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On Last Night At Marienbad's latest, the imprint brings together three of the brightest souls found within the realms of Jazz, namely Mauricesax, 9ick and Milan93, with their collective talents synergising effortlessly on 'A Garden Between Us', alongside a stellar cast of remixers who add even further delight between the grooves….

As a genre, Jazz has perhaps lent itself the most to other musical universes, in that its curious heart, endlessly experimental nature, and parameter-defying spirit have wrapped itself deep within the core of countless albums, scenes, and music makers. It's a genre that welcomes reinvention, consistently defying its contents and always reaching out to find new methods of expressionism. Electronic music, in its many forms, has truly embraced Jazz perhaps like no other movement of music has, with a truly astonishing array of records surfacing in the past 40 years which have blended Jazz's unique motifs with grooves, chords, and emotive excellence. From 90s Jazz house and UR Techno, through to Future Jazz, downtempo, and Hip Hop, and around many other suns, there remains such an intrinsic and symbiotic relationship between the two musical realms that caters to those who wish to live music both within and out with themselves.

As practitioners of blending electronica and Jazz, few do it like the trio of Mauricesax, 9ick, and Milan93. All three are known for their distinctive soundscapes, yet share commonalities in terms of musical language, feel, and sense of progression. Bringing them together allows for overlaps in their sounds to emerge, and just like Jazz itself, this is where the intrinsicness of sound begins to blossom. 9ick brings his softly evolving vibe to the table, one which was so prevalent and celebrated on his 2025 album 'SMIL'; Milan93 draws from his focal point of exploring fill-laden grooves and a myriad of emotive sensibilities; and Mauricesax draws up his extensive musicality that exists at the corner of jazz, electronic, and experimental music, along with running musical workshops all over the globe.

'A Garden Between Us' represents the trio's core tenets, with this immediately obvious from the record's opener, 'Rhodora'. A gentle solo piano quickly evolves into a series of powerful rhythmic pulses, with brass lines bringing vitality and feel to proceedings. The track shifts gears with purpose, transitioning between musical vignettes of the highest order, with the synth work doing much to bind the transitions together. 'Tulip' emerges slightly differently, with glossy Rhodes tones and an unravelling rhythmic undercurrent setting an enthralling stage. The track flourishes amongst sweeping textures, coming up for air amongst a deeply hypnotic rhythmic section that holds on and never lets up. 'Honeysuckle' lands next, which sees the trio emerge with a boundless, dynamic soundscape. The drums shift within the undertones, as keys, chords, horns and hip-hop vocal samples dance around the pulse, capturing the imagination with their narrative-like placement. Wrapping up the A side comes 'Camellia'. A dazzling array of harmonic sounds converges around the transfixing rhythm section, which emerges from deep below to lavishly roll out over the midsection, with the delicateness of the instrumentation a real highlight here.

The B side features two exquisite remixes, with Pacific Coliseum's version of 'Tulip' landing first. Beginning with a signature four to the floor to get things going, his careful handling of the source material is seen in the tactful introduction of the blissful elements that made the original cut so impactful, with great focus placed on emotive fidelity. The result is a summer-bound house number that reimagines the original in all the right ways, flipping it into a euphoria-driven jazz-laden pacer that reaches for the heavens as much as it drives right into the heart. Teuteu then showcases their take on 'Honeysuckle', and at 9 minutes long, represents the longest cut on the record - and the experience is all the richer for it. Leaning heavily into dance music flavours, Teuteu shifts perspective totally into the realm of the club, with the walls beating hard to the kicks. The sax lines that drift ethereally up top keep eyes closed and souls full, as the dance shifts into the next phase.

An experience that drifts from the daydreaming, to soul-warming through to the club shaking - what else is left to experience, except for 'A Garden Between Us' and how it will brighten up life itself….

This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.

Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.

Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.

Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.

Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.

A six track remix compilation born from serendipity and a creative bond between its featured artists - thee Angel 6 Suite features Mark Grusane, Daniella DeLuna, S4M23 and Vesolo.

The release reimagines Angel 6, written and performed by Daniella DeLuna and produced by Grusane - a sensual and haunting composition steeped in industrial textures.

