quête:stripped

Bonafique return to Crosstown Rebels with ‘Terapia’, featuring Yuvèe and a standout remix from Josh Baker.

Out on 5th June 2026, the duo delivers a hypnotic release remixed by one of the most in-demand names in modern house music. Following their debut appearance on the label’s ‘SPIRITS VII’ compilation in 2025, Bonafique return to Damian Lazarus’ Crosstown Rebels imprint with a fully realised statement in the form of their ‘Terapia’ EP. With an instinct-driven studio process and emotionally charged sound, the duo continues to refine a style rooted in hypnotic groove, stripped-back club energy, and warped, psychedelic textures - perfectly exemplified across both solo and collaborative offerings here.

Lead cut ‘Profill’, crafted alongside previous collaborator and close friend Yuvèe, travels through tightly coiled rhythmic tension and driving low-end pressure, balancing intensity with restraint in a way that feels raw yet deliberate. Yuvèe’s background informs the track’s direction, bringing a sense of musical discipline that bridges composition and club functionality, adding an understated yet vital layer to Bonafi que’s vision.

On remix duties, You&Me boss Josh Baker makes a notable Crosstown Rebels debut, stepping in as one of the most in-demand figures in contemporary house music. His reinterpretation reshapes the original into a sharp peak-time weapon, injecting spiralling melodies and controlled pressure while retaining its hypnotic core. Closing the release, title track ‘Terapia’ offers Bonafique’s solo excursion of the EP and strips things back into deeper territory, unfolding through atmospheric layers and evolving rhythmic detail to off er a more introspective counterpart to the energy of ‘Profill’.

A1. – Itch & Scratch 5.32

Smoove puts the spotlight firmly on the larger-than-life vocals of Rufus Thomas, peeling things back to reveal hard-hitting breakbeat drums from the very first bar, anchored by a relentless, pounding bassline. Punchy brass stabs and rolling keys collide with dirty funk guitar riffs, all stretched out into an extended rework built for maximum floor impact.

A.2 Bouncy Lady 5.06

A classic jazz-funk break from 1975 gets a fresh twist as Smoove reworks the structure into a groovy, extended build-up. Vocal chants and handclaps take the lead, while the original sax solo is stripped away and replaced by a raw bass-and-guitar workout. The focus shifts squarely to the rhythm section, letting the drums ride all the way to the finish—ending with the studio engineer’s off-mic murmur on the tape: “beautiful.”

B1. – For The Love Of You 6.57


The Isley Brothers classic gets a loving reworking, with the groove locked in tight and the keyboards pushed front and centre letting the drums and bass drive home the groove. Those iconic falsetto vocals are spine-tingling, from start to finish.

B.2– I’m Trying 4.48

Lush, soulful strings and a deep-groove piano line glide over this drum-driven reinterpretation, opening up the raw, emotive vocal breakdowns of Carla Thomas and Pervis Staples. Originally scored by Isaac Hayes, this rework digs deep into the multitracks, uncovering previously unheard moments and giving them room to breathe.

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

M-Plant's Perpetual Masters series continues throughout 2026 with Robert Hood's "Spectra" EP up next. Remastered once again by legendary German producer, Thomas Heckmann, the individual tracks have been dropping digitally through April and are now followed by a full vinyl release in June.

Robert Hood's "Spectra" EP, originally released in 2001, stands as a defining example of his stripped-back, conceptual approach to techno. It sees Robert Hood operating at his most stripped-down and hypnotic, built from tightly looped drum patterns and shadowy synth fragments that slowly evolve. Hood's precision is evident in every detail, as he balances repetition with crisp percussion and a tightly controlled groove.

More deep, immersive and hard-hitting minimal techno from the master.

