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The fifth release from Diggers Society Records is signed by one of the most influential duos in the underground electronic scene of the past 20 years: The Analogue Cops. Lucretio and Marieu deliver a finely crafted, dancefloor-oriented EP, strongly defined by the techno, electro, acid, and house sounds that have become their unmistakable signature. The A-side opens with two full-on techno dancefloor bangers, ‘Fake Black Out’ and ‘Do What You Want’, while the B-side leans more towards house, driven by the hypnotic progression of ‘Milano Gipsy’ and the intense bassline of ‘Chinese Coffee’. The duo’s creativity and brilliance shine through in raw, unconventional solutions that surface in every moment of the EP.

This special edition also includes a 10" limited to 100 hand-numbered copies, featuring two exclusive productions: “Burning Jack” and “Yes Or Not”.

Artwork by @designattitude_graphic

Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.

Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.

These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.

Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.

Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.

These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.

2026 Repress on Yellow Vinyl



Flirty Ghost is an evocative LP by Rachel Kitchlew, a jazz and contemporary harpist known for pushing the boundaries of her instrument. A blend of jazz, ambient, and experimental sounds, the album was crafted in a spontaneous, deeply personal atmosphere, recorded late at night in the cozy, smoky setting of SFJ headquarters

featuring Alexis Taylor (Hot Chip), Dave Bardon, SFJ, Sholto ....



Inspired by everything from Henry Mancini to Dorothy Ashby, this LP captures an eerie, playful essence, like a ‘flirty ghost’, while celebrating exploration and self-expression. The album holds emotional depth, particularly in tracks like ‘Truncate’ and ‘Cyclical’, which were recorded shortly after the passing of Rachel's grandmother, Sheila Horton, whose work is featured on the back cover.



With the collaboration of close friends and talented musicians, ‘Flirty Ghost’ represents a new chapter for Rachel, marking a joyful departure from her solo harp work into a collective, experimental musical journey.

Synopsis: Kagome, a modern-day schoolgirl, is transported to feudal Japan and frees Inuyasha, a half-demon. Together, they seek the shattered shards of the Shikon Jewel, desired by demons. Along their journey, they face fierce enemies, forge deep friendships, and discover a growing love amidst their perilous quest. This album features the best openings and endings from Inuyasha. Performed by iconic J-pop artists, these songs blend emotion, nostalgia, and energy. A must-have compilation for fans of the anime.

After a long time away from music, apart from one or two low key appearances, Wbeeza returns with The Bump EP. 6, yes 6, blistering jams of The House Sound Of London.

Moods & Grooves Records proudly announces Turn-A-Round, the long-awaited return of D. Wynn & The R-Tyme Production. Marking his first release since 2002 on KMS Records, D. Wynn reconnects with the deeply soulful Detroit sound that defined his earlier work—timeless, emotive, and built for the dancefloor.

At the center of the release is “Love Ain’t Easy”, a heartfelt, soul-driven track featuring vocals from Record Time favorite Lavell Williams. The song carries special significance as Williams’ final known musical recording prior to his passing in 2018, giving the record both emotional weight and historical importance. The EP also includes “Use Me (U Turn Remix)”, a fresh take on R-Tyme’s most recognized work—previously reimagined by Carl Craig—alongside “Funk N The Drums,” a raw, percussion-heavy cut driven by deep funk and rhythmic intensity.

A foundational figure in Detroit’s electronic music movement, D. Wynn was instrumental in shaping the culture as part of the legendary Music Institute era, alongside pioneers such as Derrick May, Alton Miller, and Chez Damier. As one half of R-Tyme with Derrick May, he helped deliver seminal recordings including “Use Me” and “Illusion/R-Theme” on Transmat, leaving a lasting imprint on the global electronic music landscape.

This is more than a comeback. It’s a continuation of a legacy.

^°Michigander Music again sets the pace with another future classic, D Send to Asend, a powerful 4-track EP from Canada's Greg Gow and Detroit's Brian Kage. Rooted in Detroit techno at its finest hour, this release is strictly for the true heads combining Gow’s techno sensibilities and driving textures with Kage’s raw, soulful energy. Together, they break down borders and deliver a timeless, late-night sound that feels both refined and uncompromising.

