quête:sta’an

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

2026 Repress!

Doc Scott was on the decks. It was at Tribal Gathering (I think), 1996, standing in front of a wall of speakers to one side of the stage,
enjoying myself, like you do, when this sound started growing inside my brain. My head was then ripped clean off my shoulders!
Words are still hard to find! It was the first time I ever heard Shadow Boxing and its the only thing I still remember from that night. Om
Unit's 2014 Remix is paired with the 1996 original. DJ support from: Fabio, Mark Pritchard, Friction, Surgeon, Toddla T, Laurent
Garnier, Pinch, Zinc, Baliey, Rob Both, Billy Nasty, Krust & John B.

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

Foundations Records brings you their hotly anticipated third release from Sonar's Ghost on Rinse Out EP - a bold four-tracker of breakbeat jungle, atmospheric jungle and jungle-tekno.

Sonar's Ghost

Starting out DJing in the peak hardcore era of 1992, Dominic Stanton rose as a post-hip-hop and ragga kid, cutting his teeth at free parties across the Shires. Drawn into the new directions of hardcore and jungle, he earned early gigs at the legendary Sanctuary, Milton Keynes, performing as Dom-unique.

Learning the art of beat-chopping on the Amiga 500, Dom landed his first release on Reinforced Records in 1995 and continued releasing into the 2000s as Static Imprints and Sonar Circle. Inspired by Dego and the evolving trajectory of 4hero, Dom began moving into more unexplored territory, producing eclectic, soulful beats under the name Domu.

After a brief hiatus, Sonar's Ghost was born - an outlet to explore the years Sonar Circle missed, from 1991 to 1995. Creating alternate journeys through that era, Sonar's Ghost reimagines the original sound palette using original sources, new blends of beats, and a lifetime of musical influence. For Dom, Sonar's Ghost is his happy place.

The Foundations release blends the eras and directions Dom loves most - from '93 bouncy darkside through to '03 drum funk - with authentic drums and samples integral to the vibe.

Here's the support on radio:

- Makossa (Radio FM4 Vienna)
- Distant Planet (Infrared FM)
- Sun People (Sub FM)
- Alex Ruder (KEXP Seattle)
- Haus of Beats (Txapa Irratia)
- Haus of Beats (Txapa Irratia)
- Tom Ravenscroft (Rinse FM)
- Jon1st (Subtle Radio)
- Martha (NTS / BBC R1)
- Harper (Czworka Polskie Radio)
- Gremlinz (89.5FM Toronto)
- N-Type (Rinse FM)
- Michelle (NTS)
- Mathieu Schreyer (KCRW, LA)
- Darkerthanwax (The Lot Radio)
- Bevin Campbell (PBSFM Aus)
- Errol Anderson (NTS)
- Ian (94.9 CHRW)
- OPR8 (Sub FM)
- Tramma (Noods)
- Carlos Contreras (Tilos Radio Budapest)
- Jay Scarlett (BR Puls Munich)
- DJ Tuco (91.90FM Prague)
- Ed2000 (Cashmere / The Face)
- Vinyl Junkie (Eruption Radio)
- Klaus Fiehe (1WDR)
- Benji B (BBC 1Xtra)

Ubisoft and Laced Records have forged a new trade alliance, expanding their economic tree to bring the lavish music of Anno 117: Pax Romana to glorious vinyl.

This vinyl set celebrates the ornate score for Ubisoft's richly detailed city builder, capturing the spirit and splendour of the Roman Empire at its peak. From the beautiful heartland of Latium to the mysterious Celtic wetlands of Albion (where no civilized Roman wants to be), every musical cue is steeped in world-building and crafted with remarkable care.

The outer sleeve features striking landscape art from the game, while the inner sleeves present detailed track lists framed with ornate motifs inspired by Roman architecture and pattern work. The result is a set that feels like a treasure from the imperial archives.

