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Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Following the digital release of the single “Meu Canto” in early February 2026, Gerardo Frisina and singer Luzia Dvorek return to Brazilian music with a new and compelling interpretation of a timeless classic, “A Lenda do Abaeté” by Dorival Caymmi; the release of this 45rpm single brings to a close a special project entirely dedicated to Bahia, the beating heart and symbol of Brazilian culture.

“Meu Canto” takes shape from an original composition by Gerardo Frisina, who signs both music and production, crafting a soundscape that is suspended between delicacy and depth upon which Luzia Dvorek - joined by songwriter Toco, whose refined backing vocals further enrich the song’s emotional dialogue - has drawn the melodic line and written the lyrics. A journey into roots and origins that tells the story of Luzia’s family, deeply embedded in the warm, fertile land of northeastern Brazil. “Meu Canto” sees also the participation of Alfonso Deidda on flute, whose airy timbre introduces new shades of color to the composition.

In “A Lenda do Abaeté”, the 45rpm B-side, Gerardo Frisina weaves an elegant and immersive rhythmic framework, evoking soundscapes that feel both deep-rooted and timeless. Within this setting, Luzia Dvorek’s voice unfolds with emotional intensity, balancing expressive strength and subtle delicacy as it narrates the ancient legend of the Abaeté lagoon. A place steeped in charm and mystery, suspended between myth and reality, whose stories have been passed down through generations in Salvador, in Brazil’s north-eastern region.

The project is further enriched by the acoustic guitar of Francesco Borrelli - who also took care of the tracks mixing and mastering - and Toco’s distinctive vocal contributions, which add depth and nuance to the overall sound.

No stranger to the game, Jay Tripwire returns bringing his usual caliber of stylish, late night tales.

2 extended no-nonsense cuts combine to form his ‘Jazz is Pain’ EP. Ethereal themes bleed through a body of meticulously programmed rhythms and beats that bubble and bleep in “Jazz is Pain”. With sprinklings of deep tones and jazz notes creeping in throughout, Jay delivers some otherworldly weaponry fit for the darkest hour.

“Jazz is Life” embodies the spirit of world music as he tells the story through twisted and tweaking lenses, as a plethora of drums, calls and crashes lead the way, punctuated by a tight rhythmic section that ticks away.

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.

While the older numbers are much sought after on Discogs, Light Touches pushes further and invites Irish underground heroes Frawl and Blackout (respectively founder and one of the resident djs of the connaisseur Backwards parties in Limerick) for the new release on the highly revered Light Touches Records.
On A side, “Fortune Teller” is a masterpiece of a lost disco tune with infectious funky bassline, while “Foxee” goes deeper into a brass driven relentless grooves with psychedelic melodies. On the flipside, “Me, Me, Me” is a 10 minutes journey, with a strong moody and deeper vibe.

All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

12” limited to 300 copies (no digital).

Bound to break the new year in with all our might, we are excited to unveil our new baby, RYCX. Expanding the scope of our main catalogue to bottle what we consider pure techno quality with its idiosyncrasies and inherent untamedness, RYCX will serve as our platform of choice to embrace the more minimalist, dubby vibe of techno, focussing on tracks that sound more like a rabbit hole, trippier, psychedelic, and immersive, yet still powerful enough to fill a dance floor. Kicking off the journey is 'RYCX01' by Ruben Ganev, up with his debut solo release after contributing a track to our 2023-issued 'Heimat' VA. The music here featured packs the very defining qualities RYCX aims to engage its audience with: a raw, inspired, quality-driven combination of force and thoughtfulness, ruggedly honest yet built to meet the expectations of the most picky dance floors and home listeners out there. Ganev's quartet of stormy churners, cut from the most hypnotic cloth and eerily vibrant machine funk, has us diving deep into a throbbing furnace of charred dubs, steely industrial reliefs and post-apocalyptic atmospheres. A most fitting manifesto in sound, telling the beads of the sonic revolution in march.

We present an EP from two house masters Artem Stan & Matpri on Analog Concept records.

