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Four years after launching his last EP, Lugo-based artist, Synth Alien, makes a comeback to lead the fourth release of Noise To Meet You. Six Electro tracks, under the wings of a 100% hardware set up that has allowed his sound to reach a step up.

A hard to find sci-fi Detroit techno classic - it's featured everywhere from Marcel Dettmann to Zip's SW sets.- gets a timely reissue complete with a new, super solid Delano Smith remix. It's hard not to love the original in all its futuristic glory, led by a sturdy four-to-the-floor pummelling but boasting a throbbing neo-disco bassline - imagine a lost Gorgio Moroder classic being remade by Jeff Mills in PurposeMaker mode. But the Delano Smith remix updates it for modern palates, ironically by delving back even further, to the early 70s model Kraftwerk from whom he borrows some very austere but classy synth sounds and a touch of electro syncopation. Take your pick according to mood, they both do the job admirably.

Spatial stalwart and ambient master Aural Imbalance returns for a fresh slice of atmospheric heaven with Unknown Universe. A1 - Alien Lifeform A serene, distinctly atmospheric synth intro with light hats introduces Alien Lifeform, Aural Imbalance toying with filtered breaks and a deep bassline which ushers in trademark melodic pads and a thoughtfully constructed amen pattern. Rolling and intense, the track embodies Spatial’s love for the floor as well as the absorbed listener, nodding along to the laid-back rhythms on the 2am train home. A2 - Indigo Soothing, calming synths create an evocative introduction peppered lightly with cymbals and gentle intrigue, before the Circles break takes center stage with a delightfully constructed and crisply programmed pattern. A spirited breakdown with a subtle trance-like quality ensues before the breaks take over again, all set to a suitably earthy 808 bassline humming away below. AA1 - Empty Universe Deliciously clean and chunky Hot Pants breaks provide a DJ-friendly intro to Empty Universe, a blissful rolling track which sees Aural Imbalance fusing incredible 80’s synthwave vibes, rolling deep basslines and micro melodies with that timeless and evocative break - programmed to perfection - culminating in a stunningly atmospheric piece, fresh for the discerning listener - just as we like it at Spatial. A2 - Lunar Phase Kick back as Aural Imbalance closes the EP in fine form with a leisurely trip to the dark side of the moon. Lunar Phase opens with a short intro featuring sullen tones and light hats before a hypnotic break pattern takes over proceedings, and airy padwork circles above. A meandering melody builds throughout the piece and develops its final form during a luscious breakdown, and through the closing stages of this truly beautiful track. Words by Chris Hayes (Spatial/Red Mist)

Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the 'Schema' EP, arriving 24th April 2026 alongside a remix from James Ruskin. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels, including Cocoon, Ovum, Nonplus, and Figure. With the 'Schema' EP, he follows his recent 'Retrospective' EP for Ben Klock's Klockworks, as well as previous CLR outings such as the 'Limelight' EP (2025), and the 'Remote 101' EP (2023), which both kept a spot in the Beatport Techno chart for over two years after release, while winning support from the likes of Carl Cox, Alienata, Dave Clarke, and many more.

Shlomi Aber's 'Schema' EP opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are o?set by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged.

On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework. Eerie pads hang in the background as swampy bass anchors the rhythm, with haunted melodic elements slowly unfolding to create a deep, immersive take built for late hours and dark rooms.

Closing track 'Gasolina' sees Aber shifting into broken-beat territory, where warm, glitchy rhythms loop with hypnotic precision. Ghostly synth motifs drift in and out of focus, giving the track a cinematic, heady quality that rounds out the release with understated intensity.

Founded by influential techno lynchpin Chris Liebing in 1999 and reemerging in 2021 after a five-year hiatus, Create Learn Repeat (CLR) has hosted a range of artists like Dubfire, Flug, Bjarki, DJ Dextro, and more while also focusing on developing newer acts in the scene, such as Risa Taniguchi, The Southern, and Klint.

Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.

More unknown artist business from the Only Music Matters crew and it's a case of more essential minimal across three fresh cuts. The first manages to pair the sort of drive you need to keep you locked with some swirling, heady pads that encourage letting your mind wander. After that full-sided odyssey, 'BBB001B' stars the flip with tighter, more rubbery drums and bass and alien sounds weaving in and out. 'BBB002B' shuts down with some tech-y loops and a little more menace and mischief in the clipped vocals and wispy synth modulations.

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

“One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties. P.A.S albums tend to come together in their own time:

“External signals and signs combine until the recipe feels right, both musically and from being ‘out there’,” Slater adds. “10 years since I released Arc Angel on Ostgut Ton, and it’s a fitting pleasure to combine live show ideas and studio work for the new album, served up with raw energy” That patience runs through his whole Ostgut catalogue; since Temporary Suspension brought its machine-tooled weight and alien feeling to the label in 2009, each P.A.S. release on Ostgut Ton has been its own quest for discovery, from The Messenger’s search for sounds not yet present in club music to Arc Angel’s focus on melody to the deep hypnosis of Plantae.

His new album, Planetary People has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.

