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Its always exciting for us to be introduced to new artists. Here comes the next EP on Cellaa Music, this time from the irresistible electronic Duo formed by Fabio Neural and F.Sonik, whose previous outings have been on labels like SCI+TEC, Antura, Serkal, KD Music, K9 Records, Monique Music. Cellaa is very happy to welcome our Friends to the fold.

Lead track is - Calle Sevilla' that immediately commands attention with it's locked tight Groove, Piano licks and warm Rhodes Keys that lead us to the mighty bassline and we're already feeling the intensity. A Synth riff comes in and builds to the main break and creates an atmosphere that takes us on a trip to the sunshine coast of maybe Ibiza, right before it drops back in!

Second up is- Bario Viejo' which has rolling percussions and a attention grabbing groove that brilliantly leading into the playful piano chords and vocal hook. The break creates a feeling of suspense, hence the name, until the moment in which it explodes to create a track that is sure to cause mass devastation on dance-floors this summer.

Finally Fabio Neural and F.Sonik delivers - Tulside'. Another massive Groover from start to end. Featuring a solid pulsating basslines that works in harmony with an impressive array of percussions, chunky hats and tingling keys peppered with fascinating Vocals. Sunrise or sunset, - Tulside' create a quite stunning balearic moment thats sure to hypnotize any crowd.

The ep is supported with an excellent remix from Cellaa label mate Marc Faenger.
- Barrio Viejo Groovalicious' feeds off its infectious bassline and it is is built upon some deep, rolling grooves. Marc Faenger's remix picks up the pace, adding a signature percussion sound, stripping back the vocals to create a more techier focused version of the track.

Cellaa Music delivers a Winter Smash with this EP.

Keep your eyes on this one!!!!

2026 Repress

After their stunning 2012 debut single "Wish" (FM X / Wish 001) and last year's "Diggin' On You" (D.O.C. 001), the incredibly gifted ELEKFANTZ return to the fore with what can only called a brilliant full-length premiere. The duo of Daniel and Leo first met 20 years ago, when they played together in a blues band. Leo continued his carreer as a professional musician while Daniel started to discover a new musical path.

The latter was born and bred at the electronic music temple in South America, later becoming a resident DJ and local hero, known as the right guy to prepare the dance floor and set up the right mood. He's one of the finest DJs of the Brazilian new wave of electronic aficionados. Leo is a professional drummer, singer and composer since the age of 15. He played and recorded with some of the greatest artists in Brazil.

Their debut album DARK TALES AND LOVE SONGS sports all the intimate melodies, lush harmonies and organic undertones that the duo has become know for and then some: from pop-infused songwriter house to highly emotive prime time anthems, you'll find lots to love about this expertly crafted collection of melodic gems. Engineered to perfection by label head GUI BORATTO, it's an exciting step for the imprint and the project alike - we can't wait hearing where they'll go next.

12" white Vinyl incl. Mp3code
Norman presents his second Heulsuse release. Remixes are coming from Thomas Schumacher (Electric Ballroom) and the Katermukke boys Dirty Doering and Sascha Cawa.

After two strong releases on Electronical Reeds, the Brussels-based artist Exon Bacon inaugurates Play Label Records with his latest EP, Watching Dogs. Play Label Records is the extension of the collective Play Label that has become a key player in the music scene of Brussels with more than hundreds of events to its credit. This first release sets up the artistic direction of this label that seeks to develope a real dancefloor approach and a strong party spirit.

The release is opened by the original mix that could be summarize with the expression 'powerful bassline, persistent heady voice and burning dancefloor'. The Parisian duo Villanova embarks us into a spin with a darker atmosphere, a deep foreground voice and a strong and repetitive gimmick. This remix reminds us why this Parisian duo knows such rapid ascent on the worldwide electronic scene. The Berlin-based and San Francisco born artist Yooj takes the opposite course to two first tracks with a deeper approach and a lighter atmosphere to offer a sunny and tasty deep house track that will delight all the dancefloor. Lastly, DC Salas, another Belgian talent, filters the voice, redefines the percussion and opens the horizon to take the direction of Tech House track.

This Exon Bacon's EP acts as the foundation stone of a future label to keep an eye on and to follow with a great attention.

Two Irish acts crank up the volume for a healthy dose of sweaty, delirious techno

Starting out in 2001 to tie up some loose ends from our regulars, SPEICHER has since become a guarantee for vanguard dance sounds from all over the planet, allowing KOMPAKT to invite and support electronic artists that comfortably inhabit both the delicate and the more deliberate ends of the electronic music spectrum. For SPEICHER 76, two Irish acts crank up the volume for a healthy dose of sweaty, delirious techno - both acclaimed tracksmith CHYMERA and renowned Speicher favorite NAUM GABO hail from the green island... as is reflected in the color choice of this latest instalment in the series.