The compilation expands Angel 6 into multiple directions: an extended edit from Grusane and DeLuna rooted in industrial body driven tension; a new beat inspired acid reinterpretation from S4M23; and an avante garde early electro dreamscape from Vesolo. The release is rounded out by an off-axis B-side from DeLuna and Grusane that pushes the project into their personal brand of dissonant grit.

Across all versions, thee Angel 6 Suite moves between dark wave atmospheres, new beat influence and acid driven club structures.

A six track remix compilation born from serendipity and a true creative bond between its featured artists - thee Angel 6 Suite features Mark Grusane, Daniella DeLuna, S4M23 and Vesolo.

The release reimagines Angel 6, written and performed by Daniella DeLuna and produced by Grusane - a sensual and haunting composition steeped in industrial textures, marking the beginning of their creative partnership.

The compilation expands Angel 6 into multiple directions: an extended edit from Grusane and DeLuna rooted in industrial body driven tension; a new beat inspired acid reinterpretation from S4M23; and an avante garde early electro dreamscape from Vesolo. The release is rounded out by an off-axis B-side from DeLuna and Grusane that pushes the project into their personal brand of dissonant grit.

Across all versions, thee Angel 6 Suite moves between dark wave atmospheres, new beat influence and acid driven club structures.

IVM Trio is made up of percussionist & composer Sébastien Forrester, producer & visual artist Mika Oki, and artist & producer Apulati Bien. All three sit within the French-Brussels axis, united by a shared love of free improvisation, sparse atmospherics and rapturous club mutations. Inner Voice Movement is a genuinely exploratory record — abstraction and contemplation sit side by side, as the trio dives into the micro-precision of computer music while mirroring organic, environmental schemes. These have long been persistent points of study for all three artists.

Arriving on Accidental Meetings, their debut album has been a long time coming, and it features three outstanding vocalists. South Korean artist bela brings the depth and range of their guttural vocals; Bristol-based Grove, a leading voice in punk-dancehall crossover, pulls things back with a spoken-word feature; and Naples sound artist Sara Persico rounds things off with a stunning excerpt of storytelling.

The Original Mix was first released in 1996 on a single sided 12", the 4th release on the B.I.T. Productions label and became a club anthem in the North of England. In 1997, a single sided white label was released that had a Pumped Up remix by Maximum Project and in 1999, a remix by Da Fool, which incorporated the bell sound from "Meet Him At The Blue Oyster Bar" with a new melody was also released. Since then, it has become an 'Old Skool' piano anthem across the UK. In 2021, a 25th Anniversary double pack was released with 8 mixes including 5 New Remixes by Sarasota, The Crowdpleasers, Miguel Sanchez/Carlos Garcia and Pianohead. This 30th Anniversary Edition includes the Original 1996 Mix and Maximum Project 1997 Remix plus the Da Fool 1999 Remix and the Pianohead 2021 Remix on Gold Vinyl.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

The third in a series of releases from the Digi Dub archives, Like it Here is a tribute to the poet laureate of Special Brew, the late Iffor Clarkson-Denbigh, who sadly departed us in 2021 to drink in the great park in the stars.

The infectious and futuristic late 90s vocal space dub of the A side finds Iffor waxing lyrically about both the nature of impermanence and the sentient ocean of Solaris over an irresistible bassline and low winding groove. The flip side features a suitably chugging version of the rail riding classic Loveborough Junction and a percussive early 90s acid dub of Heart like a Lion, the original of which dropped on the South East of the Thames collection. None of the tracks are traditional style dubs, but happily exist in the gaps between genres.


Iffor was a well-known multi-instrumentalist and vocalist on the South East London underground scene who lived life to the max without an off switch. He and label owner Lee Berwick truly had a laugh in the studio, producing Purple Boy (the classic ode to drinking in the park), the suitably named Clevor but Stupid album and many other uncategorisable musical wanderings.

“The hope is that Iffor, the dark son of Clenby, is cackling as he cracks another can while looking down on us from the great park in the stars.” Lee Digidub Berwick

Downtempo ambassadors Truffle101 continue to fly the flag for the chillers as they land on their fourth release. A new series within the label “Lazy Susan Selects”, various artist releases highlighting different moods and energy founders 2StepBec, oliver.r, and Zeus love to play.