NOSUCHKEY makes a bold debut on the Art of Memory label with a deadly four track EP of masterfully reduced but stylish and evocative minimal techno. NOSUCHKEY is actually a side project from Nico Purman. He served up the first two releases on the label and this new alias is focused on straight forward techno. Over more than a decade Purman has established himself on Vakant, Crosstown Rebels and Curle, and now heads in an exciting new direction designed to make a huge impact on the floor. Opener 'Stages' is post minimal techno with a focus on mind melting melodic riffs that ripple over the rooted drums. It is sci-fi in style with a hint of Detroit greats like Jeff Mills and really takes you into the future. The excellent 'FMFMFM' is another fluid bit of deep techno that is wired up with languid synths constantly wrapping and warping round the drums. Keeping up the pressure is 'Lunch', with a stripped back but impactful techno style built on rubbery kicks and with modulated synth lines constantly shapeshifting throughout the mix. Direct but dynamic, it is excellently timeless techno that leads on to closer 'ACD RDFN'. There is urgency, paranoia and cyber tension in this one that really keeps you locked as it journeys deep into a blackened yet cinematic cosmic abyss. NOSUCHKEY is a false address, a lack of a word, a character or sign that makes a whole code unable to find its final path: The Specified Key does not exist.

Unncecessary is the first EP released on his own label by Nocturnerror, extremely appreciated by the Bass scene led by Zuli, who many times has played his tracks in Web Radios such as NTS, Rinse FM, etc..

“Unnecessary" is the title of the second release on A Flooded Need. Previously tangled in the most slippery meanders of electronic music with strong punk and wave reminiscences, 1/2 of Hyperlacrimae alongside 11xxx27, Nocturnerror approaches this work in a totally different way. The six tracks of the EP, in fact, represent a melting pot of hybrid influences between audacious bass music, cinematic and cacophonic IDM, totally deconstructed techno - stripped of its dance component - and dirty rave jungle.”
Insert — Web zine

Over a decade has passed since this 12" was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters while focusing on enriching every finite detail. While listening to these remasters you can feel the analog warmth of the original tape recordings, with a low end rumble in a way only POLE could pull off! On the A side we have cv313's classic "Lost Sequence" culled from the celebrated Japan exclusive "live" double CD album released back in 2009. On the B side there's a rare live version performed by intrusion at a loft event put on by the good folks over @ Little White Earbuds. This rare recording was reduced and stripped down, core traces of the original swim inside oceanic bass and modulated high end frequencies creating an atmosphere all of its own. This is one for the heads and a true lesson in space and bass!

TRANSMISSIONS #1 connects four distinct Skylax signals into a single flow. Each track comes from a precise moment, a specific context, and a clear dancefloor function. Together, they form a transmission built on movement, use and continuity. A1. F.T.G – Tribute ’89 (Fuckthegovernment #001 Mix) is a raw drum-machine workout positioned between dark Chicago house and late-’89 European techno. Stripped, direct and uncompromising, Tribute ’89 quickly became an underground staple, heavily played by Ricardo Villalobos and Raresh — a foundational Skylax signal. A2. Nick Beringer – 57th Corner, taken from Second Floor (Wax Classic, 2016), is a tech-leaning deep house cut marked by restraint, precision and late-night tension, capturing Beringer at a pivotal point in his long-standing relationship with Skylax. B1. Floorfillers – Love Is Growing delivers a powerful house-disco statement rooted in old-school foundations, where filtered disco loops, raw drum programming and uplifting swing echo the lineage of DJ Sneak, Paul Johnson, early Roulé / Crydamoure-era French touch and classic Chicago jack — a modern floor-driver with timeless intent. B2. Nicolas Aftalion – Rue des Wallons brings deep, soulful house with a strong Kerri Chandler influence; warm chords, chunky drums and emotional weight firmly grounded in early ’90s US garage tradition. Supported by Cinthie, it closes the transmission with groove, balance and purpose. TRANSMISSIONS #1 — built to move, built to last, signals in motion. Four tracks. Four signals. Still moving.

In the evolving landscape of modern Southern hip-hop, the pairing of Starlito and Bandplay stands out as a unique bridge between street-level authenticity and refined, calculated musicality. Their collaborative project, Not The Country You Know, functions less like a standard release and more as a manifesto—a masterclass in the chemistry between a seasoned, introspective lyricist and a producer who possesses an intuitive grasp of the region's pulse. It is an exploration of legacy and adaptation, capturing the tension between where they came from and where the culture is currently headed.