Jorge Ben is someone who needs no introduction. Since his first hits in the early 60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems 'Mais Que Nada' or 'Pais Tropical' are among two of the most ever listened Brazilian songs of all time. Ben's self-titled 1969 album is a true samba-soul masterpiece from one of Brazil's most creative voices. This isn't your typical late-'60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. Released in November 1969, this was Jorge Ben's sixth studio record, and his first back with the Philips label after a creative hiatus. He recorded it with the tight-knit, percussive groove of Trio Mocoto -- whose rhythms lock in beautifully with Ben's laid-back guitar and vocals. On top of that, the album features lush orchestral arrangements from Jose Briamonte and Rogerio Duprat, adding a soaring, psychedelic dimension to Ben's sound. Standout tracks? You've got the joyous anthem 'Pais Tropical', a perfect celebration of Brazilian life.



Then there's 'Take It Easy My Brother Charles', a socially conscious number that tells the story of a rebellious sailor -- Ben weaves in themes of race, identity, and resilience. And songs like 'Que Pena' bring in that sweet, soulful melancholy, while breezy cuts like 'Criola', 'Domingas', and 'Barbarella' highlight his playful, poetic side. This record is a rare blend of genres -- samba, soul, funk, psychedelia -- and it's got a timeless energy. Whether you're already into Brazilian music or just looking for something fresh and soulful, Jorge Ben's 1969 album is a joyous entry point. Reissue on 180g vinyl.

Crystal Motion were from New Bedford, Massachusetts, formed in 1974 and released this soul gem the following year, originally on the Sound Gems label.
The track has long since been a soul scene favourite, Jack Faith's arrangement adding to its Philly flavour. Rare mint originals exchange hands for nothing less that £100.

Building momentum around his moody, alchemical breakthroughs in the techno-bass laboratory, Buckley lands on Sneaker Social Club with a punchy quadruplex that marks him out as an innovative talent in the next generation of low end producers.

Manchester-based Elias Buckley first came to light with a lathe-cut drop on ec2a, followed up over the past two years with outings on Well Street, Dimeshift and S.P.E.C. That sets the tone for exploratory zone Buckley is operating in, and he maintains a forward-thinking slant to his physical, dynamic club weapons on this latest EP.

'City Dweller' rests on a creeping mid tempo 4/4 pulse, all the better to carry slithering layers of sound design that slide off the undulating sub bass throb. Minimalism is the order of the day here, but his approach is shot through with gully zaps and rude swagger that makes this a positively UK- centric affair. 'Carl's Floorboard' makes a sizeable swerve towards brutalist grime mutation, letting the space in the mix swallow you whole around the dislocated bass womps and whipcrack snares.

On the B side, 'Gawy' hits the mark squarely between techno propulsion and soundsystem swagger, plying slippery sound design to the bass blasts and working an offbeat groove designed for maximum lock-in. Making sure there are no doubts about his range, Buckley saves one of the deadliest joints on the record for the closer, whipping up a wide-as-you-like UKG bounce on 'M.O.B.S.O.T.' while maintaining the lean and mean sound that binds the EPs any angles together.

New chapter on the internationally famous labels "Ocean Trax" and "Confidential Records"

“Shake That Brake” an energetic track that blends classic House elements with a modern club sound.

“Late Night” by The Rituals is a vibrant soul/funk/disco track infused with retro flair and modern polish.

Driven by groovy basslines, tight rhythmic patterns, and shimmering disco elements, the song delivers a warm, feel-good energy.

Funky guitar licks and dynamic arrangements blend seamlessly with soulful influences, creating a lively and infectious atmosphere made for the dancefloor.

“Let Me Show Ya” by Memi P & Andrea Tomei is a groovy soul/funk track packed with rhythm and attitude.

Built around a tight bassline and punchy drum patterns, the song delivers an infectious groove that instantly grabs attention.

Funk-driven instrumental touches and smooth vocal elements blend seamlessly, creating a vibrant, feel-good atmosphere rooted in classic soul energy with a contemporary edge.

“You Know How To Love Me” for this track Gianni Bini and Memi P. joins forces to create a new soul-funk anthem perfect for dancefloors all across the world.

With the help from Fatimah Provillon’s rich and expressive vocals this track has a timeless yet modern sound, a perfect fit for nu-disco, funk and soulful dance playlists.

“Feel The Rhythm” by Memi P is a driving house track built around a solid groove and infectious energy.

Steady four-on-the-floor drums, pulsating basslines, and vibrant synth elements create a dynamic club atmosphere.

The track balances rhythmic intensity with catchy vocal touches, delivering a powerful and uplifting vibe designed to move the dancefloor.