“Into The Night” creates a haunting, dystopic environment of corroded acid saturated in echo, absorbing from the first second. “Labyrinth” breaks into buoyant tribal percussion, modulated chirps trading off over propulsive drums. “Quadrant 10” is clean, delay-drenched techno, buzzing with noise splatters over saturated thuds. “Sermon Of The Light Tides” scrambles metallic bell sequences that distort and evolve throughout, reminiscent of a dial-up modem crossed with a game of Frogger, squelching between percussive bursts and stripped-back kicks. “Brave Cosmo” is tormentingly menacing, eerie synths panning around buried vocal fragments over frantic percussion. “Retina Burn” rolls on fierce, cement-mixer 909 cycles, rave stabs over a ride that locks you in, the whole track stuttering and repeating before stripping back to a bare echoing kick and building itself again. “Thunder Major” barrels on open hats and reverb-drenched claps ricocheting through twisting wreaths of delay, mesmeric and relentless. “Beton Brut” marches juggernaut percussion stamping through hall reverb so vast you can visualise the room, the darkest and most unrelenting track on the record. “No Ninja” crunches in metallic and immediate, a wiry plucked lead threading through glitch with the bass held low and deep, mixed so precisely you can see every layer stacked in your mind’s eye. “Ha Jam” is danceable techno with plenty of funk and a sophisticated looseness, a vocal laugh bouncing off clanging metal blocks and rave stabs. “Lynx” lowpasses its rave stabs and crystalline beeps, chirpy hats ticking, cold metal repeats, old school and mesmeric. “Generation Slip” closes everything out, ominous and churning, skittering percussion and electrical sparks rattling through steel, a freight train barrelling on into oblivion.

Sindh presents the Vagali EP, a striking continuation of his tunnelling, futuristic take on techno. Growling synths, driving basslines, alien atmospherics and finely tuned percussion define a sound that feels unmistakably his own.
Following his Komudo series — which has built a devoted following since its debut in 2024 — this latest release leans further into his signature sound design, pairing hypnotic sequences and menacing synth lines which feel right

Chins For Lefty is the debut album and first recording by Gichard, a new duo chronicling the absurdities of end-stage capitalism and mouldering social rituals from their vantage point in Glasgow, Scotland. Recorded primarily in the band’s home studio straight to tape, Chins For Lefty combines gorgeous, ramshackle melody, DIY kosmische punk, drum machine + synth and, in vocalist/lyricist Lisa Jones, an absurdist commentator on the human condition as it navigates the anxieties of the modern world. Instrumentalist Chas Lalli’s swirling music accompaniment stitches an evocative mix of musical styles, the ragged wind beneath the lyrics’ wings.

Although the duo first collaborated in their previous group Dragged Up, their disparate musical and artistic backgrounds make for an alluring mix in Gichard. Lalli has spent the last 20 years in the Glasgow underground, most notably in the noise rock group VOM, while Lisa Jones’s practice was in poetry and spoken word. Beginning as co vocalist in her previous band, in Gichard her lyrics are centre stage; the vision concocted alongside Lalli amounts to a total world-build.

Chins For Lefty scans almost like a novel, with each track elucidating a skewed universe that bears only some resemblance to the one you and I partake in. Like all works of fiction Gichard’s songs are rooted in reality and the lived experiences of its authors, but here characters are exaggerated, social mores and habits are pulled apart to reveal their inherent alienness. Universal emotions are laid bare, the bright light of anxious examination searching out every hairline fracture in our relationships. Distorted and cracked, the mirror that Gichard hold up to our world is also pretty damn funny.

Opener Cholesterol Test launches an expansive, cosmic guitar and synth intro that belies the Tascam-tape recorder it was recorded onto, like a Chromatics cut substituting anxiety for overt sexuality. Here Jones intones an apology to a non-responsive recipient, in the medium of a long voice note forensically deconstructing an interaction from the night before. Over punk guitars and shuffling, lo-fi drum machine splutters, the narrator in Asking The Apes “prefers things to people” before being taken hostage in the city zoo to confess an obsession which consumes the protagonist, ending with the immortal two liner “I sleep in a cocoon of old newspapers at the end of your street / And I think I have been fired from my job,” On album standout Posthumous Hologram, the narrator is faced with a human simulacra, in this case an undead pop star; the face of the encroaching technological singularity. Yes, it does requests, it can do My Way in 200 different language options. But what are the implications? While you’re left pondering, the alternating deadpan verse delivery and undeniably catchy chorus keep you company.

By the time Break Up With Johnny Dogbirth rattles into view, the band are satirising a suburban inanity blown up to cartoon proportions, soundtracked with a drawled musicality that recalls Rowland S. Howard’s post-Birthday Party balladeering. This approach is furthered on Human Resources: over an angular guitar+bass track, Jones’s short story recalls Dry Cleaning’s erudite lyrical post punk. On Soft Face, Lalli’s guitar and drum machine are swathed in echo and delay, as Jones dissects dating rituals with a west of Scotland drollness. Hamming It Up brings a porcine perspective in a short story that begins with the line “I was breastfeeding discreetly in the service station. She didn’t mind.” What follows is a passage punctured with canned laughter and a narrative involving tribute acts, modern farming techniques.

