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Across the cosmic boundaries via spiritual exploration and in the void between shimmer and shadow you will find the astral soundscapes of Birds Of Pandaemonium...

Emerging from Brooklyn's late-night music ecosystem, 'Hazy James' Armstrong and Tim Wagner met nearly 20 years ago through the city's DJ and club scene. Each with different but complementary musical backgrounds which included a mix of folk, guitar, DJing, synths, drum machines, country rock, disco, jazz, and rhythm-heavy club music (being just a few!), the duo began various musical endeavours together & "exploring the darkness while pursuing light" which eventually lead to the birth of Birds Of Pandaemonium.

It was only a matter of time that the stars aligned (via an introduction from Shane Watson of Causeway) to bring the Birds onto the musical radar at Sprechen which led to the release of 3 renowned E.Ps and ultimately, their debut album, Eudaemonia. Obscure covers including Idris Muhammed's Loft classic 'Could Heaven Ever Be Like This', the rave defining Born Slippy by Underworld and the post punk/new wave 'On Islands' by New Musik sit alongside original songs shaped by fresh reflections on life, grief, and love with elements of dream pop, shoe-gaze & gothic pop to give wistful and pulse-driven listening experience that is hazy, romantic, and deliberately genre-blurring.

A truly unique listening experience that delivers broad strokes of sunsetting psychedelia and bleary-eyed optimistic, astral dream-pop across all 8 tracks.

Is it balearic? Not really, it's pretty much a genre all on its own (answers on a postcard).

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Never Sleep charity spins through The City of Big Shoulders via Butlins Minehead for an electric live recording and history lesson.

Certified foe nem DJ Funk forecasts disorder with a retrospective of Booty, Ghetto and Club.. A mission statement featuring anthemic discography, lauded signature quotables and the rawest of machine funk.

Synergising live 909, 303 and 808 alongside an encyclopedic knowledge of genres that he practically invented, the mix moves at breakneck speed and does not relent for one minute. Funk keeps the crowd sweating and reminds them on the mic that this party is for now and forever. A non stop roller rink of hit after hit and delivered with such panache it would make anyone's Aunt start weighing up the dancefloor.

DJ Funk is known worldwide for his contribution to Dance musics diaspora and remains a huge influence on that the freedom of expressionism isn't to be curtailed

All proceeds go to DJ Funks family as this recording is released posthumously.

Four transmissions tuned somewhere between deep-psy, tribal techno and spatial ambience. Built for late-night systems and inward journeys, moving through dense sonic textures, low-end pressure and evolving atmospheres.

“Contact” drops you straight into the wormhole: driving techno architecture fused with goa-leaning psychedelia. Layered percussive detail and richly sculpted atmospheres spiral around a hypnotic groove designed for locked eyes and smoke-filled rooms at unreasonable hours.

“Lifeforms” operates with an organic sense of motion. Its groove stretches and contracts like a living system, driven by a supple bassline and rhythmic interplay that feels ritualistic rather than mechanical. Resonant synth work and texture mutates across the stereo field like microscopic organisms coming into focus.

“Deepfield” unfolds within deep psy-trance territory, shaped with restraint and intention. Shimmering harmonics move through a saturated haze into a slow-burning progression that carries a faint melancholy woven through a slowly evolving tonal structure. Meditative yet still built to pull bodies forward.

“Neurobloom” dissolves the propulsion into an evolving ambient soundscape. Ethnic-inflected motifs drift through blooming synth layers, crystalline atmospheres, and gradually unfolding sonic nuances. A controlled descent in that liminal zone where audio starts functioning as a living environment.

Fall Collection pulls from the vaults. Four tracks, some long out of print, one never
before pressed, all of them worth the dig.

The A-side opens with Ty Tek’s Dirty Fusion, originally released on Gourmet Recordings
in 2005 alongside the Audio Soul Project remix two years later. Both have been
fetching serious money on the secondary market for a reason. This is tech house from
when that phrase still meant something, the walloping cadence, the sci-fi pads, the
seismic synths rolling underneath. You hear it once and it stays with you.