Systematic Gent EP brings together four distinctive cuts from artists who each embody a different shade of the label’s sound. For this special various-artists release, Ghent-based Maxim Lany delivers the deep, driving, atmospheric and immersive “Noise”; Dimitri Andreas adds rhythmic drive and tribal energy with “Jungle Circus”; Robert Babicz contributes the hypnotic, progressive and emotive “Soul Traveler”; and Drumcomplex & Frank Sonic round out the EP with the powerful, forward-moving techno gem “Solar.”
Released on 12” vinyl, Systematic Gent EP arrives in perfect sync with the label’s showcase at Wintercircus in Gent on May 8, 2026, creating a direct link between the music on wax and the energy of the dancefloor. With a tracklist that balances atmosphere, groove and peak-time impact, the EP captures the essence of Systematic’s sonic identity while celebrating a special night in one of Belgium’s most exciting cultural spaces.
Marc Romboy, A&R of Systematic, says: “I’m very glad to present this EP, showcasing the different shades of music Systematic currently stands for. Each track could be an A-side on its own. The vinyl will be released on the day of our label showcase at the local record store GENX Recordstore in the city centre, as well as via our distributor, Word and Sound.”

Since the early 2010s, photographer and producer Izaak Schlossman has been surreptitiously using the Topdown Dialectic moniker to frame his most enigmatic and most psychedelic productions: faceless pure sound experiments that ogled dub and techno archetypes from somewhere far beyond the veil. This generous 2LP collection surveys over a decade of persistent activity, pulling together recently unearthed gear written between 2013 and 2016 (the same time period as the iconic Peak Oil trilogy) and muddling it with more contemporary material. It's a rare chance to fully comprehend the slow, measured evolution of the project: its genesis as a method to fractalize various bass music frequencies with suggestion rather than over-compression, and its ongoing advancement through sensitively finessed ASMR ambiance towards spangled neo-psychedelia.

So it's no surprise that the lengthy suite of five-minute snapshots was initially devised while Schlossman was preparing for his first ever Topdown Dialectic live appearance in 2025. A hazed early morning, open air performance that's still lodged in the memory banks of anyone who witnessed it, the set provided the narrative anchor for the album, blurring the past and present and reaching tentatively into the future - ideal material for audiences whose brains are fully plasticized. The tracks, while divided, sound as if they're breathing over and into one another; beats and phrases materialize and dissolve just for moments, leaving the mind to fill in the gaps with any available sonic material. What might reflect the bright neon light of acid house at first soon embodies the flicker of a candle over a desk of drum machines in a Midwestern basement, or the first blush of sunlight over a tiny campground as subwoofers creak in the distance.

It's music that asks the listener to be involved in the creation itself, projecting their own shapes on the negative space, their discreet fantasies on haunted stretches of near silence. Schlossman's identity was never the point, Topdown Dialectic was always a scrying stone intended to divine far more personal revelations.

Mutual Rytm welcomes new school tastemakers Klint and Hemka to sub-label Versus for imprint’s second drop. SHDW’s Mutual Rytm welcomes back two standout label alumnus for the second edition of Versus, a newly-launched conceptual sub-label focused around two artists whose sound works individually and in unity. Hemka made an impressive and well-received debut with her full solo EP back in 2025, while Klint appeared on ‘Federation of Rytm IV’. Both artists hail from France, and have crafted a well-earned reputation for their own distinctive approaches to sound design - pairing locked in grooves with cosmic synth escapes. Across the EP, each artist delivers three individual takes on techno to make for an essential collection of high-end cuts, exploring the label’s ethos of creative symbiosis between two artists on one shared release. Klint’s tracks lean towards minimal yet highly effective, dance floor-focused DJ tools, starting with the lithe, stripped back menace of ‘Prism’, before the sparse eeriness of ‘Dobermann’ keeps you looking over your shoulder while remaining trapped in the groove. Third cut ‘Romance’ is more bold and muscular, with contoured drums and icy pads ramping up the tension and energy. Hemka then dives deeper into a hypnotic and anthemic direction while introducing her own voice into the mix. ‘Leave It’ is textured, percussive deep techno with shadowy whispers, while ‘Breathe’ has a dark, grinning undercurrent and scintillating snares fluttering over the drums. ‘Mindness’ then pairs spoken word atmospherics with taught drum pressure and an ethereal backlit glow. In addition, Klint's digital only cuts ‘1112’ and ‘Blue’ marry minimal synths with meticulously defined drums that hit hard, while Hemka's ‘Push’ is an anxious percussive trip, contrasting with the introspective emotional core of ‘Live To Tell’.

On Lila, his debut LP, Moroccan artist Karim presents a series of undulating electronic rhythms laser-etched into tessellated form: drumless techno from the pre-Sahara, built for communal psychic expansion.