Brilliant first single Your Private Hell closes the album, the closest the group get to earnest perhaps, filtered through a surreal central Scottishness. While Your Private Hell might seem like a sardonic take down of romance, perhaps it’s the very distillation of love in all its awkwardness, selflessness and weirdness. Here there’s a distinctive Glasgow-ness to this doomed romance: the protagonist falls for an outsider, offers them cheap jarred hot dogs and carbolic soap (the infamous, excoriating soap dished out in schools and government buildings throughout Scotland), offers to cover up a murder, stalks them in the all-night Spar. It’s a short story of intrigue, murder and the irresistible pull of self-sacrifice to share in someone else’s suffering. If that’s not love, what is it? You can see this vision mapped out in black and white on their video for 'Your Private Hell'.

Hyperdreams returns with Caim — Dream Ritual, a transmission pulled from a forgotten exoplanet where forest and machine have fused into a single ecosystem. Synthetic vines wrap through dead circuitry. Somewhere inside it, an alien tribe is still performing rituals to keep the system alive.

HAVEN co-founder Keepsakes is finally back on his own imprint with 5 fresh originals filled to the brim with warped alien sound design, driving and grooving drum rhythms, and acerbic track titles fresh out of a twisted after-hours chat. Following on from releases in recent years on KAOS/OAKS, Turbo Recordings, Perc Trax, and Boys Noize Records, this latest EP maintains his signature toughness alongside his fun and quirky sound choices while taking his sound further in to jacking and groovy territory.

The EP launches with 'Vocoding Your Nan Out Of Existence' on the A1 - full of growling and tortured alien vocoder melodic experimentation combined with driving funky drum work and organic atmospherics, this slab of freaky techno weight is aimed directly at the most debauched of dance-floors. 'Get To Know It In The Flesh' follows up on the A2 with rolling, grooving rhythms and dramatic string stabs alongside outlandish synth melodies, looping vocals and eerie creatures lurking in the background.

On the flip 'Ready2BeginWot?' gets things jacking with swinging rhythmic funk and and ear-worm repeating vocal line in a fast house-inspired slammer. 'Hollow And Suited' follows on the B2 with its tribal driving drum work and mutating resonated vocals sitting alongside debased synth melodics for the most haunted club creatures. Finally, 'Corvid House' closes out the record with its swung and grooving drum loops, bird call sound effects, vocal hooks and euphoric pad bliss to finish off another plate of dance-floor degeneracy.

We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

MEGAPTERA, the scientific name of the humpback whale, is also the title of the new album by French producer and composer Rone.


Born from an ambitious film project, the record was largely composed at sea, off the coasts of Brittany and Réunion Island, using a modular synthesizer and melodic sketches developed for an almost unreal proposition: attempting to resonate with whales through music.


Following Room With a View—a soundtrack to a performance created with the alternative dance company La Horde, exploring collapse and rebirth—Rone continues his investigation into new imaginaries. If that earlier work emerged from reflections on ecological, social, and technological tipping points, MEGAPTERA marks a shift: away from the city, toward the sea.


Gradually, he moved away from performance toward a more craft-based approach, extending his practice beyond the studio into a wider space of listening, exchange, and fieldwork. Early footage of sailors broadcasting his work into open water—seemingly answered by whale presence—circulated online, generating fascination, but also a growing unease for the artist regarding what these projections might imply.


This tension became the starting point for a longer period of field experimentation, developed in dialogue with scientists, environmentalists, sailors, and bioacousticians. The resulting 15-track album reflects this open-ended inquiry — not only into whether human-made sound can reach whales, but also into how this process can shape a new form of electronic music, and open it towards new deep-sea soundscapes.


Rather than seeking imitation, Rone works with reduction. Drawing on research into cetacean vocalisation, he pares back his language—focusing on frequency bands, repetition, and suspended structures. Minimalism appears less as reference than as natural convergence.

Repress

Underground stalwarts Voodoos & Taboos make their Duality Trax debut alongside a remix from rising talent Bertie, set to drop on November 8th. Now on its seventh release, Holly Lester’s vinyl imprint blends seasoned pioneers with the next generation of producers. A serendipitous moment at London’s E1 in 2023 was the genesis for the labels latest release, when DT label head Holly Lester unknowingly dropped a Voodoos & Taboos track only for the duo to walk in mid-way. Already known for their standout releases on iconic labels like Phonica, Bordello a Parigi, and Palms Trax's
CWPT, this chance encounter sparked a creative connection between Holly and the pair.

‘Time Out’ kicks things off with swirling synths and the duo's signature alien electronics, set to a playful breaks infused rhythm and morphing bassline, as command and control rings out overhead. ‘Endless Game’ comes with the usual V&T trimmings; an infectious bassline and with a scattering of curious sounds and samples, with a healthy dose of italo-inspired groove - the type of track reserved for bringing a dash of joy to the dance­oor amidst a heads down body-moving groove. On the B-side, Australian newcomer Bertie steps up with her remix of ‘Time Out’, following her breakout EP and high-pro¬le remix by Ciel. In a short space of time, Bertie has already developed a signature sound injecting her productions with nostalgic 90s house and contemporary subtext; glued together by crunchy drums and a penchant for wide-eyed rhythms. Sticking to her guns, Bertie’s ­ip of ‘Time Out’ packs a serious punch, showingwhy she’s an artist on the rise. The EP closes out with the psychedelic ‘All Action’ with its vocoder vocal samples, bubbling acid and teleporting top-lines.