Departed by Wasted Chicago Youth follows. Justin Aulis Long and Mazi Namvar
started from a remix brief and promptly ignored it, building something new from scratch
in a single session. Organs, wailing lead, disco break, 808 subs, a plastic bass line
threading through all of it. Somewhere between an angry Metro Area and a more
psychedelic Jitwam, but really it’s just WCY doing what they do.

Love Thy Enemy by Wasted Chicago Youth appeared on the Chase The Devil EP back
in 2009. The bubbles, shuffles, and wobbling chords hold up, and the vocal samples hit
differently now than they did then.

ASP’s Cloud Dub closes the record. It appeared on Dubs Vol. 2 as a digital release in
2022 and has never been on vinyl, and that’s where the subsonic acid bass line and
the layered string, piano, pad, and organ groove finally get room to breathe. Deep
house the way Chicago made it in the early nineties. Bare, musical, and raw.

Track A1 written by Ty Tek. Remixed by Audio Soul Project
Track A2 written by Justin Aulis Long and Maziar Namvar
Track B1 written by Justin Aulis Long and Mazi Namvar
Track B2 written by Audio Soul Project.
Copyright Control
Fresh Meat Records 2026

“Bajka” is a Slovenian word for a folk tale stories shaped by unusual events and imagination. The label launches with a trilogy titled Zybelka, starting with its first chapter, Zybelka 1.

Based in Slovenia, Bayka brings together local artists Devai and Tzena, alongside international support from Marcus Holder and Hustache.

A new chapter in underground house and visual artistry, rooted in Slovenia.

As intended from the start, Acid for the Grandma moves without a fixed direction. No clear starting point — just a path taking shape along the way.

No common ground, except the need to keep making music: instinctive, personal, at times compulsive. Each track stands as a standalone fragment, driven by the same impulse — turning tension into sound.

Raw cuts for the record.

J.S. ZEITER comes through heavy on Accelerate EP, four cuts built for deep pressure and late-night motion. Raw grooves, sharp textures, no filler — just straight underground energy from start to finish. A serious weapon for heads into stripped-back, hypnotic techno.

Lityk deivers 4 tunes for a complete travel.
Starting with a freebreak tune that turn 4/4 banging in a old school Okupe style...
Then comes a pure Pumpin booster.

The flip opens with a cheezy pumpin teknoDub old school tune, pure tribounette :)
Last track is a revendicative hardfloor banger !

Wicked open minded sounds !

Crafting another beautiful experience in sensorial delight, fleet.dreams returns to Vinezza with the label’s 3rd offering “A Voice Without Color” - born from an ever-deepening practice of groove-powered depth tech melded with realms of dubwise kineticism, enchanted cognition, and expressive, dreamlike synthesis.

“A Voice Without Color” finds fleet.dreams’ music in its most rave-activated mode yet, crafting 4 pieces of infinitely mixable spectral matter - all part of their own universe beckoning to be heard under the glow of stars in the night sky, or floating amidst the mesmerizing fog & lights pumping out of the system on your favorite dancefloor.

Awash in kaleidoscopic splendor and psychedelic intrigue, “A Voice Without Color” finds kinship in everything from the best of expansive dancefloor kineticism, time dilated wonder, and the vivid reverbations of the natural world floating in the mix. At once quintessential, contemporary, and ubiquitous is fleet.dreams’ own remarkable production technique, each track unfurling in seemingly endless swells of simmering rhythm and hypnotizing atmospherics - new memories of circadian entrancement in their molten essence, designed to blissfully guide you deeper and deeper towards the primordial exhilaration of movement. Undulating with vivid pulsations and clarion calls for the hips and mind echoing across a spiraling gyre, the sprawling waltz of “A Voice Without Color” glides through dazzling chroma and effulgent radiance greater than the sum of its parts.

Painting with bold, prismatic strokes of iridescent friction amidst the listless gray of our increasingly dispassionate timeline, fleet.dreams delivers another EP of style, substance, and vision for the dancers and DJs alike - a future classic of a possible world ready to be activated together.

*words by Kiernan Laveaux

Early support from: Kiernan Laveaux, Daniel Rincón (NAP), Scott Zacharias & Amelia Holt

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.