Volume One moves across six different tracks spanning artists such as Scary Cherry (DJ Tjizza & Zeus), Fraise Records boss Wilba, and Rumps on the A side. On the flip side LA based Franky A kicks things off, before Jamie Leather enters with his “A Night Under The Sea”, and Locky Mazzucchelli closes with a hazy late night cut.

CEPX003 continues the X-Series on CEP Records with a four track release by Elyas. As a long standing figure in the international techno scene, he has built a strong name through many years of dedication. Known for releases on labels such as Soma Records and Player, Elyas stands for raw and uncompromising techno with influences from ghetto and acid. Alongside vinyl and digital releases, he also runs two own labels and continues to shape the scene with a clear and functional sound. A1 'Cabale' and A2 'Bop Gun' move in a similar direction. Bouncy kicks meet acid lines and atmospheric pads that give both tracks a deep and driving feeling. Straight forward 4 to the floor techno for sweaty warehouse mornings. Small twists, rough transitions and unexpected moments keep the tracks moving from start to finish. On the B side, 'Gimme The Loot' and 'Ghetto Sneak Assault' bring a strong ghetto influence. Playful arrangements, raw vocals and sharp one shots create a loose but powerful groove. The tracks feel direct and slightly chaotic in the best way, while still keeping full control.

Belgian artist Jennifur announces MAZDA, an album inspired by long car rides, emotional transitions, and the strange beauty of existing between places, people, and versions of yourself.

Musically, MAZDA moves fluidly between genres and emotional textures, blending electronic love songs, indie rock structures, UK bass influences, cinematic electronica, and flashes of classical composition.

The project began when Jennifur's brother sent him a playlist called MAZDA, filled with songs their father used to play in the car. What started as a nostalgia gesture quickly became the emotional blueprint for the album.

While writing MAZDA, Jennifur realized he was unknowingly creating the soundtrack to a fictional romcom film that existed only in his imagination. Rather than avoiding clichés like love, heartbreak, growing older, or transition, he chose to embrace them wholeheartedly.

"In a car, you exist in a kind of in-between space," Jennifur explains. "You've left something behind, but you haven't arrived yet. That feeling became the entire record."

The album opener, From A to B, sets the emotional framework for the entire project. Its extended introduction mirrors the exact moment you pull out of your street and realisethat something new has begun.

Highlights include "I Need You To Hold On", written for Jennifur's brother as a message of encouragement. The song "I Once Had a Dream Where I Could Fly" originated from a conversation with his father about recurring dreams of flying. Meanwhile, "From The Sideline" confronts a quieter existential fear, becoming a coming-of-age anthem for anyone who suddenly realizes they have become more of a spectator than an active participant in their own life.

Tracks like "In The Sun" bring a softer, almost cinematic intimacy to the album. Written around the image of spending one final Sunday at the seaside with someone who is seriously ill, the song captures the beauty and fragility of fleeting moments. The closing track "The Dialogue Before We Left" serves as the emotional final scene of the album.

"For me, it's the moment after a long drive when you turn off the engine but stay seated for a minute," Jennifur explains. "You realise something happened. You listened to my story, and we travelled from A to B together."

Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.

After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.

Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.

Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.

His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.

Pain threaded with joy is the sound of survival. On The Hard Truth, Wynonna isn"t letting go of either one, carrying everything she"s endured and reinventing herself as an artist. This ten-track tribute to deep sorrow and dogged persistence strips away layer after layer of the lush production that defined Wynonna"s previous recordings, delivering in its place her most personal and powerful work yet. ANTI- is proud to continue its tradition of embracing American legends and giving them a platform to reach new heights. The Hard Truth has a major contributor in the form of producer Cactus Moser, Wynonna"s partner in music and life. Wynonna and Moser shared songwriting duties on The Hard Truth, and the resulting tracks were recorded to capture and compliment the raw power he"d witnessed decades ago. What they"ve created together is an unvarnished elegy to the dead and the missing, an album that pays tribute to choosing love in the face of suffering. Through instrumentation and arrangements unlike any record in Wynonna"s four-decade career, The Hard Truth rolls in like a night train hitting listeners on the blind side.