Bandplay, long recognized for sculpting the sonic identity of Memphis icons, brings his signature, trunk-rattling 808s to the project, yet he manages to pivot here. The production feels remarkably expansive, masterfully blending the raw, stripped-back aesthetics of classic Tennessee rap with forward-thinking textures that refuse to be confined to a single sub-genre. Complementing this, Starlito operates with his trademark mix of cynical observation and genuine vulnerability. He navigates these beats with the weary grace of an artist who has weathered the music industry's relentless cycles, treating every bar like a necessary piece of a larger, ongoing story.

The album’s title serves as a direct commentary on these shifting tides. Across the tracklist, the duo investigates the growing disparity between the romanticized South and the cold realities of the streets, alongside the inevitable evolution of the music business itself. There is no frantic chasing of streaming-era trends or algorithmic bait here; instead, the project remains a stubborn, confident assertion of artistic identity. By weaving together Starlito’s "voice-of-reason" flow and Bandplay’s evolving, genre-bending sound, Not The Country You Know challenges the listener to abandon their preconceived notions of the region, offering instead a complex, urgent vision of a South that is as haunting as it is vibrant.

Unheard Music returns with its second release, delivering a hypnotic and club-driven Tech House package by Malandra Jr. and pizzaaftersex.
Built around the infectious pull of Your Retreat, this EP captures that late-night tension where groove, atmosphere, and repetition lock into one fluid movement. The original mix sets the tone with a stripped yet emotionally charged framework, balancing rolling percussion, subtle pressure, and a strong sense of floor-focused depth.

(*Previously unreleased)

Two lost cuts from the orbit of Tony Humphries surface at last, pulled straight from acetates in his private archive and pressed here for the first time. Unearthed like messages from the booth itself, they capture that raw, transitional moment when club music was still inventing its own language night after night.
On the A-side, Kerri Chandler with “Kerri Kaoz Beats”, a stripped, swinging tool full of basement pressure and early-morning intent. No excess, no compromise, just Kerri doing what Kerri does best. Flip it over for Dee Dee Brave – “My My Lover (Tony Humphries Dub)”, a previously unheard Humphries reconstruction that stretches the vocal into something deeper, moodier and unmistakably floor-ready. Spacious, patient, and quietly euphoric.
Two pieces of house history that never made it past the acetate stage until now. Not revisions, not edits, but originals finally stepping into the light. Essential documents from the roots that still point forward.

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

Logistic Records proudly presents a special 30 years anniversary repress of one of its most iconic releases: “Brainstew” by Tom Ellis. Originally released in 2010 and instantly recognized for its unique blend of hypnotic melodies, raw basslines and the unmistakable voice of Suz, “Brainstew” quickly became a standout track — unclassified, emotional and deeply immersive. Revisited by UK legend Baby Ford, the remix delivers a deep, stripped-back and hypnotic version built for the dancefloor. This anniversary repress also includes a previously unreleased take: “Brainstew (Little Nest Mix)”, a deeper and more introspective version by Tom Ellis. A cult track, reissued and expanded.

Frenzy steps back into the warehouse fog for FRNZYREC012, marking the arrival of Mees Javois with the Eyes Without A Face EP. This six-track collection functions as a raw blueprint of the early hours, where the steady pulse of hardware meets a stripped-back, mechanical soul.

Already turning heads in the underground circuit, Mees brings a fresh yet timeless approach that feels equally suited to intimate basements and peak-time dance floors. His debut on Frenzy introduces an artist with a clear vision and a deep understanding of club music's darker edges.

FRNZYREC012 is a singular vision of the dancefloor, a deliberate sequence of sound that balances cold precision with a visceral human touch.



[c] A3: Mees Javois - Reflection [Matrixxman Remix]

Berlin-based producer and DJ Benjamin Fröhlich returns to his own Pleasure Principle imprint with the long-awaited vinyl edition of The Muv It EP -
Rooted in dusty, dubby house music and inspired by the open spaces and raw energy of a recent desert trip, the EP channels warmth and groove in equal measure. The title track Muv It sits at the heart of the release - a driving, hypnotic floor-burner that showcases Fröhlich's instinctive feel for rhythm and texture.
Alongside it, Get Up raises the energy further, bringing a higher-octane dancefloor urgency to the EP's middle section. Its dub counterpart Get Dub then strips things back - a spacious, reverb-drenched variation that lets the groove breathe and reveals the track's deeper, more meditative side.