The soundtrack charts a journey across the empire, weaving together atmospheric strings, ancient-inspired instrumentation, and sweeping orchestral cues that capture both the serenity of prosperous provinces and the political tensions throughout. The music reflects every choice you, the governor, must make. Diplomacy or domination, tradition or transformation. An emotionally rich and immersive soundtrack worthy of Rome itself.

Macross Techno Banger !

Lets start with a solid Bassline techno "Rallye" ! Followed by "41 Style", an acid grower, psychedlic roaring 142 BPM.

The flip opens with "Beautyful Fatality", Bassliner rhythmetic and melodious... And the finish "Infra Cross" dig da Electro surprises !

Big up to Macross for this long time awaited new EP !!!

Comes with photo artwork 30x30 & Flyer info & digital download code.
LTD 100 copies.

Artist Background:Chiminyo is a decorated drummer and producer at the center of the London scene, performing with heavyweights like Maisha and Cykada. A winner of theJazz FM Digital Awardand named ‘One to watch’ inThe Guardianin 2025, his work has been championed byGilles Peterson,BBC 1Xtra, andJazz FM. Chiminyo is a residency holder at Ronnie Scott’s, where he hosts the "Late Late Electronic" nights, and has collaborated with Mercury-nominated artists including Nubya Garcia and Shabaka Hutchings.

Sounds of Sirius Music unveils SOSNZ011 – Eye of Deva, a release exploring perception, truth, and higher awareness through deep frequencies.

The Eye symbolizes seeing beyond the surface.
Deva, rooted in Sanskrit, represents divine light and elevated consciousness.

Together, Eye of Deva becomes the vision of the divine — awareness beyond separation.

A-side by Fedo, remixed by Mihai Pol.
B-side by PRT Stacho, remixed by Last Pines.

A release shaped by close friends of Sounds of Sirius.

2026 Repress

Laster Records launches with a powerful VA featuring Alarico, Yanamaste, Chontane and
Roll Dann

Spanish's techno movement force Laster expands its vision with the launch of Laster Records, inaugurating the label with a fierce various artists EP forged for peak-time madness and emotional depth. The debut release, Laster Records VA001, brings together four essential voices in modern techno: Alarico, Yanamaste, Chontane and Roll Dann, each contributing a distinctive cut to a shared narrative of intensity and evolution.

The A-side opens with Alarico's "Of Which Sugars", a gritty, percussive storm of fast-paced
techno, where tension builds through syncopated rhythms and distorted grooves. Following is
Yanamaste's "Disconnection", a cerebral track infused with cold atmospheres, broken patterns and a sense of controlled chaos - reflecting the Georgian artist's unmistakable mental approach.

On the flip, Chontane delivers "Palindrome", a futuristic and dynamic tool with flickering synth stabs and machine funk energy. The EP closes with Roll Dann's "The Red House", a cinematic and melancholic trip through layered textures and deep basslines, paying homage to the label's own mythology.

Laster Records VA001 sets the tone for a label that, like its club roots, is raw, inclusive, and
uncompromising.

See you under the red light.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

Onysia delivers another deeply textured installment of its Split Series, bringing together J Gabriel, Thomas Melchior, and Bruno Pronsato for a record full of subtle detail, groove intelligence, and unmistakable late-night character. Subtle, classy and built with real understanding of space, tension and groove, ONYSIA013 is a refined underground statement for lovers of depth, detail and timeless club music.