One of the most notable features of the duo's music is their ability to let things evolve over time, their music often accompanied by strong storytelling, an art that has been almost lost in today’s era of instant grati¬cation; their instrumentation often taking on a life form of their own and dosed with surprises.

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

Mit „ALIENS“ schuf Radiorama 1986 einen echten ItaloDisco-Klassiker: futuristische Synths, treibende Beats und purer 80s-Space-Vibe. Der Track zählt bis heute zu den Highlights des Genres. Jetzt wieder als farbige Maxi-Vinyl
erhältlich.

Als besonderes Highlight enthält das Release neben den Originalversionen zwei exklusive Remixe von Flemming Dalum und DJ Tin Tin, die den Kulttrack neu interpretieren.

Ein Must-Have für Italo-Disco-Fans, Retro-Liebhaber und DJs

pdqb, the producer whose name sounds like a coded message, has surpassed the need for introduction. It emerged from nowhere, becoming omnipresent almost instantly, leaving every electronic music producer eager - if not obsessed - to work with it. Its original tracks are raw and elegant with warm synth lines, pulsing rhythms, and melodies that feel like echoes from forgotten futures. They always carry a strange magnetic pull.
Presented here are eight stunning remixes of its already-released tracks. Each one its own universe, each one remarkable in its own way, each one crafted by an expert in their field. The eight pieces twist, stretch, break apart, and rebuild the originals. They mutate into technoid creatures, melodies dissolve into vapor, and rhythms reorganize themselves into something alien and alive, yet each still holds a faint spark of pdqb's DNA, buried beneath layers of transformation.
Listeners will understand: this isn't just a remix album. It is an evolution - eight reinterpretations of the same musical core, each pushing pdqb's world into a new dimension.

Following the success of his recent releases, Mendekua and Electro Bloody Music, Barro’s honcho Nöle demonstrates that he is at one of his creative peaks with this new four-track EP.

The fortunate owners of reference number thirteen will not only take home a substantial slice of vinyl but also a powerful teleportation device that will instantly send them to the dance floor. Demencial chico acelerado features four tracks of techno infused with elements of industrial and EBM, as dark as it gets.

The EP kicks off with the enigmatic “IDDDQD,” a complex industrial techno track packed with sharp synths, devastating basslines, and an incredible punch.

“Lemmy Dust” comes next showing no mercy from the moment that the powerful kick hits, captivating you with its hypnotic sound and not letting go until you’re exhausted.

Cinematic as its name suggests, “Xenomorph” is a claustrophobic industrial techno powerhouse, brimming with intense EBM nuances that are both unsettling and frenetic—perfect for dancing with your hair standing on end.

Last but not least, “Ghost Dancer,” is one of the most purely techno tracks, showcasing haunting synths mid-way through. It’s heavy material fit for the dance floor.

Without a doubt, this demencial accelerated kid knows exactly what he’s doing.

The above references have already been supported by artists such as Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.

Text by : El Garaje de Frank

‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!

London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.

‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte

Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!

‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS

A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Imagine it’s 1987.

The neon is glowing, the lasers are cutting through the smoke, and space synth is ruling the dancefloors. Laserdance just dropped their groundbreaking album “Future Generation.” Tracks like “Power Run” and “Humanoid Invasion” are setting clubs on fire, and every bedroom producer dreams of reaching that cosmic perfection.

And in this athmosphere Spacehawk appears shining like an alien spaceship.

Behind the name Spacehawk stands Swedish producer Anton Eriksson, a modern-day craftsman of analog dreams. In his vast studio, packed with vintage synths and drum machines, Anton creates electronic masterpieces so authentic, so rich in melody and power, that even Michiel van der Kuy himself, the godfather of the genre, decided to collaborate with him.

The result? “Space Patrol” – a landmark single that bridges generations of synth lovers.

On the A-side, you’ll find Anton’s stunning original version, pulsating, melodic, and bursting with energy. Flip it over, and you get a remix by Michiel van der Kuy that feels like a time warp straight back to the golden age of Italo-space glory.

“Space Patrol” has it all: soaring melodies, driving basslines, hypnotic rhythm, and that unmistakable intergalactic energy that makes you feel like you’re racing through the stars.

Fans of Laserdance, Rygar, Koto, Syntech, and all things van der Kuy will instantly recognize the DNA of true space synth excellence here.

To top it all off the single comes on a bright yellow vinyl, housed in a stunning retro-futuristic sleeve that looks like it beamed in straight from 1980s sci-fi.

It’s not just a release. It’s a revival.

And if space synth runs through your veins, this is one you simply can’t ignore.

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.