The vinyl edition comes with an exclusive bonus track: Gruv It - a stripped-down, atmospheric rework of Muv It that trades hands up moments against a hypnotic rolling vibe.

Quinoa’s 8th reference goes off the beaten track, literally. Carola (f.k.a. Mägitee), comes at us with four stripped-back cuts that invite us into unexplored emotional realms. Consistent, throbbing, and rich in texture, it contains just enough of everything and not too much of anything.

The story starts on the A side with “Siouxsie”’s melee of drums and swells that instantly transport us to the smokey comfort of a dance floor, lost in the ecstasy of intertwining bodies.

It follows with “0863”, with a name that winks at his roots hailing from the Appenine mountain chain in central Italy. Its warm, intimate touch sets a suspended tone to the release.

On the flip side the energy shifts, with escapism-anthem “Getaway” whose strings and dreary vocals invoke a nostalgia of futures-to-be in places that may never exist.

Finally, the EP closes off with the title track “The Observatory”. Named after the Griffith Park Observatory, a place where he regularly used to wander at night in the company of deer, coyotes, and the Los Angeles lights. Its deep bassline and intense echoes aim to captivate the most avid stargazers.

We hope this music will touch you as much as it touched us.

Low-key Detroit producer, Aubrey Hoermann, gained notoriety with his Odic Force label launched in 1998 (home for his own minimal techno productions until 2002).

2001's 'The Dance Flo-Funk EP' is widely considered his most iconic release - a minimal percussive journey and the perfect DJ tool. Stripped to the bone. A sound that echoes the late 90s Detroit movement.
Hugely sought after, now reissued for the first time from the original tapes and remastered with love

Sucata Tapes present the debut album by I'A'V, a conjuration born from an invitation extended by gnration in Braga to Inês Malheiro, completed Violeta Azevedo. Three inescapable figures amidst the portuguese scene, whose precious body of work resonates here in ineffable style.

A blessed triangulation of artists, each with a fully formed vision and a path forged across multiple fronts, I'A'V trace a course of dreamlike songs that blend into a long and volatile poem, where a rarefied electronic landscape of arpeggios, glassy textures, and ruptures seeps into the lyricism of Casellas's cello lines and Azevedo's flute breaths, guided by the Voice.

At times stripped bare, at others soaked in a torrent of post-human effects, settled on Malheiro's expressiveness and elevated by the Azevedo. Volatile Poem, recorded during the mentioned residency, unveils mysteries and conceals realities in a fluid sequence of communal ascension moment

The Hacker teams up with Rein for ‘We Come Alive’ on Rekids. French producer The Hacker joins forces with vocalist, songwriter, and producer Rein for ‘We Come Alive’ on Rekids, arriving 19th June 2026. A longstanding figure within the underground, The Hacker helped shape the early electroclash movement through his analogue-heavy sound and influential releases on labels including Turbo Recordings and Dark Entries, while Rein has built an international reputation through a darkwave-influenced sound that blurs underground and crossover electronics, alongside releases on Boysnoize Records and live appearances with Front 242 and Nitzer Ebb.

Built as a tribute to the dance floor “We Come Alive” explores the feeling of liberation and connection that only exists late at night. Think an Alison Moyet-inspired vocal over stripped-back machine funk somewhere between LFO and Kraftwerk.” - The Hacker & Rein

The Hacker & Rein’s ‘We Come Alive’ pairs sharp, angular rhythms with punishing low-end pressure as acid lines twist through scintillating percussion and jacked-up drums. Amid the machine-heavy intensity, Rein’s vocals cut through the mix with clarity and emotion, lending a euphoric edge to the track’s raw, strobe-lit energy.

Moonshine Recordings is thrilled to welcome Tokyo-based producer Flatplat to the family for his captivating debut release: Mystery Of The Belly Button EP.
Deep-diving into the realms of hypnotic dub techno and stripped-back minimal dub, this four-track record delivers smoky delay chains, pulsing sub-bass, and meticulous sound design.