Between flesh and silicon. “Under My Skin” (2026) is the first album by IADI, released by Neo Life. A record like few
others, highly conceptual, cover art included. Its essence lies in the folds of the increasingly ambiguous relationship
between man and machine, where the former designs the latter and, perhaps without fully realizing it, is gradually
destined to adapt and be reprogrammed by it. Each track of “Under My Skin” is, in fact, a sort of interface, connector, or
any other imaginative point of contact between two creative phases, amid emotional impulses and binary calculations.
The sonic architecture oscillates between analog warmth and algorithmic coldness, constructing landscapes in which
pulsating synthesizers and mechanical rhythms seem to question each other. There's no linear narrative, but rather a
progressive immersion in a zone of near-friction, where the comfort of technology coexists with more than a faint
musical uneasiness, like a background noise that never ceases to remind you who's truly in charge. In “Under My Skin”,
the machine is neither an enemy nor a simple instrument: it's a real presence, intimate, even tactile, amplifying desires,
fears, and dreams of dawns beyond the digital realm. Intelligent dance music. Less noise, more sensations. Electronic,
but profoundly human.
The final result, then, is a music project that speaks to the present, yet sounds like an X-ray of the future, capturing that
fragile moment when humanity and technology stop observing each other from afar and begin to merge, track after
track. It's no coincidence that IADI's album opens with “Impulse”, an immediate expression of an electrical impulse, for
both humans and machines, which is also the language of the nervous system, as fast as it is vital—pure energy and
rhythm, a track as intense as it is irregular. And after this introduction, it's the turn of the equally erratic “Axon”, whose
title describes the neuron that transmits the signal over distance, telling the listener to sit back and relax for a new
journey through the notes toward the more melodic “Cortex”. The cerebral cortex, the ultimate seat of thought and
memory, becomes the source from which the musical flow of the first part of the work is drawn.
Then, suddenly, an automatic, or instinctive, response to the constant succession of impulses: “Reflex”, or zerotemperature techno, with a fragmented pace, featuring vocal samples, breaks, and restarts. In the producer's
imagination, the subsequent, and conversely placid, “Neuron” represents the emotional core of the second part of the
work, providing a kind of respite from the seething vibrations. While the neuron is the basic unit of the nervous system,
the synapse is the functional connection point between one neuron and another effector cell, essential for the
transmission of nerve impulses and communication in the nervous system, enabling functions such as learning and
movement. Likewise, a track like “Synapse” once again illuminates the path traced by IADI. The more experimental and
streamlined “Static” instead suggests true ordered chaos. “Dreamstate” is the conclusion suspended in the void, relating
to that dreamlike state between waking and sleeping, where consciousness fades toward infinity and visions begin. Pure
fading into the subconscious. Eternal return to where it all began. Dancing is a form of consciousness. Every beat is a
question. IADI, however, holds all the answers you need.

The eight long play on the label comes from none other than UK electro royalty – Transparent Sound. If you have been following the music world for a while, then you would know this name as it’s been on the radars since the 1994. From the beginning it was a synergy between two artists Orson Bramley and Martin Brown, now the project solely run by Orson and he is presenting us Potent Mystery, an electro album in the best possible execution of this genre filled with melody and mystery. For the remix duties stepped up Acidulant the Maltese based hardware guru and the master of live sets from Bristol – Ben Pest. Each of these men and stellar artists have spent numerous years perfecting the craft of the electronic music which have resulted of this album being born as we can hear it now. Electro. Magnetic. Radiation.

No filler, no big gestures, just focused underground club music with soul, depth and proper drive. A strong and confident opening statement from Galaxy Dreams. A well-rounded 4 tracker with character, soul, and enough punch for both intimate clubs and bigger systems.

MINÙ RECORDINGS – NOT FOR FAME 001

Minù Recordings is the label project evolving from Minù, the long-standing party known for its deep connection to underground club culture and the dancefloor. The focus is clear: music first, beyond trends and visibility.

Each year, the label develops around a different theme, shaping the identity of its releases while maintaining a coherent direction. The catalog brings together both established artists and emerging names, all part of the extended Minù circle, connected through the parties and their evolution over time.

All releases are strictly vinyl only.