This record was born like in the classic 90s from jam sessions in the studio, when musicians caught the groove and connected their deep universes, showing true love for house music. Everything is combined here - the sound of drum machines 909 and not only, atmospheric acid impulses of 303, classic pads that paint these paintings bright and filled with deep meaning, as well as much more. Amazing two sides and four compositions, each with its own story.

The Midnight Seduction track opens the telling of these stories on side A. From the first seconds, immersing in the atmosphere of synthesizer temptation, the analog bass line combined with the default drum section and elements of bright metal claps quickly gain the necessary energy and immerse in the images of a closed nightclub with long corridors and hidden dance floors. The light plume of the classic M1 organ and the accentuating Acid lead maintain balance. Secret nocturnal seduction, light ecstasy and an atmosphere of love.

French Kiss - everything is great here, as soon as you listen to the harmony of accordion-like synthesizers and deeply addictive pads, you are instantly transported to the image of Parisian streets. Elements of bells, a rhythm section filled with unpredictable percussion, acid inclusions and an unexpected immersion into a broken beat in the middle of the composition, a real deep French kiss.

Matpri is known for its sophisticated approach to music and is rightfully the guru of micro and minimal house. Having created the maximum sound quality of the rhythm section and the deep bass that was addictive from the first seconds, mixing old-school vibe, while not losing touch with his minimalistic sound image, he filled the House Template track with the smallest details and percussion, which is confidently based on the B-side.

Four certainly high-quality compositions were created in the studio of Artem Stan in the mountains of Krasnaya Polyana and one of the tracks on the B-side - "Nasha Polyana" - is dedicated to this location, it conveys a certain playful atmosphere of a mountain village with a vibe of complete freedom and daily carefree. A complete release with decent house music.

2026 Repress

French DJ/producer Mathys Lenne's artistic vision is rooted in his deep connection to rhythm. Telling stories with his sounds while drawing inspiration from poetry and cinema and blending hypnotic textures with raw intensity, his music is widely supported across the scene via labels like Mord, Hayes and more. Across five vinyl cuts and three digital bonuses, the four-deck wizard keeps it deeply atmospheric with his label debut on SHDW's Mutual Rytm imprint, combining elements of psychedelic rock, unique voice samples and saturated synths to create a sound that feels immersive and unrestrained in contrast to the fast-paced, visceral techno he has become known for.

'Detlev' opens up with hefty kicks that demand you quicken your step, while industrial effects and creepy design brings the detail that makes the track pop. The classy 'Natural Born Killers' rides on firm kicks with loopy percussive details tightly coiled, ensuring you are forever on edge as the drums march on. 'Choose Your Pill' is a stripped-back and pulsing deep techno cut with deft synths that peel off the groove, before 'Untidy Echo' delivers a cavernous sound with sparse hits and low-end rumbles that place you in the centre of an underground cavern. 'Enfer ou Ciel' featuring D.E.S brings a sense of melancholy in the occasional string sounds and watery droplets that float over more frictionless, meditative beats - while the trio of digital bonus cuts brings moody subterranean rollers ranging
from snaking and dubby to more drum-led and eerie tones.

Early Dj plays from Louie Vega, Dj Sneak & Carl Cox!

Brand new vinyl-exclusive music for 2026 from 4 legends of electronic music.

Teachers is a new series from Only Cuts showing love and respect to the architects of our sound.

5th release from the Only Cuts label run by Sydney maestros, Mo’funk & Encee

All new music from these Teachers, Dj Sneak returns with one of his best works in a long time with ‘Hear The Music’ Todd Terry appears under his ‘House of Gypsies’ alias with a horn driven percussive groover. Junior Sanchez with a brilliantly produced Wham flip & The Stanton Warriors come at it with an anthem used in their live sets, appearing for the 1st time on vinyl!

There is an ecstatic melancholy in Dent May’s music. The bedroom pop auteur’s songs are both bittersweet and exuberant, breaking your heart while you can’t help but sing along.

Over six albums, May has built a wildly diverse discography spanning 17 years. He has typically worked alone, assembling perfect pop gems on his laptop, playing nearly every instrument himself. But when he began preparations for his new album, May’s tried and true process suddenly felt stale.