For they debut release on Cellaa Music, Bjorn Wolf & Youri Donatz stepping up themself with the fantastic 'Put Your Mind On Zero'EP and demonstrate their love of electronic Music.

"Put Your Mind On Zero" swirls into a heavy upright bass groove seething with woody percussions and plenty of sonic details flesh out the languorous but slightly tribal groove to make this a dancefloor mover.

The Höhenregler head Basti Grub built a Remix on a rolling, almost bouncy groove on the "Put Your Mind On Zero" that keeps gaining momentum with the additon of new percussive elements that gets more and more swinging, this slowly evolving track create a unique atmosphere.

The EP continues with the dub-influenced "Bred" with a broken beat and mild-mannered percussion, before a bouncy bassline kicks in and transforms it to a dancefloor smasher. If this is the most banging track of the EP, then it's been a while since a banger's been so catchy.

"Before Singing We Must Leave The Church" is a rabid beast of a track that contains with an infectious groove and chuggy drums. With its hypnotic vibe, tripped out sounds, It is taking you on an interstellar trip.

The duo have taken care to show huge respect in creating a EP that is intended to leave unforgettable magic on the dancefloors.

This vinyl includes a free downloadcode were customers get the
whole digital release for free via Facebook !!
Rough, flickering and a bit unwashed - Ronan Dec sends out a piece of tremendous tough - minded music with his new - Whisper' EP.
Understood, that this steamroller - funk could only be cut into vinyl. With a proper share of chutzpa Felix Bernhardt picks out the bassline and adds all ingredients up to a grooving piece of prime time techno. The whole thing is finalized by the Blaues Licht remix which cuts the serious machine-funk and turns Ronan Dec´s saw tooth orgy into screaming sirens for a sweaty track of techno. - Tanaka' strums dirty and loud on the platform of the electro-clash desired sound for the closing. - Whisper' is a
shameless tray and kindly asks for maximum volume.
Rough, klirrend und irgendwie ein bisschen ungewaschen - Ronan Dec liefert mit seiner - Whisper' EP ein krachendes Stück kompromissloser Ohrengewalt. Nur, um gleich klarzumachen, dass dieser Dampfwalzenfunk eigentlich nur in Vinyl geschnitten werden kann. Felix Bernhardt greift für seinen Remix von - Whisper' mit einer gehörigen Portion Chuzpe die
Schrabbel - Bassline auf und faltet aus allen Zutaten ein groovendes Stück Techno für die Prime Time. Der Blaues Licht - Remix macht dann Schluss mit dem ernsten Maschinenfunk und schraubt aus Ronan Dec´s
Sägezahnorgien schreiende Sirenen für ein verschwitztes Stück Elektro.
- Tanaka' schrammt zum Abschluss dreckig und laut am Unterbau der
Klangästhetik von Elektroclash entlang, ohne sich dabei auch nur einen
Fußbreit von der Tanzfläche zu bewegen. - Whisper' ist ein schamloses Brett
und gehört gefälligst laut aufgedreht.

Zosh! is no debut but its the first track since ages. Gunjah releases
a maturred record with his longterm experience from countless hours
behind the decks. With a lot of precision and clean arrangement this
is nothing besides the rest..its Techno on the point. The Remix is coming from a man who - like Gunjah - breathes electronic music since years: Daniel Stefanik. (Cocoon, Mobilee, Freude Am Tanzen, Moon Harbour).

first release of french duo "creative swing alliance" on endless flight.
creative swing alliance is pablo valentine and steven joyce ames.
pablo is running mcde label.there are three killer beatdown house stuff. if you are following the sound of motor city drum ensemble or dj nature, you will definetly love this release.

In its own way, Speicher on Kompakt Extra has always been one of the most uncompromising series in the Kompakt universe. Starting out as a mere compilation series to tie up some loose ends from our regulars, it has since become a guarantee for vanguard dance sounds from all over the planet, with Kompakt being able to invite and support electronic artists that comfortably inhabit both the delicate and the more deliberate ends of the electronic music spectrum. That's also where we found the highly versatile Sei A, native Glaswegian, now residing in London and immersing himself in the hybrid house, firm techno and bass-heavy scenes that happily co-exist within UK's capital.

Brand new in those deeper days, 'DUB 2 DUST RECORDS' is going to start their vinyl-label, releasing electronic dance music with a special
focus on the various colours of deep Dub-Techno and "Dub" inspired Tech-House.