It's rare to hear a debut 12' single that really blows you away. That's hardly a controversial statement; in truth, most producers take time to find their feet, developing a distinct style over a period of years, rather than months.
Magnesii, then, is something special. Currently based in Amsterdam. The previously unheard of producer has delivered a stunning debut 12' for Tom Trago's Voyage
Direct label. R Raw, fuzzy and in turns melancholic, spellbinding and intense, its' three tracks bubble and hiss to the distinct sound of vintage analogue hardware.

You see, the young Dutch producer tends to avoid modern computers. 'I often feel like those screens suck my soul away,' he says. Instead, he jams out tunes on a tasteful selection of analogue gear, sequencing with either the Alesis MMT-8 or the Akai MPC2000 - a favourite toy of many of the Netherlands' best electronic producers - and adding basslines, beats, acid lines and melodies on obscure synths and drumcomputers'. His creations are then bounced down straight to 1/4" tape or cassette.

Some of these resultant jams, as showcased on this impressive debut, are nothing less than inspired. Acid lines rise and fall, machine drums rattle, and distinctive synth
lines weave in and out of the mix. These are raw tracks for the dancefloor blessed with all the colour and warmth associated with vintage hardware.

'RZTB Tantra' sets the tone, layering bubbling acid lines and dreamy chords over a relentlessly nagging bassline and punchy, scattergun drum machine percussion. 'Lava Jam' is decidedly deeper, with woozy, emotive melodies and alien electronics tumbling over a dusty rhythm pattern and tactile acid bass.

Magnesii completes a sterling debut with 'Van Dyke Island Jam', whose squidgy bassline and long, drawn-out M1 chords work in complete harmony with the crispy rhythm track and densely building percussion hits. Like its' predecessor, it too seems to be tinged with sadness, as if Magnesii's machines are shedding a tear for glories past.

Clearly, Magnesii is a name to look out for in future. For the time being, we'll have to make do with one of the most impressive debut 12' singles of 2014 to date.

Yamaha's DX series of synthesizers has long been a source of inspiration for Tom Trago. The DX7, in particular, appeals to the Dutch producer thanks to a unique sound that he describes as glassy but classic and icy'. 34 years after it went on sale - the same year as Trago was born, interestingly - the synthesizer's sound still bristles with futurist appeal.
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Trago, who was partially trained in how to use the DX7 by studio friends Bok Bok, Sterac Electronics and Juju and Jordash, has decided to pay tribute to this most distinctive of synthesizers by using it as inspiration for Serene Waters, his first EP for Voyage Direct since 2014 epic Hidden Heart of Gold.

Across the course of five sparkling, spacey and melodious tracks, the Voyage Direct chief showcases the variety of sounds that can be teased from the DX7. Compare, for example, the delicate and rush-inducing melodies of dreamy, deep electro opener Harvest' and the two contrasting mixes of Opulent'', variations on a throbbing, futurist techno theme rich in glacial melody lines, bustling synth-bass and spacey chords. The dancefloor possibilities of the synthesizer's sound palette comes to the fore on the stripped-back Within Mix', where Trago's rolling stabs and cascading melodies are wrapped in tougher, denser drums.

The sparkling nature of the DX7's trademark sounds also come to the fore on XYZ', a crunchier and snappier electro outing that recall the effervescent brilliance of Trago's sometime label mate, Sterac Electronics. The track's combination of darting bass and mind-altering, alien electronics is as kaleidoscopic as they come.
Nestled slap bang in the centre of the EP is Red Room', where Trago manipulates his machines to get a far more psychedelic sound. While there's vibrant warmth thanks to some seductive background pads and stretched-out chords, it's the bubbling electronincs and futurist tunefulness that catches the ear. Like much of the rest of the EP, it tiptoes the fine line between poignancy and rush-inducing colourfulness.

The Xuntanza series returns with its sixth volume, reaffirming the collaborative spirit that has made it a reference within contemporary electronic music.
In this new chapter, five artists from singular sonic universes come together on one record to shape a collective journey: Legowelt, Synth Alien, Vema Diodes, Irrational Language, and Sound Synthesis.
The result is a mosaic of sounds in tune with the open and daring identity of Fanzine Records. Join this new Xuntanza and be part of the history of Fanzine Records.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

Noumen returns to Central Processing Unit after a six-year absence with Altum. This bumper record, the Ukrainian artist's fourth release for the Sheffield label and first since 2019 double-LPObscurium, serves to remind us all why Noumen's music has been lauded by the likes of Mixmag and Resident Advisor in the past.Altumis a consummate piece of contemporary electronic production, a technoid exploration of outer-edges electronica that nods to genre greats like Autechre while still maintaining its own unconventional charm.

Across well over an hour of music here we find Noumen repeatedly playing punchy mid-tempo beat work off of some more cerebral tuned synths.Altumkicks off with the epic 'Oion' - beginning in that Autechre/AFX mid-tempo zone, full of deep-sea bangs and whirrs, the track slowly builds to a final stretch of delay-drenched keys which set us free amidst the outer cosmos, almost Sun Ra-style. It's a perfect liminal-space roller and an apt scene-setter forAltum.