[b] A2 Kill_Ref - Dont Stop [Invexis Groove Mix]

With her 3rd Blue Note album Synonym, Meshell Ndegeocello presents a remarkable album of duets on classic songs that are known, loved, and diverse in tone, “genre”, intent, and BPM. This is an album about joy, love, selfhood, individual representation and universal experience that explores expressions of desire, care, heartbreak, friendship, disappointment, and love in all the forms. All the songs feature two singers who identify as the same gender, wherever that might be on the continuum, and are musically matched for contrast or compliment including Cynthia Erivo, Cat Power, Robert Glasper, Chaka Khan, Madison Cunningham, Laura Lee (Khruangbin), Emily King, Lizz Wright, Lianne La Havas, Moses Sumney, Brandi Carlile, ANOHNI, WILLOW, Bill Callahan, Chris Thile, and more.

Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation.
The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric centre where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment.
Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham and Anousk Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.

DJ Support: Harvey, Balearic Mike, K Andrews, Apiento, Joe Morris, Idjuts, Piers Harrision, Flo Dill, James Holroyd, Andy Wilson, Kenneth Bager, Phil Mison, Colleen Murphy.

Following the success of the Lovehandles ‘Reworks’ EP, Oswego Music returns with a second volume of reinterpretations via the mysterious ‘Love from the Archipelago’ the alter ego of a renowned European digger, dj and producer.

First up here ‘Endless Ocean’ sees our island hopping hero reimagining an underrated antipodean 80’s track. Its pulsing synths and wistful vocal working as equally on a dancefloor as at the after party, or indeed the morning after the night before.

Track Two on side A ‘Carica’ takes us to South America recalling to some extent the west coast fusion of mid eighties artists like Pat Metheny. Brilliant percussion, vocals and synths combining into a heady, hazy workout- permed hair and tiny shorts optional.

First on the flip ‘En Route’ continues our journey (via the local library) with a gritty, synth heavy piece of post disco experimentalism extended here for your listening pleasure

Lastly, ‘A Grain of Sand’ reinterprets a folky aor number- long overdue in making it to vinyl- remaining (until now) a favourite digital secret weapon for the more ‘horizontally inclined’ dj.

Rounding out the EP, 1900-Isla provides a brief meditation on what it is to be free. A beautiful island in the middle of nowhere, with friends, as the sun sets…

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.

For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour - forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary.With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge - a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. Tracklisting:SIDE AThe ThingMy Baby Loves MeHamboneRent MoneyStick TogetherSIDE BWorkStrangerCan't Take it With YouTold You NoBig Boss ManOn and On

Flug brings his singular vision to Backspin Records with 'From My Soul', a 7-track EP that marks a powerful new chapter for both artist and label, rounded out by a remix from Kashpitzky. Moving between deep emotional techno, raw percussive functionality and high intensity, the release showcases Flug's signature precision and narrative depth while keeping things classy and never falling for overused tropes. Kashpitzky completes the package with a remix that reinterprets the source material from a darker, more straight-forward angle. ??

Opening with the title track 'From My Soul', Flug sets off on an epic 8-minute journey built on reverberating melodic layers, shimmering chord pads and a strong low endthat unfolds slowly and deliberately, balancing emotional weight with a hypnotic drive. 'Make It Loud' follows with a more stripped, functional direction, where warm low-end energy, minimal percussion and reverb-drenched sine wave synth hits create a tight, circular groove anchored by a subtle but sinister vocal presence. ??

On the flip side, 'Human Instinct' turns the energy more direct and physical, driven by a saturated kick drum, looping synth motifs and sparse vocal cuts that heighten tension without disrupting the flow. 'The Awakening' expands the emotional scope with a deep kick and tom-driven bassline, expansive droning pads and dragging percussion that build a rich, cinematic atmosphere. Kashpitzky's remix reimagines the original at a faster BPM with distorted chord stabs, off-grid hi-hats and layered synth work creating a tense, industrial atmosphere that breaks into a spacious breakdown before dropping back into a stripped,high-impact groove. ??

With the 'From My Soul' EP, Flug marks a strong first statement on Regal's Backspin Records, delivering a cohesive body of work that balances depth, emotion and dancefloor utility, reinforcing the label's dedication to innovative techno.

Surprises are nice. Unexpected, delightful - Vision Fortune last released music in 2015, and so odds were off that we’d hear from them again.