The first release, Not For Fame 001, introduces a selection of artists closely tied to Minù:

Cristi Cons – Everything_again
Arapu – Night Light
Mennie – Hard Beat
Tripmastaz – Don’t Bang My Line

2025 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

Strong and soulful contribution to the enduring legacy of Detroit’s underground sound. With Lyfe On The Dance Floor, Detroit’s own mystical 207737 delivers a deeply authentic statement rooted in the unmistakable spirit of Detroit House. Raw, soulful and effortlessly timeless, this release reflects the kind of musical identity that can only come from a city where machine rhythm and human emotion have always moved as one.

KUATO makes their STAR CREATURE debut with a pair of funk covers that pay homage to 2 funk greats with a creative new spin. The duo pulls off a great cover of INGRAM's D.J.S DELIGHT and follow it up with a FATBACK BAND banger TIM TUCKER joins with perfect vocals on both sides.

In 2025, Off The Grid celebrated 10 years of existence, throwing several events throughout the world.

It's now time to put a seal on these celebrations with a curation of music, gathering old and new faces orbiting the OTG galaxy, divided into two compilations.

For Part 1, deeper and deeper we go, focusing on delicate aesthetics and dubby grooves, trippy sounds and dreamy atmospheres. A soundtrack for early mornings and initial stages of the night.

Off The Grid was born around this sound and this is a tribute to it.

Part 2 will be announced in Spring.

Stay tuned!

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Mastering & Lacquer Cut by Marco Pellegrino at Analogcut Mastering Studio Berlin
Graphic Design by Guillaume De Ubeda
Pressed at Mother Tongue in Verona

There is a particular kind of strangeness that arrives on long drives across Europe. Flat light, service stations and fields stretching endlessly past the window. It might look mundane at first glance, but becomes faintly surreal when the tiredness of touring blurs the edges of everything.

That feeling became the quiet engine behind Driving Through Belgium, the debut solo album from Anton Pearson, best known as one of the guitarists in respected post-punk outfit Squid. The title grew from a track that felt like the record’s centrepiece, which itself came from the recurring image of extensive periods on the road across the continent. It is a record shaped in the margins of touring, and finessed in the in-between hours.

Across six pieces, Pearson leans into atmosphere, texture and space. It is ambient in spirit, adjacent to contemporary classical in feeling, but composed less with notes in mind than with sound itself. The compositions rarely began with harmony or melody, with Pearson instead responding to his environment and sounds in real time, placing trust in his instinct.

Although initial inspiration came from the road, the album was recorded in a studio he shares in Brighton, and marks his first fully solo project made in that setting. It gave him access to not only new tools and techniques, but a hitherto un-experienced freedom. Much of the process began experimentally, feeding instruments into unfamiliar chains, pitching loops into unexpected registers and playing with previously unused synthesizers simply to see what they might reveal. Many of the sounds were created out of pure curiosity, wanting to understand a piece of equipment or technology, and then following wherever it led.

The album was built with this experimentation at its core, as Pearson would layer then extract, processing stacks of sound until things blur and confuse. Guitars dissolve into drones, a Pianet Clavinet dances against muddier textures whilst a Korg PS-1000 occasionally cuts through with its glittering top end. On ‘Driving Past the Muscular Cows in Belgium’, a flat, still drone is pushed through valve amps until it growls and tightens with tension, before receding again. Even the trumpet, which Pearson freely admits he is not technically proficient at, is embraced in its naivety, its squeaks left intact rather than corrected. The twin ‘Tintinnabulation’ pieces frame the record with looping, pitched bell like tones, accidental discoveries that became structural anchors. Meanwhile, ‘Teeth to Cut the Grass’ deliberately introduces abrasion, some of the harshest textures on the record, a refusal to become passive background music.


That embrace of imperfection is central. In contrast to the hyper-analytical precision of his band, Pearson was keen to honour first takes. If something felt good, it would stay. The end result is an album that favours looseness, instinct and the energy of creation itself. If Squid thrives on propulsion and tension, Anton Pearson finds his energy in suspension on Driving Through Belgium. It is curious rather than declarative, creating a space where experimentation feels playful again.