The Big One brings together both the scrappy DIY ethos of Elephant 6 Collective and early The Magnetic Fields with May’s lifelong affinity for the great ’70s singer-songwriters like Harry Nilsson and Ram-era Paul McCartney. The songs balance a clear-eyed view of the world with a cautious optimism, looking at the everyday experiences of disappointment and heartbreak with a sense of possibility for the good that may still come. Things might seem bleak, May tells us, but that doesn’t mean we can’t be thankful for our brief time here on Planet Earth.

The title track is the beating heart of the record. Over a steady drumbeat, piano, and accordion, a melancholy May sings, “The big one’s coming, the big one’s on its way,” promising disaster. But May won’t wallow in the misery: “Thank the Lord for all my friends/We can make it ’til the end/No we can’t stop now/Who knows? Tomorrow it all could turn around.” For May, hope comes in the form of others.

It’s with this joyful melancholy Dent May draws in the world. Everything might be ending, the planet could be careening off into chaos, but tonight there’s a party down the block and you’re invited. Be sure and bring your friends.

Fresh for 2026, Something System Records returns with its second four-track EP, showcasing a carefully curated selection of forward-thinking underground sounds from across the DnB and jungle spectrum.

A1 – Creativity
Oxford-based producer SR makes his label debut with Creativity. Having already built a strong reputation through multiple vinyl releases and production collaborations with JEMONE on Metalheadz, SR delivers a powerful opener defined by tense atmospheres, razor-sharp drum programming, and weighty sub-bass. Designed to move both dancefloors and minds, this is a standout introduction.

A2 – 3 Times Around The Sun
Duburban & Peeb return to Something System Records for their second appearance following a prolific period of releases on some of the scene’s most respected labels. This track channels lush, uplifting pads reminiscent of the golden era of Good Looking Records, underpinned by warm sub frequencies and expertly edited drumfunk breaks that evolve beautifully throughout. A deeply musical and rewarding listen.

B1 – Fresh Outlook
Bristol-based producer Loma returns to the imprint with Fresh Outlook, a finely crafted 140 BPM jungle roller. Featuring intricately layered breaks, precisely placed subs, and an immersive atmospheric backdrop, the track takes the listener on a dynamic journey. With previous releases on John B’s BETA Recordings, Loma continues to demonstrate a bright and promising trajectory.

B2 – Tell Em Purdie
Closing the EP, Something System Records proudly welcomes Pixl to the label for the first time, collaborating alongside Duburban & Peeb. A seasoned producer with releases on numerous highly respected DnB labels and founder of Loop Progression Records, Pixl brings depth and experience to this jazz-infused finale. Smoky club atmospheres, textured breaks, deep subs, saxophone lines, and a spoken-word sample referencing a legendary drummer combine to deliver a rich, soulful conclusion to the EP.

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark. Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground & after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega,
and many more ...

Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.
Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City.

A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from Armand Van Helden, Logic, Roger Sanchez (Underground Solution), Photon INC and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020 - Happy birthday Strictly Rhythm!

So… what are we actually supposed to tell you about HCL? Honestly, it’s a pretty nice story. A collaboration the way it’s meant to be.

HCL stands for Horkheimer, Consti aka Zeitstill, and Delenz — not hydrochloric acid, but liquid music. One shared idea of sound, without a fully mastered plan. Most of the tracks were born during long studio sessions — long nights, extended jams, ideas taking shape naturally. No big concept, just working it out together and seeing where things go (or not).

After the first two HCL tracks found their way onto various samplers — including the 25 Years of Live at Robert Johnson compilation and Freeride Millennium’s own Queer Base Vol. 2 — it felt like the right moment to take the next step and release the first pattern. Not as a conclusion, but more as a checkpoint. This is far from the end. There are more patterns, more sessions, more ideas already waiting to be published.

Describing the genre is, as always, not that easy. It drifts somewhere between techno and all the other things orbiting around it. Purely electronic music, rooted in the club, but not obsessed with functionality. In a way, it reminds us of the early 2000s — deep, slightly twisted, hypnotic, driving but never aggressive. Music that takes its time, creates space, and pulls you in rather than pushing you forward.