The Suicide Handbook is Ryan Adams’ most elusive and mythic recordings. The album is a raw and intimate collection of songs that captures the songwriter at his most unguarded. Recorded at the beginning of his solo career and long circulating only through bootlegs, the album has earned a legendary status among die-hard fans and fans of the americana genre alike for its stark stripped-back beauty.
Acoustic arrangements and hushed, late-night vocals, these songs feel like private confessions set to tape. Adams leans into themes of heartbreak, isolation, and emotional vulnerability, delivering recordings that are as fragile as they are compelling. There’s an immediacy here that sets The Suicide Handbook apart from his studio releases. These are the original recordings in their rawest and un-touched form.
Released officially for the first time, experience the record as a cohesive piece, bringing warmth and depth to its lo-fi origins. The analogue format enhances every subtle nuance, from the quiet creak of strings to the tremble in Adams’ voice.
For longtime fans and collectors alike, The Suicide Handbook stands as a haunting, deeply personal snapshot of an artist laying everything bare—an essential addition to the Ryan Adams collection.

Melodies everywhere. Hidden ones, obvious ones, the kind that stick around long after the magic is gone. The Fulmars, Hagen’s lo-fi experimental indie outsiders, return with 13 haunting songs on their first proper full-length album. It’s filled with warm lo-fi guitar hooks, carried by Teacherface’s stripped-back Roland drum machine pulse and Fabian Dietz’s soft, delicate vocals. Modern castaways’ music, truly seeing the light, somewhere between the hazy spirit of The Velvet Underground, the playful weirdness of early Throw That Beat In The Garbagecan!, the tender shadows of Dead Moon, and the hypnotic austerity of Party of One. There is a lot of tragedy, all covered in positive agility. Hypnotic simple charmers compellingly recorded by the illusionists behind the delicate Hüüpnootsche Platen Un Kassetten cassette label. If you listen in a row, you will fall into a calm flow, time is on the go, and you so, in The Fulmars circle, disappearing in melodies, those hidden, obvious, glorious. You will fall for the voice, their “rollie” grooves carry you out there, browsing on irresistible humble guitar vibes. Be ready to watch the blue birds fly, it’s a real streetside surprise, for your pleasure, please don’t call it leisure.

Alt Dub boss Federsen once again joins forces with cv313 and Echospace Detroit to deliver a second instalment in their ‘Altering Dimension’ series, once again merging hazy textural sonics with delicate dub leaning aesthetics.

Detroit’s dub techno lineage continues to evolve as cv313, Stephen Hitchell of Echospace, teams up with Federsen for Altering Dimensions Part Two, another collaborative EP set to land on Federsen’s Alt Dub imprint.

A defining figure in the genre, cv313 has long shaped its language through seminal works like Seconds to Forever and the Dimensional Space LP, fusing enveloping atmospheres with tactile rhythmic structures. Alongside him here,

Federsen whose music can also be found on Echospace Detroit as well as Grayscale, Synchrophone, Lempuyang and Avant Roots, has carved out a distinct voice rooted in precision and analogue-rich depth. Altering Dimensions Part Two again captures the intersection of these two perspectives, linking Detroit’s enduring sonic heritage with a refined, forward-facing approach to dub techno.

‘First Dimension’ opens the release, laying down heavy doses of sub bass, bubbling percussion and ever evolving, murky dub echoes amidst a crisp, stripped-down rhythm section.

‘Second Dimension’ follows and leans into vacillating atmospherics, a swaying bottom end groove and hypnotic, subtle evolution that’s synonymous with the cv313 sound.

‘Third Dimension’ kicks off the b-side next, further embracing this introspective and immersive style as textural elements shift and mutate atop intricately modulating percussive hits, bubbling synth tones and weighty low-end percussion.

‘Fourth Dimension’ then concludes the release, reducing things down to bare bones of hypntic dub, embracing a beatless construction the composition relies on spatial depth, nuanced delays and an underlying tension that decays

Over a decade has passed since this was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of intrusion, mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape master. The first incarnation of "A Gentle Embrace" came in the form of three extended reshapes from cv313 & variant and now we're proud to offer the original work on beautiful crystal/silver mixed clear 150 gram wax! :)

On side A the most pristine of dub techno is on offer here, this is Detroit techno stripped down to its most minimal core. A gorgeous subtle ambient soundscape exploring the deepest end of dub and house with gentle surges of organic elements, field recordings and modular movements simply out of this world. The "Reduction" mix on side B captures those chilling glacial soundscapes, trademark basslines and mesmerizing gaseous atmospheres subtly layer into the mix. Otherworldly to say the very least, this is music to swim in, breathe in and to pray to - for the spirit and the soul. Essential!