STARDUB VA series continues with number 10. This time we have the honor to present a 6 track EP with Dub Techno's finest musicmakers Dreist, Habben, RuMa, Ohm & Lentza, Marco Cassanelli and DIB.
From Dub With Love! Limited to 250 copies.

No filler, no detours, just floor-focused disco from Berlin's Delfonic, who is always on point. 'Welcome Black' wastes no time snapping into action with driving drums, elastic bass and bright string stabs that demand full body movement. 'Dancing Facts' keeps it lean and punch with vocals and tight percussion, doing exactly what's required. Flip it over and 'Got To Know Your Body' rolls out classic disco funk, warm chords and a flash of soulful heat cutting through the groove. 'FM4 Me' goes deeper, chugging rhythm and filtered synth lines primed for locked-in, late-night sessions. Functional, effective and quality as ever from Delfonic.

Long-running event series Point inaugurates its new label with the debut EP by co-owner Laimonas. These four tracks draw on the weighty lineage of EBM and electro to evoke fragile mental states and their sublimation into cathartic dancefloor experience. ‘Ček’ is a brooding, almost military opener, its implacable beat tempered by expressive synth work and a striking mid-track break. ‘Fusion Glasses’ gets funkier, with ricocheting shards of percussion and jazzy keys, while ‘Editional’ leans darker, its roiling textures punctured by cosmic fanfares. The closing title track ‘Fragile Signals’ pairs the strict march of classic EBM with wordless vocal fragments and tense harmonies. This is a highly accomplished and intensely personal debut, establishing Laimonas’s voice as a producer and Point’s position at the leading edge of contemporary club music.

Daniel Akbar is a Constant Black regular and for good reason: his blend of house, minimal, tech and garage is a perfect fit. He continues his hot streak with this latest missive, starting with 'The Night', which marries Jaydee-style darkness with New York house bounce. 'The Walls' has a rugged, dirty minimal bump to it and a sci-fi synth edge. 'Trippin' is another sleazy and low slung house vibe, 'Care For You' brings a bit of garage shuffle and throwback bass filth, then 'Afraid' pulls back to a more seductive late night tease with hella catchy grooves and pure heads down energy.

Ira James' Vessel Recordings keeps flying the flag for serious underground sounds with this new selection of remixes of 'Interlude.' Nonfiction goes first and keeps it deep with a chunky, heavyweight house bubbler with the most subtle synths adding colour and neat stabs lighting it up. DJ Sneak's Nitty Gritty Rub is a classic roller from the House Gangster, raw and undercooked and with serious heft in the kicks. Hector Moralez gets more upright with a warped, fleshy bassline and razor sharp hi-hats, then Andrew Macari's Kick Down The Wall mix is a final raw as you like house weapon that demands you get physical.