For moments that are meant to last — tracks you don’t want to hear mixed out. For getting lost on the dancefloor, for forgetting the noise and madness outside for a while, for drifting into yourself and letting time fly. Honest club music, built for immersion.

Enjoy the music. Enjoy yourself. Love.

Yours, HCL

Nothing is as it seems - look deep inside, tell yourself what you find.

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Based in Rennes and founder of the Vives label in 2020, Weever has been exploring the interplay of light and shadow for over 10 years, crafting abstract soundscapes and textured sonic tunnels of unparalleled musical breadth. He elegantly blends industrial and baroque sounds to construct sonic cathedrals. His music is both utterly raw and meticulously crafted.

L’âge de la Galère :

started this EP in 2020. At the time, I had just finished my studies, it was a pretty difficult period and I had made a track, or rather a melody, that I thought was amazing. I held onto it all these years without ever releasing it. 2020 was a tough year overall. The big question was: What am I going to do with my life? Hence the title L’âge de la Galère

The title really started to make sense when I began putting tracks together for Micheal. Around that time, I was reading Those of 1914 by Maurice Genevoix. For those who don’t know it: it’s written as a journal and tells the story of the author and his fellow soldiers in the trenches during World War I.

I’ve always been passionate about the two World Wars, I watch every film, old and new, I listen to the soundtracks, and so on. Same with period films, especially medieval ones. I love drawing inspiration from them.

So naturally, I imagine and create around that. It comes easily because it’s always been my universe. And when I make music, those kinds of images inevitably come out, even subconsciously.

So I created and told an audio story through my 6 tracks.

“It’s 1914. The story of many men who, upon hearing the sound of the bells, are met with the announcement of a war like no other. Most of them are young, some very young, and they are drafted into the French and German armies. They have no military experience, and the first battles are so violent that many won’t make it back. Very few will earn the glory they deserve.

The conditions are appalling, everything is in short supply, and the men are exhausted. Still, they must hold on.
Leaving carelessly from beneath their mothers’ skirts, too few returned. Many were left traumatized, and an entire generation was forever changed.”

The sunshine of Andalucía has come to the Bordello. The musical magpie that is Daniel Monaco arrives with just a hint of a Spanish accent and a daring record under his arm. Known for finding the intersections of boogie, disco, italo and house, Monaco is going that bit further with Manuel Rodriguez for the Flamenca EP. Melting the percussive drive of his machines with the spirit of Southern Spain, the four tracks on offer are a journey into a sound and style that is inspiringly original. Ruffled hi-hats and smooth basslines are the foundation for the title piece. The soul of the Sierra Nevada and the warmth of Granada pour forth through Rodriguez’s unparalleled performance. The claps of Chicago are reimagined as an interplay of melody and rhythm awakens; the traditions of Flamenco married with a modern groove. Talent and technique are coupled with pure passion in the intense instrumentation of “Fantasia” before the flip shifts with “Sìnteme.” The culture of Italy and Spain combine, taut string plucks peppered in handclaps before the Only Bee’s vocals descend. Ardent, the lyrics tell of our shared humanity through the dialect of Ischitella from the southern tip of Italy. The homes of our musicians are the inspiration for the finale. Blending the decadent splendour of Napoli with the old-world romance of Granada, Rodriguez’s guitar is the focus of “Granapoli.” Bitter-sweet, blissful and sorrowful, a lone beat wandering through the winding melody that twins these great cities. From Italy and Andalucía to Amsterdam, a 12” like few others.

Falter is the 5th full-length album from New Zealand-based composer/-multi-instrumentalist Micah Templeton-Wolfe, working under the moniker Stray Theories.

Templeton-Wolfe has consistently woven together the cinematic sweep of ambient music, the refined structures of neoclassical composition, and the emotional cresting arcs of post-rock. With Falter, those intersections are more deeply blurred, yet more boldly explored.

Transparent Red Vinyl.