But against all odds, Vision Fortune III is coming out on Gringo Records, following the release of their last album ‘Country Music’ on ATP Records.

The trio first agreed to record a new album as somewhat of a dare over a marathon pasta and wine heavy luncheon in Palermo, Sicily. Waking up with sore heads, they realised in mild panic that flight tickets had been purchased, a cottage in rural Wales was booked, and it was too late to pull out.

And so it was - the Fortunes arrived in Machynlleth Wales in Spring of the following year. The rules were simple - takes were live, songs minimal and the fireplace kept roaring.

Drummer Andres Ayerbe’s strict roast lamb dinner cooking schedule resulted in an album less frenetic and agitated than previous work - instead, III explores a softer, more subdued and subtle side of Vision Fortune. Additional overdubs were recorded in New York City and Birmingham, by AC Williams and Alex Townend. III was completed - a new, leaner Vision Fortune. Like a good lamb dinner - more meat, less fat.

Press Quotes for Country Music:
"An impressively brutal record" NME 8/10

"Immersive and introspective musique concréte rippling rippling with dub rhythms, orchestral strings, tolling bells and discordant drones coming close to the alien beauty of Mica Levi's sonically extreme soundtrack work." Uncut 7/10

"Unsettling, strangely cathartic and hook-free (in a good way)." Dazed ("Twenty albums to look out for in 2015")

"Assembling whole scrapyards of sound and turning them into something better than what went before" The Guardian

"Swaddling the senses in soundwaves, Minimal ambient sketches and harsh electronics abound on this fascinating 12-song affair" The FADER

"Basically just one long, connected droney throb. But it's an awesome long droney throb." Brooklyn Vegan

Love is not soft.
It was never meant to be. It sweats, it pulses, it burns through skin.
It lives in the space between bodies. In friction, in tension, in heat that doesn’t ask for permission. LOVE AS A PHYSICAL FORCE is not about romance as an idea, but as an experience.
Something you feel at 5AM, when the night has already taken everything from you, and still asks for more. Across four tracks, DJ Hermano moves between intimacy and impact.
From the longing of Vem pro meu amor to the rupture of No encontrarte nunca mas, love reveals itself as contradiction:

tender and aggressive, distant and consuming. The collaboration with Cuerpos brings a raw edge. Where visceral collides with desire.
Voices don’t just sing; they confront, they provoke, they touch. On the B-side, the body takes over.

Friction Lovers and Desire and Heatwave at 5AM dissolve the emotional into the physical.

Where connection happens through movement, sweat, repetition. This is not love you write about.
This is love you survive. A record for the late-night moments, between the club and sleep.
For the moments where the line between pleasure and exhaustion disappears.
For when desire becomes the only language left. Love, here, is not a promise.
It’s a force.

Better Living Through Chemistry wasn’t just Fatboy Slim’s breakthrough - it helped redefine what electronic music could be in the mainstream. Released in 1996, the album arrived at a pivotal moment in UK club culture, fusing big beat, acid house energy and sample-heavy experimentation into something irreverent, accessible and unmistakably British. Tracks like “Everybody Needs a 303,” “Going Out of My Head,” and “The Weekend Starts Here” captured the anarchic spirit of the era while laying the foundation for a sound that would dominate late-’90s pop culture.

To celebrate the 30th Anniversary of Norman Cook’s career as Fatboy Slim, BMG will reissue his debut album ‘Better Living Through Chemistry’, also turning 30 in September.

The 2LP will be remastered at half speed, following previous Fatboy Slim classic album remastered reissues and feature new liner notes from journalist Alexis Petridis.

The 2CD will include a bonus disc, b-sides with a brand-new remix with inclusion of the Alexis Petridis liner notes.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

Originally released via the Leipzig-based underground label Minor in 2017 the two tracks on this super limited 7" vinyl release see the Japanese producer providing a glimpse into the deeper, more intriciate and surely more intimate side of his work throughout his now 25 years spanning career. Both tracks on this release are based on fragile, fluttering, sparse yet playful rhythmatic signatures evoking memories of late 90s / early 2000s Electronica x IDM releases and backed by most beautiful, icy and glistening atmospheres reminiscent of autumnal morning dew or calm iridescent glacial reflections caused by a rising sun in absolutely unscathed wilderness.