Drumless, yes, but not percussionless. There are shakers, castanets, stabs, plonks, thuds. There are insistent basslines propelling forward, pulsing with energy, rippling in time. There are tones interlocking, rolling, fluttering, pattering. Dancing within, around, between each other. Considered in terms of sheer geometry, Lila is a techno record, unmistakably. But it sounds quite unlike any other techno record you've heard lately.

To write the album, Karim borrowed from the music of the Gnawa, a religious-spiritual musical tradition descended from West African peoples brought to Morocco as slaves hundreds of years ago. Now integrated deeply into Moroccan culture, the centerpiece of Gnawa music is the lila—or "night," in Arabic—an all-night-long ritual of rhythm designed to induce participants and musicians alike into a healing trance state. Which, if you're a dedicated raver, may sound familiar, yes?

Crafted entirely with modular synthesizers, Lila conjures a range of textures and moods. The show opens with "Bakh," a blissful exercise in beatlessness, clear and crystalline. On "Philipoussis," "Kiyex," and "Sonic," arpeggiated synths approximate Gnawa chants while interlaid percussion keeps time in multiple meters. "La" and "Kille" pulse in half-time, ideal for creative mixing. "Joul à lèvre" bristles with electricity, the sound of a charged lightning rod. "Pamil," woozy and lurching, feels like being shipwrecked on a forgotten island. Last and absolutely certainly not least, on the final track, "Miloir," Karim faces West and unleashes the album's only kick drum for a ten-minute psychedelic techno masterpiece. The mind warps; the body moves. 

Lila is released on Tikita, Karim's own record label, founded in 2014. Tikita's discography, spare but tightly curated, features artists from across the globe pushing outwards into techno's deepest reaches. Karim's album pushes even farther. Listen for yourself.

Amateur forever? Oh yeah! “Amateur Hour” celebrates 15 years of Frank Music - still running on pure DIY energy, with Johannes Albert happily admitting he’s got no master plan, just a deep feel for House Music. And somehow, nearly 80 releases later, that instinct still hits. Volume II dives into the digital archives - bringing these cuts to wax for the very first time. Tom drops the vocal house bomb “Watch Me”; New Zealand's Eden Burns flips “Sounds” into something seriously special, and Claus Casper brings the sunshine with “Piano Italiano” (exactly what you think it is). And then there’s Amount’s “Feel You” - the one that’s been moving bodies since Fusion Festival 2023 and hasn’t really stopped since.
Let's be frank. Once again.

‘Sustained’ is the new album by Jungstötter, the solo project of Berlin-based songwriter and musician Fabian Altstötter. With sparse, poignant arrangements of piano, strings, electronics, and noise, Jungstötter composes a tender, raw, and poetic song cycle of exquisite romanticism, featuring a cast of close collaborators including the Berlin-based artist Ronja (Roomer). Evoking the fervent vocal versatility of ANOHNI and Scott Walker, Jungstötter adopts the human breath as a central metaphor in a miraculously moving opus of intimacy, vulnerability, and communion.

Across ten tracks of experimental pop songcraft, notes oscillate, soft strings linger, piano ambles, noise billows up and sears back into itself – and all of it is bound by a distinct voice that roams from a remote, warped undertone to an immediate melodic intensity.

Distorting the soft edges of vocal melody with rattling tactile noise, ‘Sustained’ is a mercurial portrait of layered lyric and contracting sound. The third album by Jungstötter, ‘Sustained’ bends away from the more dense, knotted sounds of his last two solo albums, ‘Love Is’ (2019) and ‘One Star’ (2023), toward a particular rawness that reestablishes the strength of poetics, of vocal sound, and the softness of song when reduced, restrained, redirected.

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”

The A Side of course is just one of the biggest tunes from the grunge era and is given a Jazzy Funky Groovy version by Blue Mode of Nirvana's Biggest Hit. It turns out that they were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80's indie and this producytion by by Chip Wickham mixes together a Swinging '60's Blue Note Vibe with the Acid Jazz sound and brings it bang up to date with the Nu-Jazz Experience. First time on 45 and is already a DJ favourite after being included in the Paul Murphy set "Jazz Room" on BBE Records. Side 2 is a Boogaloo Latin Jazz version (produced by Paul Murphy Live in the studio in Budapest when he was living there) of the Lonnie Smith track "Hola Muneca" beloved of the Acid Jazz era DJ's and previously released on a now impossible to find 7 inch single that goes for crazy prices....

"This EP is that classic MYTHM 140 sound my fans know and love, and the vibe fits perfectly with Deep Medi." - MYTHM

Fides Records proudly presents the second last chapter of its 10-year anniversary series: X6. Here, the narrative pivots toward groove and immersion between Detroit-rooted sounds, jazz-infused flair, glitchy futurism, and deep dub meditation. This chapter highlight the label’s love for movement, texture, and long-form atmosphere.