Alt Dub label head Federsen links with Belgrade’s Estray for a deep, percussive exploration of dub house—where analogue weight meets globally-rooted rhythm and hypnotic late-night energy.

A key figure within Eastern Europe’s electronic landscape, Estray has spent over a decade shaping a sound that travels far beyond his home base. With releases on Rebellion, Neptune Discs, Sol Selectas, Akumandra and Buddha Bar, alongside an extensive international DJ presence, his output reflects a balance of cultural depth and dancefloor functionality.

His productions draw on a wide palette of influences, fusing African and Latin rhythmic structures with rolling, dub-informed low-end. Intricate drum programming and fluid groove design sit at the core, while his basslines—heavy, warm and propulsive—remain a defining signature. Federsen, known for releases on Echospace Detroit, Grayscale, Synchrophone, Lempuyang and Avant Roots, continues to refine a sound rooted in analogue process, spatial detail and textural precision. His work leans into restraint, allowing depth and subtle modulation to drive momentum.

Recorded at Devon Analogue Studios, the pair’s collaboration unfolds across four tracks built on dense sub frequencies, shifting percussion and evolving atmospheres. Each piece is carefully structured yet organic, moving between stripped-back dub frameworks and more rhythmically charged passages.

The result is a cohesive body of work that sits comfortably within the dub house tradition while introducing a broader, multicultural rhythmic language—equally suited to immersive listening and deep dancefloor moments.

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? With the album SRDNG x LPZG, the duo AMAS, together with double bassist Frithjof-Martin Grabner, delivers a radical answer on May 15th, 2026. The work does not merely translate Bach’s legacy; it consistently reimagines it within the aesthetics of Minimal, Dub-Techno, and Ambient. The creation of this extraordinary abstraction spanned three years and two geographical poles: the raw isolation of Sardinia and the academic precision of Leipzig.

The project found its origin in the seclusion of Pula, at the southernmost tip of Sardinia. There, AMAS extracted and digitally dissected the rhythmic and tonal essence of 14 selected works by Bach. In a temporary local studio, these minimalist sequences fused with field recordings of the surroundings to form a hypnotic framework of electronic structures. Back in Leipzig, this foundation met Frithjof-Martin Grabner. In an intense session held in a hall of the historic HMT Leipzig, spontaneous improvisations emerged that breathe the spirit of Miles Davis’ approach to "Ascenseur pour l’échafaud": free play based on rudimentary sketches, an intuitive reaction to the material—comparable to Davis’ iconic scoring of silent film images. It is a deliberate prioritization of atmosphere over technical perfection. Grabner utilizes the full spectrum of his instrument, creating sounds that, in post-production, often blur the line between analog depth and synthetic texture.

The result is an organic symbiosis: the vastness of Sardinia (SRDNG) meets the intellectual density of Leipzig (LPZG), while the strictness of the Baroque dissolves into the repetitive energy of Minimal Techno. To do justice to this conceptual ambition, the album will be released in an uncompromisingly audiophile edition. Limited to 200 copies worldwide, the double LP is pressed on 180g vinyl and features a front cover with a special 3D effect, continuing the visual tradition of the AMAS series. An album for listeners who understand Bach as a living origin of modern sound art—and for lovers of electronic music seeking a new, organic soul within the repetitive depth of techno.

2026 Repress

TWR72 presents ID3AS - four highly effective and distilled tools, stripped raw for maximum impact.

Rinascimento Elettronico presents its first vinyl release: R/E001 — Divide By Zero EP by Translate, featuring a remix by Psyk. Out May 28th.
Argentinian artist Translate, a well-established name within the hypnotic techno scene, delivers a refined and immersive EP built on deep, looping structures, textured atmospheres and subtle rhythmic progression. His sound navigates between tension and introspection, maintaining a strong focus on hypnotic continuity and dancefloor functionality.
On remix duties, Spanish master Psyk reinterprets Inactive with his distinctive signature — stripped-back, precise and driving — adding a powerful and functional edge to the release.
With Divide By Zero EP, Rinascimento Elettronico sets the tone for its vinyl series, focusing on forward-thinking techno rooted in depth, repetition and sonic identity.