Never officially distributed before and only known and recognized by a few well informed selectors out there this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.

Limited pressing of 100 single copies on white marbled vinyl.

BIT30-2 THE CROWDPLEASERS "I Want You To Know 30th Anniversary E.P." The first B.I.T Productions 12" was released on single sided white label on 11th December 1995 and became a rather big track across the country with its big synths, catchy vocal hook and a massive break in the middle that lead to a dirty, well-known synth melody that created a huge hands in the air moment, as well as the "Make some f**king noise" vocal. Now 30 years later, we have the “I Want You To Know 30th Anniversary E.P.” that features new remixes by The Crowdpleasers and Pianohead, as well as including the Original 1995 Mix. Also included is the NEW TRACK “I Know” which features the Original Mix with uplifting Piano and catchy vocals and the Stu Chapman Remix with dirty synths, banging breakbeat and a top piano riff. To finish off this 6 Track E.P., the previously unreleased Original Mix from 2000 of “Celestial”, a pumping house track with atmospheric melody.

Veerus & Mattia Saviolo bring their A-game for the brilliant ‘Move Your Body’. The Italian compatriots aren’t new faces to Drumcode. Veerus has earned his stripes via five fantastic EP over an eight-year period, highlighted by ‘Hypnosis’, ‘System’ and ‘Cycle’. Meanwhile Mattia Saviolo is a recent debutant dropping the excellent ‘Parallel Dimension’ on A-Sides Vol.10. When Veerus suggested a collaboration to Mattia, he didn’t mince his words. “Yes, but it has to be a bomb!” Over two days the pair locked in to build an outstanding peak-time production from the ground up. “We started completely from scratch, with no ideas prepared in advance and no project exchanges before meeting. In just two days the track was finished and everything happened very naturally. We both brought our own vision into the process without stepping on each other’s toes, which made the collaboration feel effortless from start to finish,” Veerus shares. ‘Move Your Body’ has a distinct charismatic appeal not commonly found in techno tracks, highlighted by a stomping riff throughout and tension-filled break, before it turns into a pumping cut in the final stanza. A straight-up belter! Accompanying it is a captivating solo track from Mattia, ‘Mindframe’. An absolute gem, file under futuristic techno that sounds like no other.

35 Years Fat Wreck, 30 Years Suburban Teenage Wasteland Blues. Pressed to Orange color vinyl, LP features original audio and packaging, CD contains the later remixed audio and a bonustrack. Strung Out's 1996 sophomore LP is a razor- sharp skate punk masterpiece. Fueled by the raw, metallic energy of tracks like "Bring Out Your Dead," "Firecracker," and "Solitaire," it perfectly bridges melody and aggression _ solidifying its spot as one of the absolute best, most crucial releases in the Fat Wreck Chords vault. 30th Anniversary edition features fan preferred original audio from 1996 and original artwork. Pressed to Orange Color Vinyl. Band has committed to an extensive global tour in 2026/27; including Warped Tour and EU festivals and concerts.

Loveface are back once again with four more dancefloor ready edits. Starting things off is a Unique Dancefloor Rework of 80’s Post Punk Classic. Following on from that is a Complete remodel 0f 90’s alternative dance/rock hit. Now flipping over to the B side is a House groove with sensual monologue diva vocal. Last but not least we are treated to an Uplifting 90’s flavoured italo house/garage vibe track.

Brownswood Recordings presents Brownswood Remix Editions 010: SAMURAI Edits, a new 12-inch/digital release that reboots a much-loved classic from the early 2000s for a new generation of dancefloors.

At the centre of the release is “Samurai”, originally released on 12-inch in 2003 as the B-side to Jazztronik’s ‘Dance With Me’. More than two decades later, the track remains a cult favourite within the jazz, broken beat and dance music continuum, it’s a record that helped bridge the worlds of Japanese nu jazz and the bruk scene emerging from West London in the early noughties.

For collectors, the timing is particularly apt: the original 2003 12-inch has become increasingly sought after, with copies commanding significant prices on the secondary market. SAMURAI Edits offers a new way into a record that has long circulated among DJs and collectors, and a chance for a new generation to discover these incredible edits as well as the iconic originals.