Two Thou’s Oraculu releases a full length spiritual electronics LP with tubaredefining Theon Cross, homeboy Taymour Khajah, soulful presence of D’Monk
and Division81 vibe designer Sonny Daze. The sun-inspired record sets a high
energy moment for Oraculu, blurring all the lines between the dancefloor, the
horns, Berlin, London, Chicago, and Sardinia. This record is about change. I’ve
started to be less interested in the fire of the sun, the explosion, the heat. The
consistency, the orbit, the return got my full attention. Until it clicked, that
repetition is a fundamental aspect of change.

2026 Repress

Bruno + Bruno = Dynamic Forces and are back on the Dolly TS series with their new EP Metal Space! Metal it is and in space we fly with these 4 sinister, visceral, floor-shaking smashers. Yet another great selection of stark rhythms and brooding atmospheres, designed for the nocturnal gravity of the warehouse straight from the Italian techno soil!!!

The A-side delivers two sublime cuts drenched in that
unmistakable Italo-Balearic magic. Warm chords, sun-kissed
melodies and effortless grooves transport you straight back to
the golden days of mid-'90s Italian house music. Eyes closed,
you're cruising along the Riviera with the top down, lost in
pure bliss.
Flip it over and the mood shifts firmly toward the dancefloor.
The B-side explores deeper territory, moving through a range
of shades while keeping things locked into a tough, clubfocused framework. There's a distinct New York stomp running
through these tracks—driving, hypnotic and full of attitude—
yet they never lose the emotional depth and musicality that
have become a Westcoast Goddess trademark.
Just when you think the journey is complete, the EP saves its
ace for last. Closing things out is a hypnotic funk groove built
around silky Rhodes, a tight rhythm section and an iconic
bassline—a fitting finale that leaves a lasting impression.
A seriously strong package from start to finish, and another
essential chapter in the ever-expanding world of D3 Elements.

2026 Repress

SHDW presents 'Federation Of Rytm IV': a bumper 30-track collection spanning the past, present, and future of techno.

Offering powerful standalone club cuts and a cohesive deep-dive, the expansive VA lands on 24th October 2025.

The fourth edition of SHDW's flagship 'Federation Of Rytm' VA series has been carefully curated by the DJ/ producer and head honcho over more than a year, with close attention to detail given to sequencing. It is a balance of label regulars and debutants that represents the past, present, and future, both sonically and through the generational diversity of the artists involved. There are plenty of surprises along the way while always remaining true to the Mutual Rytm ethos and reflecting the journey of the night from start to finish, whether that's in intimate, sweaty clubs or on big festival stages.

Across 30 tracks in the digital collection and 24 on four sides of wax, the release explores the full breadth of the Mutual Rytm sound. Driving grooves and relentless percussion set the pace, gradually unfolding into hypnotic and atmospheric passages that invite deeper immersion. Pulsating low-end power alternates with eerie minimalism, while bursts of futuristic energy and cavernous kick drums keep the tension high. Elsewhere, dub textures and moments of introspection provide balance, creating a narrative arc that moves fluidly between intensity and release, atmosphere and tension, darkness and light.

Hazy, unhurried ambient escape Hidden Hour feels less like an album and more like a collection of small, deliberate pauses from Los Angeles-based Cynthia Bernard. The 18 tracks add up to an album exactly an hour long, and each one is tied to a specific place, be that a bridge, a mountaintop in Los Padres, a friend's tea hut in Mendocino, and you can hear that groundedness in every choice, from glockenspiel to piccolo guitar to lap steel. Collaborations with Liom and Dimming blend in seamlessly to Marine Eyes' first solo release on her own label, Cloud Collecting, and it carries the mark of someone able to soundtrack stillness with real beauty.

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

Balvanera is the project of Agustina Vizcarra and Lucas Palavecino from Buenos Aires, Argentina.

Since 2016, the duo has been building a sonic narrative that moves between the corporeal and the spectral, exploring waves and minimal synth as well as more intense and rhythmic directions closer to Body music, all while sharing the stage with artists such as Clan of Xymox, Boy Harsher, Die Selektion, Kontravoid, NNHMN and Ashcode.