Side A opens with Fireground’s “Aquaria”, a sexy, bouncing techno cut carrying old-school Detroit spirit and harmonic fluidity: funky yet refined, shaped by the Italian duo’s live-set mentality, live improvisation and vintage synthesisers. Human Safari’s “Havanas” follows, merging jazz and techno through a standout trumpet solo and lush groove work, carving out a vibrant, genre-crossing mood that feels both bold and effortless. Closing the side, 1morning’s “You Heard Me The First Time” delivers early-2000s techno DNA with a modern edge: glitchy rhythms, unpredictable sequencing, and a playful sense of tension-and-release.

Flipping to Side B, Macedonian master Stojche leads with “Perpetual Sin”, a dub techno lesson in restraint: evolving through spacious layering and emotional subtlety until it fully envelops the room. The record closes with Z.I.P.P.O & Mareena’s “Moonchild”, a tribal, dub-infused deep techno immersion where percussive drive meets meditative energy—an internal journey built for big systems and late hours.

With the title "Treatise On A Narcissist" hinting at the EP's thematic exploration, the four originals by Shaleen are a masterclass in atmospheric, driving techno-built on powerful basslines, intricate percussion and an unnerving emotional intensity. This formidable body of work is then subjected to four distinct and high-calibre reinterpretations, each pushing the originals into new sonic territories.

Fiedel delivers a masterclass in raw, functional Berlin Techno. His "Treatise on a Narcissist" Remix builds on a foundation of caustic percussion and echoing metallic textures to create a journey into the machine's heart, powered by monolithic kick drums and pulsating, hypnotic sequences. This is peak-time, strobelit intensity-a dark, unforgiving lesson in rhythm and propulsion.

Mareena's sophisticated version of Shaleen's "Treatise On A Narcissist" strips the original back to its essential hypnotic core. It locks into a precise, relentless rhythm with characterizing sharp hi-hats, a focused, pulsating kick drum and creates a sense of deep,
foreboding atmosphere by utilizing subtle, filtered synth drones and echo effects.

Rosati's Remix of Shaleen's "Nymphomaniac" layers hypnotic elements, leading to a massive, euphoric breakdown and creates a captivating, almost obsessive mood. This track demands movement. It's an unrelenting sonic journey characterized by a hard-thumping rhythm section that maintains relentless forward momentum.

JakoJako steps up to deliver a nuanced and immersive re-imagining of Shaleen's "Fused in Desire". Moving away from high-impact euphoria, this remix focuses on dark, driving Techno.
The textural soundscape features a powerful low-end as well as lush, evolving pads and shimmering, modulated synth textures that create a vast, emotional space to establish a profound, steady pulse. Designed for total immersion, this track serves as both a
high-energy peak-time weapon and a hypnotic journey for early-morning dancefloors.

JUDDER opens a new chapter in its history with its first 12-inch vinyl release As part of a new mini-album series, the label brings together artists from diverse backgrounds and musical perspectives. What unites them all is an openness to experimentation and a deep affinity for sub-frequencies. Side A is driven by a bold, high-impact sound with references to techno, grime, and baile funk. The release opens with Komo by Italian producer Coido. The track unfolds in unpredictable ways, its rebellious character maintaining tension from start to finish and refusing to let go of the dancefloor. This energy is carried forward by Oddkut. His Phase Shift is a pure body-mover, where the core bassline and rhythms awaken a raw, primal energy. Side B shifts the focus toward more minimalist, rhythm-centered forms of bass music. In Diligence by Nattah, breakbeat and UK techno merge into a hybrid where atmospheric reverbs are expertly balanced with the drive of sub-bass pressure. Inspired by racing games, Naprimer closes the release with Carrera. This new 100 BPM experiment brings together the best elements of the Bristol and Manchester scenes. Tracklist: A1 Coido – Komo A2 Oddkut – Phase Shift B1 Nattah – Diligence B2 Naprimer – Carrera

Peach’s Soak Vol. 1 is a cross-Canadian link-up with Mood Hut that moves through slower, deeper waters.

The mini-LP was written after a tour through Asia that opened up something new in how Peach approaches making music. The turning point, as she tells it, came during a visit to a neighbourhood sento in Tokyo, while surrounded by steam rising in suspended time, something clicked about the relationship between the body and the sounds she wanted to make.

She’d been learning about cycle synching and working out with the phases of her hormonal cycle, respecting energy fluctuations throughout the course of a month, and decided to apply the approach to writing music. She allowed shifts in energy to guide tempo, density, and emotional tone rather than strictly answering to the floor.