As artists and remixers Marko Fürstenberg, Gabriel Le Mar, Frank Leicher, Quantec, Luke Hess and youANDme will light a match this year for 'DUB 2 DUST' reflecting their passion and respect for the needs of a Dub head on the floor.

The dub-feeling is clearly the inspiration behind the general flavor of the DUB2DUST-Sound and will demonstrate innovative efforts to offer interesting hybrids of techno/house music. 'DUB 2 DUST RECORDS' is operated from Gabriel Le Mar & Carsten Schorr, and already based in Frankfurt am Main, Germany.

Kid Culture's sound can be described as electronic soulmusic with passion. He's one of the most exciting prospects to emerge from Amsterdam fertile scene. This EP contains 3 original groovy tracks plus a cool remix from Giomini (half of Abnormal Boyz) and Toolman (aka Francesco Grant) !!

Phaze Records is the new Imprint founded by Gummish aka Tony Matt. Phaze Records focus on the funky side of techouse and minimal techno of electronic dance music. The debut EP is coming from spanish based Dreamteam Carlos Sanchez & DJ Ray (Superfancy, Katchuli) with a remix from Mr. Dejonka (Wahrhaft, Suchtreflex, Knall, Parquet). High-Quality House Music for Fall 2009.

after midi010 the label will now also spotlight on their outstanding artists - starting with the probably best techno-producer in town: fin phranklin !!! his debut solo-ep ranges from rampaging off-beat techno like t.raumschmiere to some more electronic easy-listening vocoder techno - just a pure pleasure to listen to

first copies in green vinyl

Gal Perez is PRZ (and also Pluto Junkies, and the co-founder of Chateau Royal) and the German has put out a steady, quality stream of sounds since 2017. This outing on Helena Hauff's Return To Disorder is a twisted and acerbic collision of breaks, electro and UK rave. 'Cruising' has alarm sounds and blistering synth textures running through saw-tooth bass and big breaks. 'PIGMENTOR' is all acidic and chuggy while 'The Looper" is heads down, feet marching electro-techno. 'Good Bye' brings some electrified disco futurism to the party for a more colourful and outwardly expressive closer.

Through analog synthesizers and Eurorack modular systems, in “Axis,” Equinoxious establishes an axis between electro and minimal electronics, closely flirting with the harshness of industrial. The pieces unfold under a logic akin to the cybernetics of Norbert Wiener: feedback systems, flows of information, and voltage control intertwine with the experience of the one who operates them; the synthesizer ceases to be a mere tool and becomes an organism that reacts and communicates.

These tracks are inspired by speed, the absurdity of reality, the impossibility of things, imaginaries of dystopia, and protocols of romance, delivered with mechanical frankness and precision.

Recorded between 2023 and 2025, the pieces stand out for their FM synthesis basslines and incisive 808 derived percussion; subtractive synthesis, and 90s samplers dragging staccatos and energetic sequences.

Whodamanny reworks Italian Electronic Disco & Boogie gems from the late ’80s! 2nd volume of 2. Strictly Limited Edition on vinyl.

From Wisdom Teeth’s recent compilation nagoyaka na kaze / 和やかな風 (quiet wind)—which cast a spotlight on the Japanese city of Nagoya—emerges “2++”, a new label launched by abentis, who curated the compilation alongside Facta and K-LONE as a central figure in the scene. Conceived as a series introducing facets of Nagoya’s underground electronic music to the world on vinyl, its inaugural release is abentis’ debut album, Dim Grow.

Across the album, intricately designed electronic mallet sounds—created using Ableton Live’s physical-modeling synthesizer—take center stage. Fresh and percussive like marimba or kalimba, yet simultaneously carrying an otherworldly, unreal quality, these tones form the core of the record’s sonic identity. In moments of near-silence, a crystalline resonance poised between glass and metal shimmers with subtle shifts in temperature, giving the album its distinctive texture.

While resonating with the sonic sensibilities of fellow Wisdom Teeth affiliates such as K-LONE, Tristan Arp, and Salamanda, abentis’ uniquely strange palette can be traced back to one of his strongest influences: Haruomi Hosono. In particular, Hosono’s mid-’70s tropical-infused solo albums — Tropical Dandy (1975), Bon Voyage Co. (1976), and Paraiso (1978) — serve as a key reference point. Symbolically reflected in Hosono’s marimba and vocal performance at a 1976 live show in Yokohama Chinatown, the marimba functioned as a central instrument for constructing imagined exotic landscapes inspired by Martin Denny and Hawaiian music.