New album Hasta tocar el fondo vacío del lenguaje arrives as an attempt to push expression to the limit, focused on language and sound as expressive forms.
With all tracks sung in Spanish, the album is a declaration of identity and at the same time an exercise with Spanish itself: how to play with a language that sometimes feels baroque and turn it into something stark while retaining its richness. Musically direct, the album occasionally returns to some minimalism reminiscent of the band’s early releases while preserving the intensity and club-oriented feel of their later work. At times intensifying in speed, the record brings the energy of their live performances to visibility, while other tracks feel like an unsettlingly dreamlike atmosphere. The title – meaning Until Touching the Empty Bottom of Language – borrowed from a fragment of Arturo Carrera’s poem Escrito con un nictógrafo, offers a clue to Balvanera’s nocturnal sensibility: those thoughts and images that can only emerge in the sleepless hours of the night, when they reach their most revealing edge.

Hasta tocar el fondo vacío del lenguajen explores death as something hidden within language while allowing each track to find its own form rather than adhering to genre conventions.

Split released with DKA. Out October 1st, 2026 on aquamarine vinyl LP limited to 500 with lyrics insert.

Label boss Alessio Collina is finally here with his first E.P on the limited series! “Shades of me E.P” is one of the most personal work he ever made until now because it touches different styles of House, rooted always from the same school. We start from the A side where we find “Bloom in the garage” as first track: Old-school groove, fat bassline, dirty drums and some Garage stabs with the hot swing by MPC1000. The second track is “Back to the real”: a sexy, mental Deep/Tribal tune which can be fit in a warm up set or during an intimate Afterhour. In the B side we have “Spring Equinox”, a Techy roller with an absolute killer bassline, some dreamy melodies and a dynamic stab: dancefloor weapon. We close the record with “The Party” on the B2, which sounds like an old dark Chicago House record but revisited in an alternative way.

Nu Vision is a modern salon for visionary leaders, fighting for their art, standing by truths, defending voices, honoring progenitors, whilst pushing forwards towards a new paradigm. The band all have their own stories and extensive discographies, records released on labels you might know, gigs played in places you might have attended but none of that matters. This is a new beginning. A group. A collective.A movement. Nu Vision is a band in the classic do-you-believe-in-alchemy sense. Equal parts rhythm, damage, and deep feeling. Their friends at DFA noted that the album “sounds like Depeche Mode scoring a Michael Mann montage: brooding,motorik, and shot through with black-and-blue beauty.” this idea is taken further in the first video from the album for track one / side one “Time” that launches the project publically along with the albums announcement. The palette of ‘The Seed’ is defined and refined in the best way. It’s an album that opens up many pathways. Brisker, freakier tracks like “Shadow In The Dark,” “R U Serious?” and “Humanity” run towards a softer finish with “Somedays” and the seven-minute, eyeliner-smearing closing ballad, “Lullaby Garden.” These are proper songs made with vintage machines, with a sound that carries obvious influences. ’ The Seed’ pulses forward as the body of the beast is turned inside out, wearing a beating heart on its sleeve, honoring those who left us too soon - DAF’s Gabi Delgado, Nitzer Ebb’s Douglas McCarthy, Depeche Mode’s Andrew Fletcher, and Sandwell District’s Juan Mendez. It’s important to note the emotional core of ‘The Seed’ album is the song ‘Synchronicity’ that is filled with both love and regret, the story of losing a friend without properly making amends. It is unquestionably heartbreaking, but is also delivered with a pang of hope, the feeling that with so many sunrises caught, so many additions and subtractions in life, a perspective has been gained. This is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A New Vision

Ruminant Records looks back at the corners of American rave music that lived on the dancefloor, in record bags, and in local clubs. Dwelling on music from the past and bringing it into the present, the label is as much about where these records can go now as where they come from.

For its first release, Ruminant celebrates the music of the late DJ Dic on the North Carolinian Hoodwink Records imprint. Filled with the untamed possibilities of the early breaks scene, the tracks’ playfulness, color, and ecstasy mix easily onto the dance floors of the present.