The title Falter evokes wavering, hesitation, uncertainty of intent and yet the album stands in sharp contrast to that concept: Templeton-Wolfe’s performance here is marked by a quiet but unmistakable confidence.
From the first notes, the listener is immersed in an atmosphere in which the music feels like a cinematic means of passage, a journey toward redemption. Optimism is present, but ever cloaked in doubt; moments of
contemplative solace sit side-by-side with streaks of melancholia. One senses something looming within the sound-world of Falter. As though the heart itself can tell something is coming.

In this respect, Falter may well rank as the most affecting release in Templeton-Wolfe’s canon to date. While his earlier work had always balanced delicate textures and evocative atmosphere, here he pushes into a more expansive emotional terrain. Only the hopeful refrain “Lifelines” brings the album fully into brighter territory , hinting that redemption is possible, that the journey through doubt is not endless.

WRWTFWW Records is proud to announce a super limited vinyl release of Christine Aufderhaar and City of Prague Philharmonic Orchestra's original soundtrack for the critically acclaimed, multiple award-winning 2022 animated-documentary film Aurora's Sunrise. The release comes as a 45rpm double LP in a heavyweight sleeve with inside out print.
Aurora's Sunrise is directed by Inna Sahakyan, and tells the extraordinary true story of Aurora Mardiganian, a survivor of the Armenian genocide who later became an actress in the United States. The film combines animated storytelling, archival footage, interviews, and rediscovered scenes from the 1919 silent film, and one of Hollywood's first blockbusters, Auction of Souls, in which Aurora starred. Aurora's Sunrise was Armenia's official submission for the 95th Academy Awards for best international feature film. It has won over 20 international prizes.
The composer, Christine Aufderhaar, is an accomplished German composer based in Berlin and Los Angeles, with over 20 years of experience and more than 50 films to her name. Her background spans classical, jazz, film scoring, and contemporary orchestral work, and she has been the recipient of numerous awards for her work.
The soundtrack performed by the City of Prague Philharmonic Orchestra is deeply emotional, blending intimate melodies and majestic orchestral work, and weaving together themes of memory, survival, loss, and hope. A perfect fit for collectors of film scores, contemporary classical music, and limited vinyl releases.

Were FEX the Wildest & Weirdest German New Wave Band in 1984?

Few cult mysteries in modern music have captured the internet's imagination quite like "The Most Mysterious Song on the Internet." Eventually identified as "Subways of Your Mind" by the elusive German band FEX, the track became a viral sensation decades after its creation-and even made its way into a recent Hollywood blockbuster (Black Phone 2).

Now, two more lost FEX recordings have emerged from an old demo cassette: "Dead End" and "Sarah." And they're every bit as electrifying as the legend suggests.

On both songs, guitarist and main songwriter Ture Rückwardt joins forces on lead vocals with his former wife and musical partner Ilona Rückwardt, forming a vocal pairing that channels raw energy and eerie chemistry. What they deliver are two of the most urgent, adrenaline-fueled post-punk artifacts you're likely to hear this year-even if they were recorded more than forty years ago.

Opening with a sharp, melodic guitar solo, "Dead End" bursts forward with uptempo drive-catchy, fierce, and full of momentum. Apparently inspired by Orwell's 1984, its lyrics depict urban desolation-loneliness, homelessness, hopelessness-yet still shimmer with defiance in lines like, "Truth is amazing - hoping is like waiting."

The second track, "Sarah," dives even deeper into darkness. Mixing post-punk intensity with psychedelic textures, Rückwardt tells an imaginary story of a couple lost in drugs and spiraling through a bad trip, only to wake and realize that sobriety offers little comfort-the real world itself can be just as brutal and offers no easy escape.

Neither song makes the slightest concession to commercial trends. Instead, they feel utterly uncompromising-wild, strange, and defiantly timeless. In a world obsessed with polish and playlists, "Dead End" and "Sarah" sound like transmissions from a different planet.