This release closes the current run of much‑needed raids on the Digi Dub archives. Label boss Berwick emerged from the DIY ferment of Camberwell's squat era , blending reggae and rave influences into a stream of boundary‑pushing music and events under a tangle of ever‑shifting aliases. Nodding to the Far East stylings of Augustus Pablo, South‑Eastern Style finds Berwick, working under his Mudskipper alias, refracting Pablo’s melodic meditations through a mutoid bass filter, delivering six cuts of idiosyncratic, genre- agnostic electronics.

Some of Berwick’s Mudskipper material was partially exhumed for digital release in 2021, but the alias was only one of several he deployed during Digi Dub’s most fertile years and during the 90s Mudskipper material was released sparingly. It feels fitting, then, that this project finally gets its due in the form of a full vinyl release.

Beware Dub is the only track here to have seen daylight before, with a version originally appearing on the 1996 four‑track EP 4 Golems. It makes a fine opener: an agile bassline rolling through tunnels of processed skank, rocking in a haze of centrifugal breakbeat. Ambrosial Dub mounts an imperious, guitar‑laced groove onto a solid steppers march, while Pillars Dub drives another vigorous, sub‑heavy bassline forward in the mix alongside a mechanised rhythm track, shards of noirish piano and bursts of twinkling synth.

The second side opens with the cosmic skank of Stand It Dub, followed by the mutated one‑drop drift of Where There’s Dub, suspended in a canopy of gentle keys. Wasted Dub closes the EP in fine style, Berwick applying widescreen dubwise pressure: a robust low end topped with the distinctive twin twangs of jaw harp and slide guitar, coming on like Jah Shaka meeting Ry Cooder.

TIM HECKER’s latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality.

Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

While the title of the piece “Hatred of Music” might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckerʼs continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears.

This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.

RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK.

4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”

4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”

NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."

NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."

WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’

Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.

While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.

Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.

It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.

Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.

Per Hammar returns to his own Dirty Hands imprint with the four-track ‘Ontario EP’, once again showcasing his raw, robust and groove-led style.

Swedish producer and DJ Per Hammar has steadily carved out a reputation as one of the most distinctive voices in contemporary underground electronic music. As the founder of the acclaimed Dirty Hands imprint, Hammar has built a platform synonymous with deep, groove-led and uncompromising club music, while other productions have found homes on some of the scene's most respected labels including Sushitech, Kalahari Oyster Cult and Craigie Knowes. Here we see him returning to his own home and delivering stripped-back late-night tools, psychedelic excursions and deep, hypnotic dancefloor journeys. Hammar consistently balances functionality with personality, a quality that has established him as one of Europe's most respected underground talents.

Title cut ‘Ontario’ leads with Per laying down crisp, crunchy drums alongside dubby bass tones, fluttering stab sequences and intricate modulations, all delicately ebbing and flowing throughout the composition. ‘Off Disk’ follows, fusing organic percussive elements with weighty sub-bass, shifting synth flourishes and bubbling, delayed melodies that steadily unfold across the groove.

On the flip side, ‘Oops All Sixes’ shifts into more acid-tinged House territory, built around a squelchy acid bass hook and saturated drums, while sporadic, expansive delays and hypnotic reverberations drift atop the track’s raw, loopy foundation. ‘Airex’ concludes the release by diving deeper, stripping things back to oscillating percussion, a snaking low-end pulse and airy chords.

Grammy-nominated German producer and DJ, Mousse T is set to headline the next installment of Defected's celebrated House Masters vinyl series with a sprawling three-LP retrospective of his remix career. Spanning six sides of wax, the collection pulls together two decades of dancefloor alchemy, tracing his signature style from disco- inflected house to breakbeat- tinged funk and back again. Including four brand new "Shizzle" and "Re-Rub" productions that are exclusive to this compilation and one remix that has previously never been released on vinyl before, makes this a particularly essential release, offering vinyl access to mixes that may otherwise circulate only in DJ pools or digital crates. House Masters Mousse T. features classic and fresh takes on the likes of Dennis Ferrer, Martin Solveig, Moloko, Camelphat, Spiller, Shakedown and many more, cementing Mousse's reputation as one of house music's most versatile and prolific talents.