For abentis—who worked at a local jazz bar before becoming active as a hip-hop beatmaker—the language of “tension chords,” a harmonic vocabulary rooted in jazz and R&B that hovers ambiguously between brightness and darkness, forms a consistent grammar throughout Dim Grow.

Behind the album’s core theme of “mallets + tension chords” lies a broad musical lineage: the harmonic sensibility of Claude Debussy, who anticipated the tensions of jazz; the proto-minimalist spirit of Erik Satie; the marimba-centered structures of Steve Reich; their continuation in Japan through Mkwaju Ensemble (with Midori Takada and production by Joe Hisaishi); and the subsequent branches into post-rock, electronica, and ambient music.

Growing up in Nagoya—an industrial city where creative independence is deeply valued—and being rooted in punk and hip-hop counterculture scenes naturally fostered abentis’ affinity with these predecessors. His practice between genres, combined with an encounter with the highly cross-pollinated musical perspective cultivated around Wisdom Teeth, provided the framework through which his own musical language crystallized. Dim Grow stands as the natural culmination of that journey.

Post Panic debuts as a label with the release of Dancing Ledge, a specially titled EP featuring five remastered tracks from Delph’s 1998 self titled album. Originally appearing on CD via the Blue Pool label, this new collection breathes fresh life into a hidden gem of the late 90s British electronic scene.

The project of K J Pocock and Steven Smith, Delph captures a unique sonic transition from the rural landscapes of Dorset to the industrial energy of Manchester. While the original album was self titled, this edition takes its name from Dancing Ledge on the Jurassic Coast, paying homage to the duo's roots and the organic, atmospheric nature of their sound.

This debut reissue serves as a definitive statement for Post Panic, unearthing timeless soundscapes that blend ambient, downtempo, and early IDM. An essential discovery for collectors and lovers of evocative electronic music.

This EP is a selection of five re-mastered tracks from the 1998 self-titled Delph album, originally released as a CD on the Blue Pool label. Delph were K J Pocock and Steven Smith. Originally from Dorset in England they moved to Manchester where the album was made.

Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.

But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.

And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.

The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.

Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”

That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”

Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.

Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?

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

A1 - ELECTROPHORUS
super entry track for this EP in general!
He brings it to the point and let you roll in, in the electro half pipe and makes big air beats and bassline slides. Drop it!

A2 - FOR THE NIGHTTIME
crispy stereo effects from the legend mc 202, vocoder vocals, top drums and a good sounding bassline make this track interesting, but wait! The final is in the end of this track and is a big surprise!

A3 - NARROW MINDED
its 12 o clock and this for over 5 minutes!
808 boom boom and fully overloaded highhats, is the end track of side A. Old-school

B1 - RODES
a beautiful statement of the soul of BISTONG.
the trackname is RODES, but the EP name BE STRONG is here fixed in my opinion as Label Head.
It's hard to be strong, and it's also hard to make strong music, sometimes.
This track has: a strong producer background, a strong character, a strong arrangement and a super strong weekend feeling every single day.

B2 - ANCIENT ANALOGUE
Check out the B side everytime!
often the track you want to play in your set is hidden here. Nobody knows him, but everybody can like him.

A1 - THE ULTIMATE DANCE TRACK
the juno 106 main line in the front and super fat bassline make this track to a special dance floor killer!

A2 - TIMELESS WHISPER
dramatic, and in the same time beautiful moments in a one tack live jam can you hear, here. Get lost in your memories..
featuring Dawn's background drums - a LONG TIME female studio friend of MEGNA

B1 - D-PAD
in love with the envelope in the melody and a handplayed angel synth line, this track is a mix of electro and trance and presents how easy it is to combine music styles.

B2 - DIRTY WASP
8 Track Tape Beats, 3 synth lines, a super long break to set the effects to the final, bring this slower wobbling track to the next level of dreams.

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

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

Amsterdam-based collective Mèraque presents Paradiso, a hypnotic blend of Balkan and Middle Eastern folk with psychedelic club music. Traditional instruments such as oud, clarinet, guitar, and darbuka are interwoven with experimental downtempo electronics and subtle drum & bass influences.

Rooted in Balkan and Roma traditions, the band translates centuries-old melodies into a contemporary electronic landscape. In their interpretation of the traditional song Ederlezi, the emotional core remains intact, while modern production and deep grooves bring it to the dancefloor. Tracks like Space Ohm, inspired by Turkish Çifte Telli rhythms, move between ritualistic folk energy and hypnotic club structures.

The album features remixes by Anatolian Sessions, unders, and Dan Bay, further translating the material into an international club context.