Both tracks were originally recorded as demos in 1984 in the band's rehearsal room, with Hase engineering. The newly restored versions preserve the raw spirit of the original tapes while adding subtle layers to enhance their atmosphere without losing the authentic 1980s sound. FEX hint that the untouched demo versions might surface later, possibly on a second volume of their archival

Gene Tellem & Gabriel Rei are back as Game Plan with ‘Offset’, the follow up to their debut ‘Club Negotiations’ on Bienvenue Recordings. Three smashing tunes for the floor + a stunning remix from Metrolux head XDB!

All basses covered on this one! The 12” kicks off with the original mix of ‘Crazy For Congas’ providing an infectious House/Tribal groove. As the OG mix ends, the reshape kicks in… XDB strips the original down to build up the perfect Tech/Minimal companion for the AM hours!

The B side comes out swinging with ‘Industry’ in a Dub Techno sound to stoke the movement on the floor. Last but not least, a well rounded record always has a banging B2 & Game Plan would not leave you hanging. Play ‘Offset’ when you need to give the dancers some sweet satisfaction.

This official double vinyl is dedicated to Duplé, the historic nightclub that defined enre
generaons of clubbers.
It's a special project: two vinyl records collecng the tracks that made Duplé's history over the
years—the ones you danced to, shouted out, sang along with, and that sll give you goosebumps
on the first listen. An insert with historical notes and flyers recalling the most significant magical
nights is included.
This is not a simple record release, but a collector's item: a piece meculously curated, featuring
tracks that are somemes hard to find, selected specifically to tell the story of the club's soul and
its legendary events. This "Duplé Paura" double vinyl is a tribute to all who experienced its magic, both yesterday and
today.

Focusing on bringing people some fresh air from the island that we produced with its own unique character. Our artists provide an escape to somewhere full of energy to drag you back from the so-called chaotic world. There are plenty of spaces, it’s a sharing for everyone!

As you may know, Koh is a word in Thai that means ‘island’. We want to represent the sound of our characterized island and tell the story through it. For this collection, we want to present the island under the ground which represents the different perspective of life reflecting our music scene in reality.

We gave the word “Clockmaker” as a hint to the artists.
It’s a simple, even mundane concept—something easily overlooked and not immediately eye-catching. It also suggests waiting, as it often takes time for people to return to the shop. But time itself holds meaning, and the clockmaker always has something hidden beneath the surface.

With that in mind, “The Photo Sticker Machine” and “Chucheewa” present their first original track: “Galactic Love.”

Alongside it are five vibrant remixes by artists we deeply admire—from Mogwaa (Korea) and Retromigration (Germany) to three incredible talents from Thailand’s local scene: Kova O’ Sarin, Chalo, and Saranmy.

Irradiated is the second LP on Appendix.files from Berlin-based sound artist and producer Kurt Reinartz Salgado. Across eight tracks, Reinartz explores the space between dub-techno lineage and ambient experimentation — what he describes as “ADHD-ambient.” Drawing from ’90s German techno and Chain Reaction-era dub, the album blends elastic 4/4 rhythms, fractured breaks, submerged bass pressure, and patient, detail-driven atmospheres.

The record moves from deep dub openings through porous rhythmic studies and warm melodic ruptures, before closing with hydrophone and geophone recordings from Berlin’s Kaulsdorfer See — grounding the LP in physical space and material listening.

Introduced by a discrete message online, at the beginning of 2024, SNR007’s opening track Gliadin snuck its way through the web and first tickled my eardrums. It immediately lightened the mood and caused a little living room dance after a boring and grey day.
K’s musical ingredients may be called sparse, or certainly peculiar. All elements have their purpose though, even if they won’t tell you exactly what that is. The resulting experience is rich, enveloping and darkly funny.

Les Enfants Terribles presents LETM011 by DJ Real Madrid with the new EP No Smoking:

Dear readers and listeners,

My name is Tillmann Ostendarp, others know me as DJ Real Madrid. I love to play instruments, I love to play with machines. And this is something I did in May 2024, when I spent one week in my beautiful studio. Over the course of the week I recorded „NO SMOKING“ which is going to be my first Vinyl Release as „DJ Real Madrid“. No Smoking contains 4 Tracks: „Ta Ta“ which is a Juno-driven deep homage to the god of funk „Johnny Guitar Watson“. „Leave It Be“ is a big percussive jam that tells you to mind your own business. When I knocked out „GGGGGG“, I invited Dino Brandao and Mel D over to jam on the microphone, which led to a dark humorous ode to the insanity of our world. The last track is called „Merlasco“ and brings back the hope that we all will come together in the morning sunrise!