Soak came out of this exploration, sketched and layered with field recordings from her trips to Vietnam and the Philippines during a challenging time in her life. Fragments of heat, air, and shoreline are absorbed into the music itself. Vapourous pads, low-end weight, fractured percussion, and melodies hover at the edge of dissolution. Water runs structurally through the record in surges, in tidal pacing, in the slow accumulation of texture.

Wherever this music finds you, please enjoy the Soak.

I first encountered Pascal Comelade’s music thirty years ago—and nothing has sounded quite the same since. I was immediately captivated: he is an artist like no other, whose sincere and selfless love of music is always evident, especially in his tender reworkings of other people’s songs.

Comelade seems to work like a watchmaker: meticulous, precise, and obsessive—yet always drifting into something dreamlike. His music opens hidden doors, telling strange and beguiling stories filled with obscurity, kindness, and reserved humour.

Back then, my fascination was instinctive. Today, with a few more words at my disposal, I look to this exceptional 70-year-old French musician and feel exactly the same pull.

Métaphysique Du Hit-Parade is the first vinyl compilation devoted to Pascal Comelade’s favourite cover versions. It spans a forty-year career and traces sixty years of rock and roll history along the way. “Sheena Is a Punk Rocker” becomes a soft, soothing lullaby that may well have made the Ramones weep. Then there are his idiosyncratic tributes to Jonathan Richman (“Egyptian Reggae”) and The Kinks (“Sunny Afternoon”), alongside nods to formative heroes such as The Gun Club, Captain Beefheart, and MC5.

Two exclusive recordings stand out particularly: Bob Dylan’s “Girl from the North Country” and Nirvana’s “Come As You Are”—a song that shaped my early youth. Both were recorded especially for this release.

Jan Lankisch, January 2026

Elations Recordings presents "Terra Ignota", the long-awaited new full length album from elusive Melbourne-based fusion ensemble Krakatau. "Terra Ignota" marks a return and an epochal shift for the group, a deep exploration of possible sonic spaces and a portent of things to come.

In the years since 2016's cosmic jazz funk-prog-spiritual 12" "Tharsis Montes/Apogean Tide" Krakatau have worked on refining their craft as instrumentalists and writers, expanding further into the world of jazz and fusing influences from world folk musics, contemporary jazz and the European post-minimalist music of the 1980s and early 90s. "Terra Ignota", literally translated as "Unknown Land", takes its name from the cartographer's notation for uncharted territory, the blank spaces on maps where knowledge gives way to imagination and speculation, gesturing towards the group's studio explorations and search for new sonic worlds in the years spent developing the record.

The results are a diverse yet unified combination of sounds and influences across five tracks that see Krakatau drawing closer to the independent underground "world" jazz scene of the 1980s than anything contemporary. The album opens with the digi-minimalism and fourth world atmospherics of title track "Terra ignota", a percussion heavy latin fusion sound in "Birds of Passage", and melancholic ambient saxophone and synthesiser duo "In Memory". Three-part epic "Cosmetic Surgery" journeys through a long, complex post-minimalist arrangement into latin fusion and contemporary jazz, followed by the contemplative ECM-styled acoustic quartet closer "Trial in Absentia".

The album features significant contributions from saxophonist Rob Vincs, former Victorian College of the Arts head of Jazz and Improvisation and a collaborator with Australian musician Brian Brown; layered percussion and wordless vocals from Brazilian percussionist and esteemed songwriter Alcides Neto; and a guest performance from trumpet player Reuben Lewis on the title track.

Berlin-based artist and label head Tom Peters returns to his techno-focused imprint ...isserving with IS011 - CAN U, a refined four-track vinyl-only release that channels groove,hypnosis, and physical intensity in equal measure.
The EP opens with "CAN U", a deep yet propulsive cut built around metallic percussion,textured synths, and a haunting vocal hook. Its stripped precision and subtle emotionalcharge reflect Peters' evolving sound-somewhere between warehouse minimalism andlate-night transcendence.
Ketch, from the SYXT collective, reimagines the title track with raw drive and rhythmicprecision. His remix sharpens the low-end punch while unfolding layers of atmospherictension that feel both industrial and intimate.
On the flip, "Control Conscious" dives deeper into Tom's hypnotic palette-dark, groove-heavy, and cinematic in its design.
Steffi's remix closes the EP with her signature blend of deep techno and Detroit-infusedswing: warm chords, tight percussion, and a dynamic arrangement that nods to bothemotion and functionality.
Pressed on 140g black vinyl in a limited run of 300 copies, CAN U EP encapsulates thecore spirit of ...is serving-techno with groove, depth, and emotional intelligence.