LA underground hubs DISCOS XXX aka DX3 and Elbow Grease join forces to proudly present Point Winona Sound Library Vol 1 — featuring 20 distinct artists from the inspired local dance music scene, working under one unified studio roof in various collaborative
formation at the mighty Los Feliz hilltop palace Point Winona, overseeing the city they collectively represent. These timeless warehouse-wrecking tracks all stand on their own, but the compilation as a whole offers a solid geographic sonic statement with shared rhythmic DNA and bold rooted-futurist production blueprints, guided by the champion efforts of studio executive producers/curators Tavish DJ and Dave Aju.
The BPS stage-setting opener evokes crispy A.M. hours with lush Detroit-meets-Cali feels on “Within Reason” — then studio dream team 5 ATMs bring the dubwise floor vibes up a notch on “A Dub Called Mondo” and Chitown-to-LA legend Scott K lays down an FM bass-laced acid house heater with “Tighter & Tighter”. Nashville-born producer Gryph funks things up on the live space boogie bump of “Winona at Sunset” while SSRI, comprised of Underground Resistance’s DJ Dex/Nomadico, Aju, and Black Lodge’s fearless leader Kosmik, drop fierce robo-Italo bliss on “Omnicallora”. Things take a further psychedelic twist with the PW edit of Scotty Coats’ sublime midtempo tripper “Be Work Zone Alert”, then Omakase’s own Gold Code alongside longtime rave brother Aju drop the nasty J Saul-salute “Yolo Jungle”, and Warehouse Preservation Society aka Tavish DJ & TK fully detonate floors inna raucous Wicked Crew stylee with “Data Bliss”. Undisputed LA scene queen Stacy Christine arrives with her shining debut “Smart Move”, where she and Aju trade sly vox lines of party advice over a bouncing tech banger for the ages, before the “Obsesion Romantica (Free Winona Dub)” sees Sisters Of Sound aka Maddy Maia and Tottie's, OG track getting stripped back and fired up to acidic peak time form. Then Dave Aju and SF homies Moniker aka EO & Kenneth Scott unleash wild uptempo melodic bruk heaven on “Chuy Luis”, and Vastir sends us home with the stratospheric drum n bass closer "Turnpike"

Slope114 are Dmitri SFC & Elise Gargalikis, a duo that makes their house music live from home in San Francisco. That lends it a rare musicality and melodic lushness that sit their work right up there with deep house forefathers. This outing starts with the slouchy goodness and endearing bass of 'Dystopian Blues', complete with aloof vocals that exude cool. The dub is even more pillow and smooth than the Mark Ambrose mix that brings a little more roughness to the drums but still locks into a hypnotic vibe. 'Emu 2' is a gentle rhythm with dusty pads and candle-lit chords for when slow-burn subtlety is prized over immediacy. Classy stuff.

2026 Repress

Juan Atkins and Moritz von Oswald - the two indispensable protagonists of the Electric Garden - plug back into the wilderness.
Transport' - the new full length effort of the Borderland collaborative project - brings together a new set of studio-refined sequences aimed at colonizing some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not 'on the grid'.

The Detroit-Berlin axis triangulates to a third point which, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz which cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making.

The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for sixty seconds in every minute.

ICONYC steps into new territory with Traffk, a spellbinding EP from UVITA, Twiins, and Motip White. Built around two deeply immersive compositions, Traffik operates as a threshold rather than a destination — a carefully measured passage into unfamiliar territory where tension is curated, expectations are subverted, and every detail feels deliberately withheld until the right moment.

At the center lies the title track, “Traffik,” a commanding convergence of three distinct creative voices distilled into a singular, unsettling vision. Suspended between austere minimalism and intricate design, the piece unfolds with a forceful rhythmic backbone that plunges into subterranean depths. Twisting brass motifs flicker and bend like fractured light across polished surfaces, creating an atmosphere that is both tactile and elusive. As the groove locks into a hypnotic oscillation, a spectral vocal presence emerges, injecting a sense of weight and foreboding before the track fractures inward, collapsing into a violent release that ejects us from its vortex with uncompromising intensity.

On our B-side, UVITA and Twiins reconvene for “Lucy Tried For It,” a continuation that trades overt drama for a slow-burning psychological pull. Anchored by a prowling low-frequency current and a relentless percussive drive, the track draws us deeper through carefully placed sonic detonations that expand its spatial dimension. Gradually, malfunctioning mechanical textures and distant, almost feral cries seep into the framework, setting the stage for an introspective spoken-word moment that nudges the piece further into the subconscious. As fragmented melodic elements begin to surface, “Lucy Tried For It” reaches a moment of suspended reflection before surging forward once more, closing the EP on an emotionally charged and resolute note.

Massage Brain Cult returns with its second Various Artists compilation, available on vinyl and digital. Featuring tracks from p1nkf1re, Lini, Uf0, Lee, Mause, AZARYC and a djtool by Suso Flores. The release offers a fresh sonic flavor—staying true to the label’s reputation for diversity.