'Oion' provides a blueprint for several of the album's other highlights - plenty of the joints here adopt that same approach of hitting hard with the drums and soft with the synths. Second track 'Splitter' takes on the baton from 'Oion' while souping up the kick to warehouse levels; the beats in 'Far Wind' splutter like a needle skipping on a mid-90s Tresor drop; 'Fate Carette', all eerie looped synth leads, is a highlight as the album enters the home straight.

The rhythm production (which, it should be noted, is exemplary throughoutAltum) is ratched up in intensity on a handful of numbers. 'Telemask' displays a delightful breakbeat - if you'd told me this was sampled from golden age A Tribe Called Quest, I'd have believed you. Mid-section anchors 'Awe' and 'Axis' are glitchers in the Mike Paradinas mould, with the latter showing off some pleasing steel pan-esque synth leads for good measure. And whileAltumgenerally maintains a processional pace throughout, there are points where Noumen toughens up the drums for club deployment - 'Unveilness' shows off a real chunkiness in the low end, closer 'Spurling Sign' plays a satisfying rolling groove off of ever-layering synths, and the title-track is an alien machine-funker in keeping with fellow CPU electronauts like Silicon Scally and Cygnus.

Noumen's third album for Central Processing Unit is a pleasingly hefty double-LP which builds on the zany invention of acts like Modeselektor and Autechre to delightful effect.

FFO: Autechre, Aphex Twin, Modeselektor, Bochum Welt, LFO

Evelyne/Masao bring TESTPATTERN to Dark Entries for the label’s first foray into vintage Japanese electronics. Masao Hiruma and Fumio Ichimura’s project Testpattern is known for their release Apres-Midi, a cult slab of synthpop perfection released by Yukihiro Takahashi and Haruomi Hosono’s legendary Yen Records in 1982. While Hiruma and Ichimura parted ways following Apres-Midi, Hiruma’s musical endeavors would continue after meeting French/American model and vocalist Evelyne Bennu in 1984 at a café bar where she would sit and write poetry. Their collaborative efforts as Evelyne/Masao were fruitful, and the duo first performed together in June 1984 on a television program called TOKYO ROCK TV. The album TESTPATTERN comprises seventeen songs recorded in Hiruma’s home studio, which have never been released previously. The Evelyne/Masao duo continues building on the soundworld of Apres-Midi: lush, sophisticated electronics with intricate yet minimalist production. Tracks like “Sakuramochi” and “Bird Island” bear influence from Hosono most clearly, their soaring melodies revealing a subtly ironic redeployment of East Asian musical tropes. But TESTPATTERN is more than homage to Yellow Magic Orchestra. “Tabac” and “Le Soleil Se Leve” display oddball sensibilities closer to Sky Records icons Asmus Tietchens or Cluster. Elsewhere, the project shows affinity for the punkier ethos of continental DIY electronics, like on the quirky “Alien Go Home” and a positively skewed cover of “Singin’ in the Rain.” Bennu’s vocals provide a common thread through these explorations, as she alternates deftly between New Wave deadpan and unhinged chanson singer—check her waxing maximally Francophone on “Au Clair de Lune,” based on an 18th century French song. TESTPATTERN will be available on both double LP as well as CD, and includes a fold-out poster with liner notes with lyrics. This album is dedicated to Masao Hiruma, who passed away in 2011.

East Kilbride’s Scott Fraser finally comes good on a 25 year promise to his younger self with his debut solo album on his own label DX Recordings out of London. This record represents the closing of this chapter and the opening of a new one.

A truly international and collaborative project pulling together the help and talent of friends around the world with mastering by Radioactive man Keith Tenniswood, cut by Frank Merritt at The Carvery and world class US visual art and design legends, Tim Saccenti and Nick Martin on photography, artwork and design.

Limited to 300 solid red heavyweight vinyl copies, brown kraft sleeves; individually hand stencilled and numbered by the artist, printed inserts feature a collection of moments and images from the last 25 years - the studio, the equipment, the people and the places that came together to make this release. Japanese rice paper inner sleeves.

Limited edition hand printed screen print by Niall Greaves at Newbridge Print Studios in Newcastle on the first 30 copies exclusively available via the DX Recordings Bandcamp page.

Musically diverse, crossing styles, flavours and moods, threaded meticulously with razor sharp Roland TR606 programming and glued together with a Space Echo, Expanded opens with the sub aquatic funk of ‘Eden And After’. Side one takes you through banging electro on ‘Energy In Constitution’, the dark dub techno of ‘To The Letter Of My Oath’, leaves you disappearing through a black hole on ‘The Path Of Helium Rain’ and the sound of aliens talking through FM synthesis on ‘Collected Stills’. On side two: a slice of dark, heavy instrumental hip hop gets things started with ‘Where Is That Perception? ‘. Next we get into some straight 4/4 club techno with cut up drums and bumping baseline in ‘Mi Dominante’ before moving through some blissed out Detroit vibes on ‘Earth Looking Inwards’, a rough as you like TR606 driven experimental electro groover ‘Object of Life’ and finally closing out with the Ectomorph inspired stark electro of ‘Steel (NB_BLOOD cut)’.