Kin Gajo is a Brussels based electro-acoustic jazz trio drawing inspiration on the one hand from J Dilla and Flying Lotus, and on the other from the sound of British jazz artists such as The Comet Is Coming, Yusef Dayes, and Alfa Mist. With their atypical instrumentation-accordion, saxophone, and drums-the trio has developed a sound entirely of their own, with the accordion often resembling a heavy analog synthesizer.



DJ and producer Lefto featured Kin Gajo on his compilation Lefto Presents Jazz Cats Volume 3, positioning the trio at the forefront of the young Brussels jazz scene. The music clearly demonstrates how original and vibrant the results can be when elements of contemporary jazz merge with diverse influences from a metropolitan melting pot.



With Tsuki ?, Kin Gajo releases their first full-length album.

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?

Welcome to a story in which love and heartbreak go hand in hand.

Falling in love dances beyond time's grasp, Embracing the present becomes our steadfast task, The skin's whispered language, an ancient story told, We're free as waves, in their rhythm bold, Arrivals and departures, part of love's grand scheme, In music, writing, painting, love finds its dream.

So let me tell you about the Art Of Romantic Beings.

Repress

Via their studio in London, the Illusive Gluten People have crafted a timeless 4-track EP of precision minimal heat—chunky, rolling club grooves designed for the dancefloor.


Supported by:
Raresh | SB-Unit | Prosper | Joseph Capriati | Voigtman | Tai Lokun / Rinse FM | SUCHI / Rinse FM | Amaliah / Rinse FM | Archie Hamilton | Bartolomeo | Jimpster | Sean Sines | Hutch / Rinse FM | Hayley Zalassi | La Fleur | Subb-an | Timo Maas | Rupert Ellis / Circa Groove | Severino / Horse Meat Disco | Storm Mollison | ADMNTi | Ryan Clover / Homage NYC | Azo | Aletha / Rinse FM | Jad & The | Alec Falconer | Call Super | Rupert Ellis | KT | La Fleur | Raw Silk | Francesco Mami | Paperkraft | Miley Serious | Byron Yeates | Mr Redley | Michelle Manetti | Ysanne / Phonica | Scarlett O’Malle

Beautiful soulful album by George Smallwood - including original material from home sessions prior to George's 1980 self- released LP. The rest, a sampling from the Smallwood mind's library of classic song writers. Huge tip!
"Recorded Live in Hyattsville, MD 1975-2015. George really had no interest in releasing this record. 'Seeing Is believing, they don't need records, trust me I did that, today they getting it live.' So this record is that, live tapes from the house, recorded on a government issued cassette recorder from National Library Service for the Blind. George calls these his practice tapes for songwriting, and performance warm-up, and never beyond his ears were they intended to travel. 'You just got to see me live if you want to really see me.. so when we get there just plug me in, and point me at that crowd' Last time I saw George they had him wired to the club system. He unplugs his Yamaha keyboard, licks the tip of the power cord and taps a beat on it, finally plugging in, synth lights up, tones all at zero, beats at zero. Then he builds from there, counting blind through a preset one hunderd factory tones and rhythm patterns. 'I gotta start off at zero, and go from there.' After the Marshmellow Band disperesed, he got this Yamaha keyboard, same one he's been playing since 1990, endless scrolling over the same presets, trying to make them fit, tempo down, tapping while telling the story and asking if that feels right to you. 'This always gonna be different live.'
Andrew Morgan (Peoples Potential Unlimited)

DJ Support: Sasha, Marco Faraone, Robin M, Just Her, FKA Mash, Paul Van Dyk, Adriatique and CamelPhat

Bedouin joins forces with vocalist Marieme for their latest release ‘Reason’, available now on the duo’s Human By Default label. The track marks part of the imprint’s fifth anniversary celebrations.