Marking the next step in his deep-diving exploration of rhythm and space, Konduku unveils his new label Hayal with a three-track single Sarmal. Continuing the visual aesthetic he developed across the celebrated 'K' series of EPs on Nous'klaer Audio from 2018 to 2024, these thoroughly road-tested tracks arrive as a natural, understated progression. Within the broad remit of psychedelic, modernist techno, this first Hayal release maintains Konduku's focus on cascading, angular percussion and meditative atmospheres. 'Zelve' matches a pensive, ambiguous mood with a steady, floor-ready 4/4 undercurrent, while 'Sarmal' builds more gradually from a delicate beginning towards a euphoric peak. The musicality at the heart of 'Sarmal' shines through in a beatless 'Ambient version' that closes out the EP, a flourish of starry-eyed electronica providing the energetic balance intrinsic to Konduku's sound.

"MODEM - In itself, as a name invented for a band, it's significant. MO comes from "MOdulazione." DEM comes from ''DEModulazione'', logical functions in analog and digital transmissions. And the signal that the Bologna duo AMIN-PECK want to give us is that "Your Fun" and "Valerie" contain artistic and musical information, especially avant-garde, created in an electronic style with strong new wave tendencies, but absolutely ahead of its time. Among the Italian discos of end 70s that represented a cultural phenomenon that has remained in the collective imagination, ''Picchio Rosso'' stands out. Besides serving as an entertainment venue for thousands of young people, it served as a bridge between DJs and many talented young musicians. The discotheque was the laboratory for 4 Italo-Disco productions, all recorded at the Amin-Peck studios in Bologna, under the direction of Giancarlo Meo, who, after the successes of Easy Going and Vivien Vee and other Claudio Simonetti productions such as Capricorn and Kasso, enjoyed great esteem and prestige. This is how excellent Italo-Disco songs like "Another Song" by Music Service, "Eve of Destruction" by Vivien Vee, "Boogaboo" by The Jugglers, and "Running Straight" by Amin-Peck were born, the latter being the true musical architects of Peecker Melody, including the one-off project MODEM.. What can be said about "Your Fun" and the instrumental "Valerie"? Simple, slightly hypnotic, wellconstructed, and catchy songs. Just as the two songs were mixed by various Picchio Rosso DJs of the time--Luca Zanarini and Silver were the most legendary--Best Record has reissued them, with the same cover designed by Leonard Parker and featuring Claude Gorial, the man who 40 years ago designed the original cover and the current reissue. Same names, same success !!!"

Allen Jovonn Armstrong, active for over 35 years and still amazes. Fresh 4 tracker of stomping NY breed house with a small nod to our hometown...

A delve into the murky avenues of sonic territories, exploring off-grid zones & askew worlds – Daisy Moon leans harder into her 4/4 vision in this dancefloor-ready EP – the first release for Off-Kilter.

Each track pulses along to its own singular logic, with Daisy’s distinctive voice and vocal manipulations playfully drizzled throughout, marking an elegant collision of her sonic worlds.

Spirit Princess is a breakneck peak-time explosion – club-ready and bouncy with a pulsing bassline fit to burst from the subs of any system underpinning waves of textured ambience, nagging synths and granular gusts of found sound.

Fuelled with late night techno energy, Grain Pip offers a heads down counterpoint to the title track, while the B side serves up different energies again. Perhaps the most playful track on the record – The Stuff – demonstrates Daisy’s cheekier side as a producer and person, as inspired by a summer of fun with friends on festival dancefloors: a house banger stuffed with melodic stabs, pitched vocals and swung hats, made for the joys and follies of the 3am dancefloor. Drop Cycle rounds things off with a trippy, rolling excursion of delays and warped synths.

Dizzying sonics and relentless dancefloor energy with razor-sharp precision and uncompromising force.