Mastered by: Keith Tenniswood at Curve Pusher, Hastings

Cut By: Frank Merritt at The Carvery, London

Distributed by: Rubadub, Glasgow

Artwork by: Timothy Saccenti, Nicholas Martin, Scott Fraser

Photography by: Kate Green, Javier Gonzalez, Scott Fraser, Timothy Saccenti

Solid red vinyl (300 copies), 30 coming with a limited edition screen print designed by Timothy Saccenti, Nicholas Martin and Scott Fraser, hand screen printed by Niall Greaves at Newbridge Print studios in Newcastle.

Soundsystem music built on soundsystems

Yellow, the vibrant color of our holiday house on La Palma provided the first spark of inspiration for this album. Some months later, a volcanic eruption turned the house and the entire village into an alien-like Malpaís landscape. The album is a tribute to La Palma - Isla Bonita. 
Yellow sets the mood of the album, like hitting the sweet spot on the mixer, not too hot and not too clean but in between. Tracks running hot like lava through an analogue mixer, morphing into new sonic landscapes. 

The album has been developed and performed live over 5 Dub&Dal gatherings. What better way to build soundsystem music than on actual soundsystems? The result is a live-recorded, continuous piece of music that captures the energy and vibe of a crowd dancing in front of a massive DIY stack. 

Eruption follows on a similar trajectory as the previously released Lemma(s). It takes the listener on a trippy, percussive journey through different musical styles and tempos, expressed and informed by polyrhythms and collaborations with live musicians. Collaborators from around the world and from diverse musical backgrounds have brought their own artistry, shaping the album into what it is today.

Aphex Twin’s ‘Xylem Tube’ EP arrived in the summer of 1992 on R&S Records, coming hot off the heels of his landmark ‘Digeridoo’ release, and an audacious follow up from the then 21-year-old Richard D. James. Out of print for nearly two decades, this long-awaited vinyl reissue restores one of the pivotal early works in his catalogue.

Where ‘Digeridoo’ pushed the endurance of the rave floor to its limits, the ‘Xylem Tube’ EP stretched the Aphex Twin sound into new dimensions with ‘Polynomial-C’ becoming an enduring classic with its spiralling arpeggios, shattering breakbeats and alien melodics. Tracks like ‘Phlange Phace’ and ‘Tamphex (Hedphuq Mix)’ pushed distortion, humour and rhythm into uncharted territory, while ‘Dodeccaheedron’ acts as a bold signifier of James’ radical ideas of how dance music can sound, with its ominous and brooding synth work over a cacophony of eerie, broken beats.

Three decades later, the EP stands not only as a key chapter in the Aphex canon, but also as a statement of intent from an artist set on reshaping electronic music’s DNA. Now faithfully reissued on vinyl for the first time since a 2006 pressing, this edition returns one of the most in-demand Aphex R&S titles to circulation after nearly twenty years out of print.

Next up on Bosconi, the ever-persistent Italian outpost helmed by DJ sorcerer Fabio della Torre, comes a bold new chapter from label mainstay Lapucci—a familiar name to heads who remember his trippy debut Levitated Sensor Detector (LSD).

With Level of Control, the Florence-based Burbi Dub dubplate conjurer delivers a four-track EP that travels across moody electronics, psychedelic grooves, and off-world rhythms.

Kicking off the A-side is “Radio Controller”, a dark and melodic new beat jam with deep ‘80s roots—think obscure synths, rolling drum-machine funk, and a haunting vocoder line that crackles like forgotten transmissions.
Next up, “Einstein”. This one’s a jacking electro-techno burner, all drive and tension—built for those peak-time moments where things feel like they could go off the rails. There’s a cinematic sense of anticipation here, a nod to the cosmic weight of relativity and dancefloor gravity.

Flip to the B-side for “Level of Reality”—a trance-soaked electro weapon, laced with a screaming guitar-like lead and a soaring, emotional melody. It’s peak-time power with sunrise sensitivity—equal parts rave and revelation.
Closing things out is “Irabijanti”, a stripped-back, hypnotic afterhours tool with a fresh, effortless groove. Subtle nods to Middle Eastern scales and rhythms give it a dreamlike, drifting feel—like getting lost in the dunes of some alien desert.

Another must-have from the Bosconi mothership—Lapucci pilots us further out, not with a bang but with a slow magnetic pull into somewhere weird, warm, and wired.

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

Crazed Behaviour's second vinyl release features Volruptus, the Alien Boogie Commander, with his electrifying EP Overload. This intense, alien-infused electro journey delves into the chaos of extraterrestrial encounters and technological overload. With pulsating rhythms and otherworldly synths, Overload transports listeners to a distant, uncharted galaxy where alien forces and scientific anomalies collide. Each track pulses with the frenetic energy of a world consumed by alien invasions and cosmic chaos, blending futuristic electro with a sense of impending alien discovery. Get ready for a high-energy ride into the unknown.

Active in London’s electronic underground since the late 80s, Paul Hierophant has long worked in the space between techno, ambient, and dub, preferring atmosphere, tone, and slow-burn tension to obvious dancefloor tricks.