Decibel Place arrives on Dorbachov's Scrap & Delete with the 'Swarm' EP landing on 8th May 2026, coming with a remix from Belgium's Steve Redhead. Known for navigating the darker, more experimental edges of the genre while maintaining driving, floor-focused energy, the Liverpool-based Decibel Place has previously delivered on labels including Materialised, Transition, MASS, and Khazad Records. As a DJ, he continues to earn attention with his tightly constructed sets across the hardgroove circuit, a sensibilitycarried through this latest body of work. The EP opens with the title track 'Swarm', setting the tone through immersive, tension-building arrangements. Undulating sound design and tightly interlocked rhythms draw the listener into a dense, atmospheric space, rich in detail and forward motion. Steve Redhead steps in on remix duties, reworking 'Swarm' into a stripped-back, percussive cut defined by clarity and control, where subtle shifts in rhythm and texture drive a deeper, hypnotic propulsion. 'Infection' follows with a shift into more industrial territory, introducing broken rhythms and raw, mechanical textures that sharply punctuate the groove. Closing track 'Smoking Kills' leans fully into hardgroove territory, with driving drums and visceral energy bringing the EP to a powerful, club-ready finish.
Decibel Place's 'Swarm EP' comes via digital and vinyl on Scrap & Delete on 8th May 2026.

THE SOUND OF SUMMER

Brand new tracks made from the Havana Sessions, recorded by Brian d'Souza aka Auntie Flo in downtown Havana around 2015.

'Havana City' is a joyous, summer anthem in the making, featuring Andrew Ashong on vocals and a host of Cuban musicians. Think Nuyorican Soul's classic 'I Am the Black Gold Of The Sun' with a Tony Allen-inspired drum beat, luscious string arrangements, triumphant horns and addictive keys - all given the space they deserve and fully justifying the 11.5 minutes run time.

The 2026 version of 'Die Bailando' re-invents the original minimal electro beat to a latin rhumba-influenced groover. Grammy-nominated singer Eric Alejandro aka Cimafunk's vocals are a huge highlight, now fused with new guitars from Ziggy Funk and drums from Ibibio Sound Machine's Jose Joyette.

Completing the package is a remastered version of 'Mother Theresa' - which has close to 2 million plays on Spotify but was never released on vinyl. Drift away to the sounds of the Malecon...

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be
paid to environmental charities.

Mysterious Detroit producer Bright Raven is back with another fine classic sounding Detroit techno release. Corktown EP features 4 tracks of deep, bleepy and warm sounding 313 techno. For fans of early Transmat, Retroactive, Network, Planet E etc.. Limited copies!

Ekkel guides Earth Dog to The Destination, a four-pronged psychedelic clinic in the finest Nordic electronic tradition.

Co-founder of Norway’s Ute collective, celebrated Oslo-based producer and DJ Ekkel revels in prog naturalis. Previous releases as Alvar and Shadowmages, his duo with S.O.N.S., perfected this tripped-out sound with a heavy emphasis on melody. Following last year’s celebrated appearance at an Earth Dog rave in Brooklyn, he returns to grace the crew’s fourteenth release with The Destination.

Opener Questions About Mindcontrol awakens the discordant synapses, an entanglement of melodies and rhythm with a certain progressive attitude. Home Or In A Dream (Miami Morning Mix) properly ascends with trance-like wonder and ecstatic lucidity, before So Quiet returns to dusk with a tek-no throb and acidic bite. Destination G concludes with a nocturnal shimmer, an unrelenting groove caught in its own hypnosis ‘til the finale.

A cult classic reborn for a new generation.

Originally released in 2002 on the short‑lived US imprint Square Room Records, the In Stereo EP by Aruba (Darran Nugent) has long been a prized gem for vinyl collectors of quality underground house and techno.

Now, two decades later, Darran brings In Stereo back to life on his new Sleight of Hand label, with ‘Soundz From My Stereo’ completely re‑recorded and sounding hotter than ever. This special edition also features a brand‑new Re‑edit plus a standout remix from UK DJ and producer Man Power (Geoffrey Kirkwood), who delivers a bold, imaginative re‑interpretation that elevates the release into something truly special.

Also returning is ‘Body Groove’, freshly reimagined for today’s floors. The original’s slap‑bass funk remains gloriously intact, now paired with a more modern, refined house sensibility that gives the track a whole new swagger.