If there is one thing that WAX RDM loves to do, it is split, they love splitting bills, middle splits, banana splits and most of all a good old split EP, and they made sure to deliver on their first one. Not only is he responsible for saving the Netherlands from becoming an aquatic civilisation, the land creature known as Deltaplan also claimed the whole A side for his boombastic electrofied vinyl only rendition of Sexual Seduction, which could get any dance floor drenched in dripping sweat. The Hague city's APK Boys have split the split in 2 on side B. If Flipper was a fun loving dolphin who always dreamt of moving to The Hague City, this is what he would sound like, hard hitting, just a tad frustrated and ready to snap at any moment. Yes Yes finishes of the split with a sure-shot Electro heater which will take your mind into a dreamlike state, thinking of ways to make Flippers dreams come true. And if you think things couldn't get any better, APK provided us with a 3rd digital only track for good measure. Stay dry and keep swimming.

Sound Dome and Delorean met through friends and instantly connected over theirshared passion for music. What started as a playful experiment without expectationsquickly turned into something serious: they crafted two personal takes on “Sonic Xpression” and each added a unique trackwith “Missed Timeline” and “Expedition”, shaping the EP’s vibe. The outcome is an EP that captures that point where explorationbecomes Identity into a sound that’s fresh, dynamic, and entirely their own.

Suicide AFTR 7 moves deeper into the shadows on this release, stripping things back while letting the groove hit harder. Built on pumping 808s, restless synth lines, and a subtle acid pulse, the project blends electro, cold wave, and leftfield instincts into something leaner and more focused than earlier records. There’s a proto-80s spirit running through it: raw, tactile, and slightly unpolished, where tension lives in the negative space and repetition becomes hypnotic rather than obvious.

For the first time, real bass guitar and drums enter the picture, adding human weight beneath the electronics without diluting Suicide AFTR 7’s core identity. The result feels rawer, more intimate, and quietly confrontational. Music for late nights, dim rooms, and inward motion. Still unmistakably SA7, but closer to the bone.

Tripmode made a superb start to life with its first EP and is now back with more goodness, this time from family member Daniele Temperilli. We're told he is inspired by 'love, freedom and matured childishness' and he brings some big bass and bouncy minimal house to this 12". 'Beatback Haze' is tight and clipped in its tech funk, then 'Peace What?!' Brings more low-swinging drums and a prying bassline topped with big hits and warped pads. 'BeesTreb' taps into a darker vibe with gritty drum textures and more rapping, farting bass that's perfect for a darkened room. Last of all is 'Pachyderm', which bounces and swings, with macho drums but a sense of lithe energy that keeps you on your toes.

Naya Beat is excited to announce 'PAWA!', a soaring disco-funk anthem celebrating feminism and the power (pawa) of togetherness. It is a mouthwatering collaboration between legendary jazz vocalist and disco pioneer Asha Puthli and NYC’s punk-chic, discodelic stars Say She She.

A fortuitous and fleeting window between touring schedules allowed Puthli and Say She She’s Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik to write and record Pawa! with members of the cult funk band Orgone in the English countryside at Mike Oldfield’s (Tubular Bells) studio. Pawa! is a tribute to female fortitude and an anthemic call to action for unity and collective action. PAWA TO THE PEOPLE! Asha’s spoken word bursts into a soaring falsetto while Say She She’s celestial three-part harmonies make for a sublime call and response between the fabled mentor and her gifted disciples. Throw in a stellar bassline and one of tightest rhythm sections around, and you have an instant classic. And if that wasn’t enough, four remixes bring Pawa to the dancefloor! The UK’s legendary Crazy P deliver not one, but three future classics – an epic house take with a stomping bassline, a stripped-down vocal dub, and a sunshine-ready disco dub. Not to be outdone, Greece’s favourite dance duo Boys’ Shorts add magical disco touches and reimagine the original as an eight-minute balearic opus.

Featuring beautiful artwork and a premium poly-lined inner sleeve, the 12" has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.