The Elder Gods finds him further out on the fringes of electro, where the synths loom large and the delay and reverb units are given a proper workout. The result is widescreen, ominous, and immersive.

The title track is a monolithic slab of rhythm where corroded synth pressure and ritualistic percussion feel less like a groove than some ancient machine grinding slowly back into life.

Titans stalks forward on a cavernous half-step pulse, all foggy bass weight and fractured metallic vocal echos, like dub techno that has wandered into darker mythological territory and decided to stay there.

The Hydra coils around a lurching low-end spine, its tentacular FX flickering and mutating while the groove stubbornly regenerates.

Works and Days rounds things off with a standout alien vocal loop drifting through pulsing bass and drums, lending the track a meditative feel that works just as well for late-night headphone sessions as it does in the deeper end of a DJ set.

This is an EP for selectors who like their electro expansive, slightly strange, and built for proper sound systems.

It's time for a new compilation in our house and we have some good music to fill it up. This collection of talent is going to be served in two flavours, the physical one a four cut vinyl EP featuring previously only digital tracks and the second one a ten track selection from our back catalogue featuring some of the best producers in our family.

Asier Morillas ( A4 ) is probably one of the most original sci fi specialists out there and he's been part of our sound since his first steps into production. His track Kynosoura is a perfect example of hi tech jazz.

David Reina is also a science fiction specialist, also featured with a full length work in our catalogue, our pick for this collection is Autoscopy, a mental and complex sonic voyage into the best outer space techno.

From Mod 21 we have selected one of his most played tools, Escalation of Violence, the perfect hypnotic drill to boost your mixes properly.

Vertical Spectrum brings us to hyperspace in BALN006 combining a distorted groove with floating alien bleeps in a sci-fi techno masterpiece.

This four cuts will be pressed on wax, let's talk about the next eight:

From his Idle Ep we have chosen Temudo's Spiritual Song, a merciless floor weapon heavily tested on the best clubs and big stages out there.

Next comes BiiBii by Null Forms approaching a more abstract and sci-fi terrain, maintaining the danceable pulse and well-managed distortion. The result is more mental and synthetic. A kind of controlled chaos.

Axial Rotation from Translate starts with a fast paced groove, heavily bass fuelled with a continuous synth line moving across the basement. All sound elements are constantly mutating and evolving although the mood is linear and loopy.

Eight cut comes from Dutch veteran Dimi Angelis, the third from his
A Journal of Impossible Things EP from 2023. The hypnotic bleep penetrates your mind while the dirty sound of the old drum machine sets the pace for your feet. Special mention to the occasional resonant sweep that appears from time to time creating the required tension.

On the ninth, Ruman's Lizard from Where The Ring Ends LP, mental and hypnotic, perfect for adding tension to a mix, again heavily tested on the best dancefloors extensively.

Closing the release, CONCEPTUAL with Red Sun a magnificent closing anthem, no more words needed here.

With this collection you get a tiny snapshot of the sonic palette of Warm Up Recordings sound. Check our full catalogue to get the proper picture.

Die legendäre Vinyl-Serie für alle Italo Disco-Fans geht in die nächste Runde!

Mit The Italo Disco Collection Vol. 3 erwartet dich eine exklusive 4LP-Box, randvoll mit den größten Klassikern der Italo Disco-Ära der 80er Jahre – ein Muss für Sammler, Nostalgiker und Liebhaber des typischen Synthie-Sounds.

Diese Box bringt den Sound der Tanzflächen der 80er Jahre zurück – authentisch, analog und mit jeder Menge RetroFeeling. Ideal für DJs, Fans der Italo Disco-Szene oder als stilvolles Geschenk.

Kicking off our VA series we’re pleased to present Frequencies Vol. 1. Six brilliant artists covering a variety of dancefloor moods and energies.

The Belgian duo A.G. & Kompo have delivered an extended slice of punchy minimal techno for the A1, with elements of tech house and progressive leaning synths scattered throughout. David Agrella’s welcome return to Seven Hills sees him developing the late morning atmosphere titled Amfexa, utilising a groovy bassline, classy pads and some expertly organic drum programming.

On the B side the Hamburg based Rupert Marnie and our beloved Dutch friends Young Adults add a darker tinge to this release. Parapsychic is a gurgling meditation; very minimal which allows the drums and alien sounding bass sounds to punch hard through the mix. Closing us off is Exothermic, a monstrous, almost hellish bit of deep tech house.

Lots of textures, a rubber elastic kick drum, and a hypnotic, groaning vocal which sounds as if it was dredged up from the underworld.

Next up on the RNT 7” series - JKriv & Megatronic reunite to drop “Out Of Time”, a thunderous club track with an urgent message.

Building slowly at first with layered percussion, Meg’s spoken vocal dances poetically around themes of disillusionment and alienation with our modern digital age.

As the instrumen-tation opens up into stabbing synths and growling bass, the track climaxes in a repeated vocal chant.This maxi-single house 7” is prime for the club with a fresh instrumental on the flip. Play loud!