DCTL Members is a unit formed by Masafumi Onishi, aka TELLY, the label owner of Troop Music Works, and DJ DUCT, who is renowned for his turntable skills that span a wide range of genres, from Hip Hop and Rare Groove Funk to Detroit Techno and Deep House. For this upcoming EP, they feature Shu Suzuki, a multi-instrumentalist who lends his versatile talents to the project.
This time, by blending musical instruments with the raw warmth of analogue gear and rough, sampler-and-rhythm-machine-driven sequences, the sound has evolved into something even more energetic and full of DIY spirit.

From deep within the astral planes of all that is cosmic in the Northwest and through a fog of kaleidoscopic haze emerges the latest mind-expanding music makers to arrive on Sprechen in the form of the Todmorden based Lines Of Silence.
Living amongst a hotbed of UFO activity and home to the UK's highest ever beach they combine experimental analogue and digital electronics, motorik beats, polyrhythmic improvisation and drone rock guitar explosions to create an immersive, expansive and contemporary take on psychedelia.

Their long player on Sprechen: 'Lines In Opposition !' takes the listener on a visionary aural journey across 8 tracks of electronic, shamanic soundscapes where the sounds of Krautrock exist in harmony alongside drone-esque ambient excursions through an array of synths, guitars & sequenced patterns that draw heavily on the stylings of NEU!, Aphex Twin, Kraftwerk and the musical pickings of the more esoteric sets and radio shows by Andrew Weatherall.

A truly universal listening experience to take you into a higher state of electronic music consciousness...

Selection of IKIGAI Album by Nadia Struiwigh. IKIGAI was born in the quiet space between grief and remembering... Made entirely on hardware, from my living room in Berlin near Hermannplatz (my dad's name is Herman -- the odds), in the months my father passed away. Every sound, every sequence, every texture carries his fingerprint. Not because he made music, but because he made me love gadgets. Circuits, signals, blinking lights. He was the man who opened me up to machines and taught me how, eventually, to listen to them and use them for my craft. The name IKIGAI, a Japanese word for ''reason for being,'' found me when I was at a crossroads. The kind where you ask yourself: Why am I still here? What am I still creating for? What part of me still believes in beauty when everything feels like it's falling apart? These pieces came through slowly, on Japanese gear like Yamaha SEQTRAK, KORG, Roland -- like threads weaving a tapestry I didn't know I was making. Each track is a kind of purge... to him, to myself, to the listeners who find themselves in the in-between. The space where you're not who you were, and not yet who you're becoming. I found myself back into soundscapes and Ambient with a touch of Electronica. I weaved in sounds I captured from daily life, memories -- like the laugh of my sister. I built in silence and let the machines cry for me and let them tell the story I couldn't find the words for. IKIGAI is spacious. It's not trying to impress anyone. It's trying to just be, and hold space for all kinds of emotions. It moves like memory... slow, sacred, shifting. This release needs to be close to home, and will be released on my own imprint Distorted Waves, on the day 11.11 -- which refers to my first album that my dad had hanging up in his shed. For my father. Nadia

A reissue of Volumes 1 and 2, originally released on the Rephlex label in 2007. This time, both volumes are brought together in a superb gatefold sleeve 4LP, taking you on a journey through the very best of Andy Jenkinson's work: Cool music, a blend of such quintessentially British culture that swings from gabba to IDM, from rough techno to electro to acid and analogue sounds - all packed into over two hours of madness. Here we go again!

Gated kick off 2023 with a corker of a remix package, featuring an epic electro workout from Radioactive Man and lo-fi deep house from Max Wheeler of Anushka fame.

Marcela Dias Sindaco’s breathy Portuguese vocals always lent themselves to remixes and these five cuts use them to great effect.

Keith Tenniswood’s storming version of Missao Controle kicks off the EP, with a near-8-minute bass-heavy acid monster that retains the original’s funky elements but pushes them way into the future.

German upstarts not even noticed take Extincao nice and deep for those loved-up dancefloor moments, again bringing in melodic elements from the original, but twisting them just enough to flow into a dreamy acidic breakdown.

Flip to the B and Anushka’s Max Wheeler goes it alone, with a deep and crackly analogue house version of Dois Lados. Injected with just a smidgeon of jazz, this is definitely one for the heads.

Next up, longtime Gated collaborator Dip Shim, whose debut album only just dropped, brings a straight-up electro jam version of Pro Meu Bem, with haunting pads and insistent arpeggios.

Rounding off the EP is Perseus Traxx’s deeper than deep take on Missao Controle, a tripped out reverby journey laden with his signature hardware sound.

Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.

Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.

Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.

From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.

With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.

As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.

A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.

A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.