulful approach, direct to tape. The result is two of the most authentic '60s Pop/Soul sides you're likely to hear this year

First ever official reissue of the 1992 digital heater ‘Slow Down’ by Villette Holmes. Produced by the late Cedrica Anthony Hamilton, better known as Soljie, this release captures a master at work.

A veteran engineer at the iconic Channel One Recording Studio, Soljie’s innovative approach at the mixing desk made him a giant of the reggae and dancehall scenes. He was the sonic architect behind many hits of the era, notably serving as the mixing engineer for Shabba Ranks’ seminal Grammy winning albums As Raw As Ever and Xtra Naked. In 1990, he launched his eponymous label, Soljie Records, which became a vehicle for his own distinct productions.

‘Slow Down’ is a quintessential Digi Dub production, balancing a heavy, driving rhythm with strong melodic hooks and a dreamy crossover feel that transcends the genre. Licensed from Soljie’s son, Chioke Hamilton, this reissue comprises the original version and Dub, alongside a previously unreleased Extended version.

Pressed on 140g vinyl and housed in a striking 3mm spine, full colour disco sleeve designed by Bradley Pinkerton.

Since last year's EP “rhyme09,” a quiet storm has been brewing around the label. This release is not only long overdue, but Vienna is also home to numerous new talents as DJs and producers. The label boss makes the selection here and kicks off this release with a completely crazy track that is unlike anything else out there. There is virtually nothing else like it, making this track unique with its bassline, offset kick drum, and acid grooves. The second tune on the A Side comes from Fabiano Jose’, a well-known DJ in Vienna who, with his brand “Merkwürdig” has been an important player in the local party scene for several years. A catchy tech house tune, “step in” if you can!

The first tune on the B Side is a collaboration between ZentaSkai, well known for his label MASK Berlin, and Thomas Grün, also a long-time DJ and producer in Vienna who releases house and tech house tunes also on his own label “Untitled100 records”.

With Manu Script on B2, we have a debut here. With his great taste as a DJ and producer, he delivers a powerful groove. Another true Party stepper! Be ready...

Limitiertes blaues 12“ Vinyl mit Siebdruck auf B-Seite inklusive 12“ Stickerbogen.
Artwork von Christopher Ian Macfarlane

Flying Lotus, der Produzent – auch bekannt als Steve Ellison – veröffentlicht Anfang März seine neue ‘BIG MAMA’ EP auf Brainfeeder: dem Plattenlabel aus Los Angeles, das er vor fast zwei Jahrzehnten gegründet hat und das seitdem Alben von renommierten Künstlern wie Thundercat, Hiatus Kaiyote, Kamasi Washington und vielen anderen veröffentlicht hat.
BIG MAMA fängt Ellison in einem Moment spontaner, ungezügelter Dynamik ein. Die EP ist dicht gepackt mit unterschiedlichen Sounds, Rhythmen und Effekten und liefert, wie er es selbst beschreibt, „experimentelle, maximalistische, hyperschnelle, elektronische Energie“, wobei sieben dynamische Tracks zu einer einzigen durchgehenden Komposition zusammengefasst sind, in der jeder Takt einzigartig ist und es keine Loops gibt.

Die EP, die innerhalb von zwei Monaten fertiggestellt wurde, zeigt Ellison mit einem deutlich anderen Ansatz bei seiner Produktion. Anstatt sich hinzusetzen und an einzelnen Tracks zu arbeiten, stattete er sein Studio mit einer Vielzahl neuer Tricks und Spielzeuge aus, nutzte Software-Synthesizer, um FM-, Wavetable- und Granularsynthese zu erforschen, sowie Second-Hand Drum Machines und verbrachte den ersten Monat damit, ein Skizzenbuch mit einzelnen Sounds für die nächste Phase des Prozesses zu erstellen. Von dort aus begann er, die akribischen Details der BIG MAMA-Welt aufzubauen, wobei er täglich nur 10 bis 15 Sekunden Musik fertigstellte, bevor er die Fragmente zu ihrer endgültigen Form zusammenfügte: ein mehr als dreizehnminütiger Strom des Bewusstseins, der weder durch Tempo noch Stil eingeschränkt ist.

Splayed Werks markiert einen deutlichen Wendepunkt im Werk von Tyondai Braxton. Das fünfte Soloalbum des US-Komponisten und Produzenten ist zugleich sein erstes Full-Length-Release seit dem symphonischen Telekinesis (2022) und der Auftakt einer neuen Zusammenarbeit mit dem renommierten britischen Label Erased Tapes. Auf über 70 Minuten entfaltet Braxton eine dichte, hochpräzise Welt aus Elektronik und Sounddesign - fragmentierter und unmittelbarer als seine bisherigen, oft großformatigen Arbeiten. Die 15 Tracks sind überwiegend kompakt gehalten und bewegen sich zwischen minimalistischer Komposition, experimenteller Clubmusik und installativer Klangkunst. Rhythmisch komplexe, rau strukturierte Stücke stehen neben beatlosen Passagen von fast ekstatischer Intensität. Splayed Werks ist gleichermaßen intellektuell anspruchsvoll und körperlich erfahrbar - handgemacht, intuitiv und klanglich kompromisslos. Braxton zählt seit über zwei Jahrzehnten zu den prägenden Figuren zwischen Neuer Musik, Elektronik und Avant-Pop: Mitbegründer von Battles, Kollaborateur von Philip Glass, Komponist für führende US-Ensembles und regelmäßiger Gast großer Festivals und Institutionen weltweit.