Daïf presents Prezi, a new alias exploring a bold, uninhibited vision of electro house. Built for the dancefloor, the record unfolds like a transmission from another dimension. Inspired by the 2000s—echoed in its cover—it blends nostalgic energy with a colder, subtly dystopian edge.

The project arrives like a xenomorphic incursion, driven by raw, mechanical textures: sharp square synths, biting saw waves, and stripped, high-impact arrangements engineered for maximum club efficiency.

Seductive, disembodied vocals drift through the tracks, exploring themes of love beyond the human and shaping a vision of Post Human Desire.

After a period orbiting singles and the release of her debut LP “Solid Space” on Topo 2 at the end of 2025, Mor Elian snaps back to the dancefloor with her first vinyl outing on Fever AM since 2022.

Built in Waves distills and extends her language of club mechanics, tightly coiled percussive structures cut with high definition sound design. The EP marks a return to the stripped, pressure focused approach she carved out early on, now refined and retooled with a sharper sense of space, tension and propulsion.

With the launch of Flirt, Alarico distills the essence of his current techno vision while sketching its next phase.
This is techno stripped to its most instinctive form: rolling basslines, teasing vocals and seductive rhythms with hints towards deeper and more melodic realms.

Endlec, one of Analogue's core artists, returns with a powerful new release: four full length tracks and four stripped-down loops, fusing old-school elements with high-grade techno.

Detroit Legend, Rick Wade joins Collect Records for the first time with Just Beneath EP. A key figure in Detroit's second generation of house producers and founder of Harmonie Park, Rick Wade delivers three deep and hypnotic cuts rooted in jazz, soul and classic machine funk. Warm, stripped-down and functional, with one acid-leaning track adding extra tension to the EP. Underground house music for late night hours. Collect Records operates from Collect, the Lisbon-based record shop and radio located in Cais do Sodre, a meeting point for DJs, collectors and the local underground scene.

Somewhere between the after-hours haze and the first flicker of sunrise, Nebraska re-emerges - this time with a twist in the signal. Long respected for his deep-cut sensibilities and dancefloor intuition, Ali Gibbs returns to Delusions Of Grandeur not just as Nebraska, but with a handover to his new alias: Dubl Drat. The Alter Alter Ego EP plays like a transmission from both sides of his creative psyche - one rooted in warm, groove-led house and disco mutations, the other drifting deeper into dubbed-out, heady abstraction.

The A-side opens with Alter Alter Ego in its Nebraska OG Mix form - a crunchy, funked-up mid-tempo burner. Chopped Rhodes solos flicker in and out of the mix while a rolling bassline locks into a low-slung groove - equal parts party-starter and late-night dancefloor hypnosis. Next, The Teckel Track slides the tempo down into a proper slo-mo four-on-the-floor bumpy groove. Fat stabs punch through layers of glitchy FX while a melodic bassline snakes underneath, forming a hazy, infectious earworm tailor-made for those early-night mood-setting sessions. Closing the A-side, Olive (Dubl Drat Dub) signals a shift. Here, Gibbs leans fully into his Dubl Drat persona, dissolving structure into a blissed-out dub excursion.

Chopped breaks scatter across the stereo field, chiming melodies echo into the distance, and granulated percussion parts build a dense, immersive landscape - one to get lost in rather than dance through. Flipping over we have Alter Alter Ego (Dubl Drat Remix) which reconfigures the title track into a stripped-back boogie workout. The groove is leaner but no less potent, driven by a killer bassline and punctuated with signature Rhodes licks - pure, understated club pressure. Finally, Olive (Nebraska Version) offers a gentle comedown. This alternate take softens the edges, introducing additional guitar textures that drift into Balearic territory. It’s nostalgic, introspective, and quietly expansive - a closing chapter that lingers long after the last note fades. The Alter Alter Ego EP isn’t just a new release - it’s a dual-state exploration, a conversation between rhythm and space, between Nebraska and Dubl Drat, and marks the last ever Nebraska release as Ali closes the chapter and the alias for the final time.