The A-side starts with DJ Dic’s “All A Dream,” blurring the lines between breaks and machine funk. Continually shifting and coming into focus, a narcotic vocal repeats “do you remember, I thought you were there” before the track takes a turn for the liquid, opening into something symphonic, cinematic and joyous. Just as it seems to have reached transcendent bliss, the vocal returns whispering in your ear and lulling you into euphoria.

It’s met with a new remix from Kyoto’s Stones Taro, who pulls the track around a feverish refrain and driving break, its pulsating regularity tightening the original into something dizzying, immediate, and built for the club.

If the A-side is exuberant, the B-side begins with a warning. “Hypnotize” is disciplined, tight and hard, its rhythmic coolness slowly sucking you into a vacuum without space or time. The listener is lost, but willingly so for the seduction is the point. Hypnotize indeed.

The Johnny Cage Procrastination Mix takes those same threatening undertones and lets some air back in, filling the space with bounce, drips and a playful silliness. Synth-laden and fun without losing the original’s edge, it brings some of the A-side’s exuberance back around and closes the record where it began.

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

2026 Repress

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

After Caposile, at the peak of his growth, now consacrate as one of the most sought and removed clubs in the Italian and world undergoing circuit, is back to release high level music, returning to pressing on vinyl in its acclaimed label the second volume of “The Sound of Garden”.

Spring 2024 deserved a release made by an exceptional cast, it will be always divided in to parts, both 12”, and it will include an incredible team of artists led by the visionary and immortal master Alex Neri, the local phenomenon known for his productions in Slow Life and Altered Circuits: Paolo Mosca, our family members and residents Twineffect and Maggio, the duo Francesco Maddalena and Manuel De Lorenzi, Lee Burton, Jamahr, Franko Lopez and Matteo Point.

A perfect mix of artists who strongly believe in the club and in what we transmit as an experience to live, these tracks are explosiveness, elegance, magnetism, each with a different facet of house music: progressive, balearic, electro, acid, this double vinyl contains everything that the dancefloor requires and it is a transposition into music of the current vibe that can be felt at After Caposile’s garden.

The first volume begins with the mastery of the multifaceted and always prolific artist Alex Neri who never makes a mistake, and even after years continues to release masterpieces, like this one: "H-Arp Odyssey", which already from the title we can imagine as an instrument takes the lead in the construction of the piece, a rush of adrenaline that immediately makes it clear what awaits us.

“Unreleased”, the track by Francesco Maddalena and Manuel De Lorenzi, is a clear representation of their way of playing that characterizes them and brings them together, and that always makes us dance, a direct groove, old school, tech-house in its most pure.

If the first two tracks get straight to the point, in side B we start with a bang with Paolo Mosca and his "Landscape", where with a maniacal arrangement, worthy of his now established name as a producer, he teleports us into a progressive world of the 90s, in Balearic style where floating pads, organs, melodies and sequenced vocals are linked to the complex and rhythmic percussive groove and the more aggressive synths.

Thus the first chapter ends with "Visions Of Disco" by Twineffect, a track where a more direct house part elegantly contrasts, which presupposes the more dance part of the piece, to then take you and envelop you in a long drop made up of a main piano and vocals that are perfect for a truly exciting moment to experience on the track.

After Caposile thus confirms itself once again in constant evolution, with an output full of new talents and sacred monsters and a European tour that continues to expand their party concept in the most important clubbing realities and the biggest festivals.

Both the first and second volumes will be released this May, ready to bring us a breath of joy and madness this summer.

Around seven years ago I became a father and that changed my life. E Dee has always been about my son Carlo’s world seen through my eyes, and this third and final chapter closes the series as he is now seven years old and about to start his second year of primary school.

As with the previous volumes, all the titles come from our family’s own little dictionary. “Cazia” is the name used to call his mother, while “Wager” and “Illu” are two nicknames invented by his sister Camilla for Carlo.

Words that once belonged to a child’s private language have stayed with us over the years. E Dee Vol. 3 is the last chapter of that small family archive.

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.