‘Reason’ blends Bedouin’s hypnotic grooves and emotive melodies with Marieme’s soulful, evocative voice. Her lyrics explore themes of identity, freedom, and self-perception, resulting in a collaboration that balances movement with emotional depth.

Comprised of Tamer Malki and Rami Abousabe, Bedouin has spent over a decade developing a genre-blending sound rooted in their Middle Eastern heritage and Western upbringing. Their music has appeared on Crosstown Rebels, Big Beat, and more, while their Ibiza residency SAGA—now at Chinios Ibiza—has become a staple of the island since 2017. The duo has also performed at Coachella, Tomorrowland, Kappa Futur, Burning Man, Ushuaïa, and Hï Ibiza.

Marieme, born in Mauritania and raised between Senegal and the US, brings a distinctive storytelling approach through her recent singles ‘Harmony’, ‘Tell Me’, and ‘Havana Nights’. Her work promotes self-love and liberation, expressed with a powerful vocal presence.

Planet Beyond – Selected Cuts Volume 1 marks the first release on Ruiger Records, presenting the distinctive world of ES — a Dutch producer, multi-instrumentalist, and visual artist whose work flows effortlessly between live performance and studio creation.

Selected from an ever-growing archive built over the years, the music emerges from a deep vault of unreleased recordings spanning a wide range of moods and ideas. This collection offers a deeper look into a vivid creative universe of sound and feeling — a story that unfolds through rhythm, tone, and emotion. Each track adds a new shade to the journey, like a jigsaw falling into place, revealing new dimensions with every turn.

The music moves through eras and atmospheres — carrying echoes of ’90s electronic music and shaped by the spirit of ’70s jazz & funk. It’s expressive, natural, and percussive, full of motion and detail, where live playing, studio craft, and imagination merge into one seamless flow. The sound drifts from deep, funky electronic grooves to spacious, cinematic, and cosmic landscapes — music that invites you deeper with every listen. It sounds both new and familiar — as if rediscovering something ageless, still unfolding.

Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.

“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.

16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.

Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.

“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”

Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.

This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.

The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”

The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

"The Land of the Sun, the Moon and Cosmic Melodies" is a conceptual Opera of III movements, inspired by a cosmogony that features the planets of the sun and the moon. These two characters guides us on a journey of light and shadow, rising and setting in a cycle of unexplored musical territories.
The Collective Move presents its debut album with a broad palette of sounds, ranging from jazz to opera, from southern Italian folk music to northern Indian classical music, orchestrating a 60-minute "sonic narration" that ends with the fable "What do the birds tell?".

The Collective Move is an international group of young musicians formed in the Amsterdam Conservatory in 2022. The Collective's vision is to unite diverse artistic expressions and musical genres, inviting diverse artists and musicians from diverse cultures and countries to collaborate in flexible and interdisciplinary formations.

Don’t Trust The Snippets – Play The Full Track Before Buying A Record is a finely tuned four-track compilation from NOREPRESS Records, exploring a broad emotional and rhythmic spectrum — from atmospheric breaks to dub-infused tech house. Each piece invites deep listening, rewarding full attention rather than surface impressions.

A1. Osman Oz & SUBLIMINAL. – Johto opens with a beautifully crafted breaks track — rich in ambient layers and cinematic depth, setting a contemplative tone. A2. Pat Jensenn – Heaven Tapes follows with crisp percussion and hypnotic melodies, shifting the mood into uplifting, forward-driving territory. The young Argentinian producer blends instinct and elegance in equal measure.

On the flip, B1. Genning & Kirill Matveev – Orbiter lifts off with bounce and finesse — tight, articulate, and designed for that moment when the dancefloor begins to bloom. B2. Neptuna, also by Genning & Matveev, closes the record with sensual dub textures and refined detail — balancing movement and stillness in perfect harmony.

Led by visionary Kirill Matveev, with strong contributions from Genning, Pat Jensenn, and the always-excellent Osman Oz & SUBLIMINAL, NRP005 serves as a reminder: the full track always tells the real story.

NOREPRESS is a division of MixCult Records