Reissue of Spirit Caravan's debut album. Jug Fulla Sun follows a sonic continuum that began in the late '70s when Scott "Wino" Weinrich emerged from the outskirts of Washington, D.C., with the Obsessed, his stripped-down hybrid of biker rock and metal. That outfit made tremendous strides in bridging the gap between the long-haired metal contingent and the still developing, though already rabid, D.C. hardcore scene. Jug Fulla Sun shows Wino augmenting his trademark brand of doom-laden guitar work and slow-fuse vocal ferocity with greater lyrical depth and overall textural breadth. The songs are rich, refined, articulate, and created by a lifer, a true veteran of the hard music scene. Wino has obviously gone to great lengths here to subordinate his outlaw vision to a more expansive, comprehensive view of mankind, and of greater truths. The somewhat nebulous scope of his lyrics is enhanced by Lungfish vocalist/tattoo artist Dan Higgs' cryptic cover painting. An excellent album. - All Music

REISSUE of Spirit Caravan's debut album. Neon green vinyl, limited to 350 copies. Jug Fulla Sun follows a sonic continuum that began in the late '70s when Scott "Wino" Weinrich emerged from the outskirts of Washington, D.C., with the Obsessed, his stripped-down hybrid of biker rock and metal. That outfit made tremendous strides in bridging the gap between the long-haired metal contingent and the still developing, though already rabid, D.C. hardcore scene. Jug Fulla Sun shows Wino augmenting his trademark brand of doom-laden guitar work and slow-fuse vocal ferocity with greater lyrical depth and overall textural breadth. The songs are rich, refined, articulate, and created by a lifer, a true veteran of the hard music scene. Wino has obviously gone to great lengths here to subordinate his outlaw vision to a more expansive, comprehensive view of mankind, and of greater truths. The somewhat nebulous scope of his lyrics is enhanced by Lungfish vocalist/tattoo artist Dan Higgs' cryptic cover painting. An excellent album. - All Music

**Vinyl Only**

For their first step into the wax game, Genau Experience land with a strictly vinyl statement straight out of Udine. (Italy)Active since 2018, Genau Exp. have been quietly cultivating parties and pushing underground culture in their corner of the map. Now it translates into grooves. No rush, no noise: just the right moment to press this record.

Leading the charge is resident and long-time digger Stefano Conte. A vinyl collector with a deep-rooted connection to house, techno and electro, Stefano’s sound carries echoes of the ‘80s, ‘90s and early 2000s | raw drum work, hypnotic sequences, stripped tension and subtlemachine funk. These four original cuts, written between 2025 and 2026, feel focused and functional. Club-minded but not obvious. Built for heads who listen.

On remix duties, taking the reins on The Landing, we find Shkedul – selector and producer who hardly needs an introduction. He draws us deeper into his signature style: decisive basslines, dark rhythms, and evolving sound design that flows and morphs across the full length of the track.

A versatile weapon with enough character to work across different floors and moods.

TSSRCT returns with a significant new chapter: its third release, entrusted to Antigone. Across three carefully sculpted pieces, the French artist explores a territory where deep resonance, fragile melody and stripped-down structures converge. More than a return, this EP stands as a timeless statement, reaffirming both Antigone's singular voice and TSSRCT's evolving sonic vision.

Xistence Records is destroying the boundaries between house and techno. The Rise E.P. simply goes to show you a good label does not lose it's competency after 4 years of releasing music. This 4 tracker sounds sublime! If you like deep emotional melodic music, you should have this 12”.
Difficult to pick a standout track as they all offer something different…

The original version of Resilience is a stunning track, reminds of the early Octave One sound with a great mixture of percussion, classy bassline, nice layering of textures and melodies.

While Gerald Mitchell (Underground Resistance/Los Hermanos) retouch is a soulful stripped back tune with elegant drum work, linked together by a uplifting synth pattern.

Sunset To Sunrise, a delightful piece of haunting electronica. It’s a real journey back to the birth of Los Hermanos. Class!

Meteoric Rise original version came out as digital earlier on the label, Journey Around The Sun Mix here has the UR sound. It’s more complex, Detroit lesson in syncopation and rhythmic programming with chord stabs and shuffling drum work drives this one forward..epic!

“Without Hope None Of Us Have Anything “