TECH043 brings A.B.E.L. and Eluna Vex together through a shared sense of rhythm and purpose.

Both authors have already developed a clear and confident approach, even if wider recognition has yet to catch up. Their music is ready to reach beyond the circles that already know their work.

Across both sides of the record, firm drums, driving percussion and deep atmosphere keep the motion steady. Each track has its own shape and detail, while the shared weight and mood allow the four tracks to be heard as one complete work. DJs get four reliable cuts that can build tension, hold the groove or move a set forward without a break in tone.

The difference between the artists is clear, but never disruptive. Eluna Vex and A.B.E.L. bring separate ideas to the record, yet their tracks feel closely related in character, depth and attitude. This balance gives TECH043 range without losing focus: two artists and one consistent physical drive.

A1. “Unsafe Road” opens the record by setting its rules: full pressure, forward drive and several lines developing at once. It tests the listener’s attention, offering a choice between following the whole structure or focusing on one thread within it.

A2. “Getting Away” works like a spell that pulls the dancefloor together. It follows one clear narrative and a direct sequence of events, building towards a climax where every element lands as one shared impulse.

B1. “Test And Run” opens a more exploratory side of the record. It moves through changing forms and gradually reveals its language, without showing the full picture at once. Structurally complete on its own, the track invites the listener into less predictable territory.

B2. “Subconscious” is built on balance, giving equal weight to every part of the sound without allowing one element to take control. It makes no loud statement, but closes the record with a complete and carefully held form.

LUMINA marks a new chapter in C"mon Tigre"s evolution, where electronic music moves from the background to the core of the band"s sound. Across thirteen interconnected tracks, synthesizers, arpeggiators and club-inspired rhythms merge seamlessly with acoustic instruments such as oud, cello,vibraphone and percussion, creating an immersive, continuous listening experience. Rather than opposing tradition and innovation, LUMINA embraces their constant coexistence. The album explores how technology is reshaping not only the way music is created, but also how we experience sound, time and physical presence. Inspired by the rave as a space of collective ritual and temporary freedom, it treats repetition and rhythm as tools for communion rather than escapism, turning listening into a deeply physical experience. The music was first developed and tested live at Robot Festival (Bologna) and JazzMi (Milan) in late 2025. Those performances became a laboratory where the interaction between the music and the audienceultimately shaped the final record.

An exciting announcement - The Return Of Cosmic Ritual by Joaquin Joe Claussell.

The Return of Cosmic Ritual

Kanita- Forgiveness is a Beautiful Thing Featuring a Cosmic Tribute to Nujabes

Cosmic Ritual, the early recording alias of Joaquin Joe Claussell, emerged during the formative years of his journey-with at the time the young and visionary Spiritual Life Music label. From those beginnings came For The Loft in You, a composition whose atmospheric language would travel far beyond its original moment-helping shape a sonic vocabulary that continues to resonate throughout the deeper realms of contemporary dance music.

Its influence can still be felt today: in the spaces between rhythm and silence, in the textures of deep house, ambient soul, spiritual jazz, and in productions created by artists who continue to explore the unseen dimensions of sound.

Now, after its long journey through the cosmos, Cosmic Ritual returns.

At the heart of this new chapter is “Kanita (Forgiveness Is a Beautiful Thing)”, a composition that journeys even further inward-toward the more atmospheric, introspective, and soundscape-oriented side of Joaquin Joe Claussell’s musical spirit.

It is music for the inner traveler.

And as another celestial passage, the release also offers a special Cosmic Tribute to Nujabes Titled "Heaven", Nujabes is a deeply admired artist whose work transcended boundaries and whose musical spirit continues to inspire generations across cultures and continents-even after his untimely departure.

This tribute is more than an acknowledgment. It is a meeting of frequencies, a quiet conversation between kindred spirits who understood that music could exist beyond genre, beyond geography, and beyond the limitations of ordinary perception.
And Finally " Myths Across Tribes " A Trance Dance Percussion number that takes the listener into the jungles of Africa.

As with all of Joaquin Joe Claussell’s work, The Return of Cosmic Ritual l invites the listener to go deeper.

For those who seek mind travel.
For those who listen between the notes.
For those drawn toward cosmic ambience, spiritual resonance, and the deeper dimensions of sound.

2026 Repress