LIVE FROM MT. FUJI is a stunning new vinyl from visionary drummer and producer Yussef Dayes, capturing live performances of pre-released and new material featuring Minami Kizuki, as well as Yussef's regular collaborators Venna, Rocco Paladino and Elijah Fox. The project offers a rare window into Yussef’s creative world; a meeting of cultures, rhythms, and spirit inspired by the landscapes of Japan.

Lincus is a new name for us, which is always exciting because it means you get to assess the sounds on their own merit with no extraneous baggage. Whoever is behind these betas on Slabs knows how to cook up heavy kicks. 'Feel The Rhythm' has a swagger and syncopation to it that is perfect for this label, with bold bass and hints of Kerri Chandler's kick to the kicks, all run through with some woozy late-night synth work. 'Pazazz' is another blend of low-end kicks and sleazy synths with some filtered vocals adding a touch of human warmth to what is a vibey cut.

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

As we celebrate 30 years of Ten Lovers Music our first offering of the year is a Various Artist selection called Frisson EP Part 1. Frisson is a medical term for the response you get from listening to music, often referred to as goosebumps or a skin orgasm which is caused by the dopamine released in the brain’s reward centres.
Kicking off the A side we have Sound Signals featuring flautist Han Litz, a superb opener. Following on are Future Jazz Ensemble and Don’t Be Afraid, another track from them oozing quality. Onto side AA and Mike Perras is back with another live track featuring keys, drums, bass and a battling flute and sax on Sweet One. Rounding off side AA is Stefano De Santis with Simple Things, an aptly named track for this music that gives us Frisson.

Repress

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

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

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

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

For the ninth installment of his Hardspace series, Len Faki once again dives into his personal vault to present four reworks that bridge the gap between raw funk and modern, high-impact club dynamics. True to the project's ethos, Faki has selected tracks that have been reshaped through his specific sonic signature to maximize their energy on today's dancefloors.
A1. DJ Assault - U Can't See Me (Hardspace Mix) The release opens with a relentless edit of Detroit legend DJ Assault. Faki takes the raw Ghetto-tech energy of the original and embeds it into a massive, modern framework. While the iconic vocal hook retains its street-level grit, the Hardspace update provides a significantly tighter groove and a powerful low-end presence, propelling the track from the warehouse straight into the present.
A2. Myles Sergé - Trans Milenio (Hardspace Mix) With Myles Sergé, Faki explores more hypnotic territory. He extracts the driving, repetitive elements of the original and sharpens the rhythmic angles. The result is a prime example of the Hardspace sound: a deep, almost meditative loop that gains entirely new spatial depth through subtle filter movements and a crystal-clear percussion layer.
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix) On the flip side, Faki leans into the brooding atmosphere of Jad & The. As the name suggests, this mix is crafted for the "wee hours". Faki amplifies the "grimey" textures and contrasts them with a stoic, forceful beat. The trippy, almost menacing synth elements are rearranged within the stereo field, creating an immersive pull that is impossible to escape.
B2. Deepchild - Baller (Hardspace Mix) To close out the EP, Faki brings the jacking spirit of Deepchild's "Baller" back into the ring. Through meticulous re-arrangement and quantization, he gives the track the "tightness" essential for a modern DJ set. The playful, bouncing synths remain, but are now grounded by a heavy-duty beat foundation.
H009 is a hand-picked collection that demonstrates how Len Faki unites diverse musical personalities and eras under the Hardspace umbrella. Whether it's raw ghetto vibes or hypnotic deepness, every track has been transformed with technical precision and deep respect for the original to meet the demands of global dancefloors.

Lilly Palmer ist eine Vorreiterin in der Welt der elektronischen Musik, bekannt für ihren einzigartigen Sound, der energiegeladenen Techno mit grenzen sprengenden Elementen verbindet. Mit ihrem langerwartenden Debüt Album „Bigger Than Techno“ geht sie den nächsten Schritt Richtung Techno Olymp!
Die in Deutschland geborene Lilly ist schnell zu weltweiter Bekanntheit aufgestiegen, gilt als eine der einflussreichsten und innovativsten Künstlerinnen ihrer Generation und würde jüngst vom renommierten DJ Mag auf #57 der besten DJs weltweit gewählt.