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

A heavy, club-focused tribute vinyl. The MONOLOG mixes lead with live instrumentation, shifting from sultry-house "BUTTER' to heavy Afrobeat "STARTIN". The flip features a peak-time powerhouse "WHO'S BAD" and the techno weapon "MIRROR". Built for the selector's essential crates.

Digital here...

After a couple of years building WREKT in Ipswich, it feels like the right time to take things a step further.

Tom from Red Eye Records and I started WREKT to bring artists we love to Ipswich, alongside some of the best local DJs and MCs. So far we’ve had Grooverider, Bryan G, Fabio, Storm, Sully, MC Blackeye and YT, with Jumpin Jack Frost and MC Moose up next.

Now WREKT is becoming a label.

For the first release, I’ve teamed up with Coco Bryce for four jungle tracks covering different tempos and flavours. We called the project CBD — Coco Bryce & Digital. It was too good not to use!

WREKT started with the nights, and turning it into a label feels like the natural next step for Tom and me. We couldn’t think of a better way to kick it off than this release with Coco.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

ATA00BS will be released in a Number Stamped Edition, with Full Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

'Keep it simple' 103636;"Reissue- Tracklist A1. Unknown A2. Pain Is Full B1. Damaged Memory B2. Damaged Memory ( Iori Remix ) Shortinfo: Roberto Bosco has selected Kiny's music to better prepare his first 12, consisting of four tracks, named 'Damaged Memory'.The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visonary component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this helps to shape a bad presage that fades away into the mystery. On the same side we find Pain Is Full (A2) that, according to the producer, was born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival. The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks. The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori, Damaged Memory (B2), on the same side.

Hector Ram and Ricky Ramirez are starting to celebrate ten years of Short Attention Records and it's US house stalwart DJ Aakmael they've enlisted to pop the champagne cork and cut the cake. He's one of those artists who turns out plenty of music, much of it sounding within the same consistent deep house framework. But there's always a little something to his tunes that keeps you coming back for more - a perfectly chosen sample, a nagging bassline, a sense of melancholy that you cannot escape. All of that is true on his latest. 'Things Always Happen' has keys that convey beautiful pain, then 'If You Believe' is a deep house haze with smudgy samples and blues-y ache. 'Free' is more light with trilling jazz-funk keys and earthy guitar frets sprinkled into the mix. 'Stopmotion' shuts down with a signature Aakmael bump. Just timeless stuff.

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.

With 'The Electro Guilde III EP' Zodiak Commune Records once again presents a selection of well-known and label-recurring electro-acid producers who take you on their various adventurous musical journeys.

'Collateral Funk' is a one shot live recording funky acid Electro track by Acidulant and inspired by the likes of Dynamix II

'We Will Survive' by Dima Gastroler is a fantasy about robots fighting for their rights in the future world of global robotisation. Dynamic electro and psychedelic pads make it sound like that battle. We will survive!

Step into the world of pozek with 'EPT', a 128 BPM electro-acid tune that takes inspiration from 80s toys like Speak & Spell and classic old-school electro. The track weaves quirky, retro acid lines with driving electro beats, creating a perfect fusion of nostalgia and futuristic energy.

When johnfaustus start an electro track for Zodiak commune Records, he always have in mind the journey of a spaceship to the edge of a dark galaxy. No exception with 'Oberon', syncopated rhythms, abrasive basslines and a dark spacy theme

Although best-known these days for serving up blissful Balearic beats, Chris Coco's Coco, Steel & Lovebomb project started life as a platform for his early 90s house productions. Pleasingly, the veteran British producer is now making house again, in this instance in cahoots with long-serving Italian artist DJ Rocca. On side A, they both deliver their own pass on 'Echoes In My Mind', with Rocca's fluid, warm and organic Italian dream house-meets-Balearic house pass being followed by Coco's hybrid deep house/nu-disco take. They jointly explore their love of African musical culture on languid, hazy and mid-tempo B-side 'Mama Sol Mama Africa', where fluttering flutes, warm Rhodes keys and layered percussion catch the ear. That comes backed with a lovely alternative 'dub' full of effects-laden musical details and ear-catching percussion hits.