Sicilian-born, Amsterdam-based Fran LF returns to Nastia's imprint with three Techno tracks built over a year of studio work, each one telling part of a single story that unfolds across the EP. The narrative moves through different chapters, starting with tracks that shift and transform as they play out, building tension through evolving elements rather than straightforward drops. These are straight-up warehouse cuts - the kind that start one way and shift into something heavier as they unfold. Dubby atmospheres that harden into driving rhythms, basslines that anchor the groove, and synths that evolve throughout.
Closing the record is a remix from Sicilian producer LPV, a close friend and admirer who reworks "Tsufuru Relaxation" with his signature dark, driving approach. He strips it down, adds a relentless bassline, and gives the track a completely different, moody and ethereal energy while respecting what made the original work.
Solid dancefloor techno with enough depth to keep things interesting.

NO Return!

"Leave The Ground" the 1st album of the powerhouse live-band Extraviolette. Get ready to groove along the funky rhythm section, the soulful vocals and the piercing brass that transport you back to the heart of the Disco Era. Based in Leipzig these nine musicians want spread their love for the music of the 70ties and are committed to energise their audience with new music they haven't heard, yet.

NOCTURNIA

An Enigmatic Collective of Sound

Step into the depths of sound with NOCTURNIA, a captivating deep techno project that brings together the unique talents of Kenny Dahl, Lakey, Salvatore Foglia, and PWCCA. This diverse collective combines distinct influences and styles to create an unforgettable auditory journey.

Kenny Dahl is recognized for his intricate soundscapes that blend organic textures with hypnotic beats, crafting immersive experiences on the dancefloor. Lakey delivers dark and deep tracks that resonate with haunting atmospheres, drawing listeners into an emotional abyss with every pulse and rhythm.

Salvatore Foglia infuses a raw, underground edge into the mix, pushing the boundaries of sound with innovative production techniques that capture the essence of techno culture.

Lastly, PWCCA contributes an experimental touch, creating avant-garde sounds that challenge perceptions and invite exploration
of the unknown.

Together, these artists form NOCTURNIA, a space where night
meets sound, and every track unfolds a story. Whether through driving rhythms or atmospheric builds, their music invites you to lose yourself in the night, exploring the depths of your mind and the thrill of the dancefloor.

Daybreakers keep it moving in 2026 with another essential drop from Chicago’s Vick Lavender. Following on from Vol. 1, Essential Traxx Vol. 2 digs even deeper into that soulful, live house sound that Vick’s been perfecting for decades on his label Sophisticado.

A musician, producer and DJ whose work bridges house, jazz and soul, Vick’s music has always carried that feeling — spiritual, rhythmic, and full of life. Part of Glenn Underground’s Strictly Jaz Unit back in the 90s, he helped carve out a sound that still resonates through clubs today. Sophisticado is his world now — real musicians, real instruments, and real emotion.

On the A side, Consequences featuring Spike Rebel rolls with organic percussion, warm keys and that signature Lavender groove — fluid, human, alive. Music built for the dance.

Flip it for Thanks I Get featuring Cei Bei — straight deep house from the source. Soulful vocals, deep chords, and that unmistakable Chicago energy that hits right where it should. Essential Traxx Vol. 2 continues the story. Real house music, deeper than deep.

Buy or cry.

SNOMIR is the collaboration between Mirko Iobbi and Sabatino Matteucci, blending live musicianship with clubfocused electronic production. The A-side features “Air” and “Fire,” two jazz-driven house tracks where expressive sax lines glide over warm, groove-led rhythms. Organic, fluid and built for movement. On the B-side, “Caveman” shifts into deeper dub techno territory. Hypnotic structures, textured low-end and sax riffs woven directly into the sonic fabric.

The accompanying remix pushes the track further inward — stripped back, immersive and late-night focused.

DJ Support: Adam Auburn, DJ Nova, Norm De Plume (Delusions Of Grandeur), Guy Perryman, Simon 'Palmskin' Richmond, Rocco Rodamaal, Damian Lazarus, Demarkus Lewis, Douglas Arellanes, Craig Smith (Yoruba Affil), Lay-Far, Dr. StrangeDub, Dennis Ruyer, Kono Vidovic, Roberto Rodriguez, Bill Brewster, Chris Read, Richard Earnshaw, Hot Toddy, Handson Family, Dj Pope, Robbie Akbal, Golf Clap, Marques Wyatt, Kiko Navarro, Mr Beatnick, Jamie Jones - Hot Creations, Marcia DaVinyl MC, Mikael Ikalainen/ Dj Lord Fatty, Ian Friday, Mr V, Mathieu Schreyer, Willie Graff, Makossa, Stuart Knight, Timo Maas, Bruce Tantum, Sean Brosnan (Futuredisco), DJ Harri, Vinny Da Vinci, Trevor McNamee, Roger Sanchez, and Dom Servini

PDD are excited to welcome the return of the legendary Winding Road Records. Originally launched in 2002 by Schmoov! and home to releases by cult artists such as Ron Basejam, Hot Toddy, both of Crazy P fame as well Vincenzo, Rhythm Plate, Spirit Catcher and not to mention Lovebirds and their monster hit, I Want You In My Soul. After a hiatus, the label is back with a bang and teaming up once again with Lovebirds for another classic EP.