One becomes two, two becomes three, and out of the third comes the One as the fourth. The days are getting longer and summer is just around the corner. KATO ETEES

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

Repress

The Men You'll Never See are back once again! Detroit In Effect's classic Unseen EP updated for 2019. Includes the Detroit Electrotechno anthem "R U Married".

Larionov lands on Tiger Weeds with 'No Way Back'. A direct, tension driven electro EP shaped by raw sequences, melancholic tones and steady forward motion. Throughout the release, Larionov balances stripped-back introspection with functional dancefloor energy. On remix duties, The Exaltics drags 'Celestial Ocean' into darker territory, applying his signature cinematic pressure to create a heavy, peak time version. No gimmicks. No fillers. No way back.

Das vierte Album des Frank Popp Ensemble auf Unique Records. Geschrieben. aufgenommen und produziert 2024 in Spanien. Wie beim Vorgänger sind diverse Gastsänger auf den il brandneuen Stücken zu hören.
Gerry Love, einst Leadsänger der legendären Teenage Fanclub, der laut Popp fast alle Lieblingsstücke der Glasgower Kult-Band geschrieben und gesungen hat. verleiht hier seine hinreißende Stimme einer orchestralisch-souligen Version von „Save", ein eher unbekanntes aber geniales Stück, welches Love 2004 für die Schotten schrieb. Gerard Love trug bereits mit einem Cover von Frank Popp's "The World Is Waiting" zur Under Covers' Compilation bei und hat nun auf Waves ein weiteres Mal wundervolle Arbeit geleistet.
Ein weiterer Held aus Popp's Plattensammlung ist Nicke Andersson. Früher Schlagzeuger bei den Death&Rollern Entombed, dann bis heute Sänger der unvergleichlichen Hellacopters und Mastermind hinter weiteren top Bands wie The Solution, Imperial State Electric, Lucifer, etc., ist auf „Caught In AWeb" zu hören. Ein Northern Soul Stomper in klassischer Magic Touch* Manie.
Emma Noble, eine aufstrebende Soul-Sängerin aus London singt auf dem girl-groupigen Soul-Anthem Unstoppable*. Die zweite Single-Auskopplung vom Album hat das Zeug zum nächsten UK-Floorfiller und wurde bereits Ende 2024 in Craig Charles Soul Show auf BBC gespielt und angepriesen.
Ein absoluter Ausnahme-Künstler ist J Mahon, der auf 5 Stücken des Albums zu hören ist und erheblich zum Album beigetragen hat. Seine zuckersüße Stimme funktioniert sowohl auf seinen Stücken, als auch bei _Going Going Gone". welches die erste Single-Auskopplung ist und durch die eingängigen Bläser-Hooks und J's androgyne Soul-Vocals an gewisse junge Motown-Künstler in den frühen 70s erinnern.
Audrey Ollesen aus Köln, eine alte Bekannte aus der rheinischen Mod-Szene. kam durch Zufall hinzu. nachdem Popp durch private Aufnahmen auf ihre Gesangs-Skills aufmerksam wurde. Auf .C|om|mon Stranger* ist Audrey zum ersten Mal auf einem Tonträger zu hören.
Auf "Waves" vereint Frank Popp Northern Soul. Psychedelia, 90s Indierock und orchestralischen Soundtrack-Feel zu einem homogenen, überzeugenden Werk, was vielversprechend wirkt und sich verdammt gut anfühlt in einer nicht so rosigen Zeit. Wir sind alle gespannt...

Ingo Hammer lands again on Industrial Lies with ‘Hammer to Fall’, the ultimate record for tough times.

As the apocalypse approaches, the mysterious European producer drops the hypnotic techno of ‘Lucky’ and the pulsating, bass heavy ‘Tenth Gen’.

Shifting focus, he delivers dubbed out sleazy disco on ‘Dirty Glow’ and explores gnarly, sewer electro with ‘Mind Control’

The world is burning and ‘Hammer to Fall’ is the soundtrack to the party at the end of the universe.

Limited edition of 100 vinyl copies.

Mastering by Tom Haunstein (Rand Muzik)
Artwork by Jonny Costello (Adult Art Club)

Magnatek / Gepardenmantel marks the return of Fratelli Malibu to La Scimmia Records, six years after their 2020 debut.

This time, the sound digs into different shadows, shifting toward a colder and more obsessive European aesthetic. Andrea De Fazio and Paolo Petrella leave behind the vibes of their first record to dive into the raw pulse of electronics: a mechanical heartbeat that echoes the urgency of radical clubs, built on tight, stripped-back rhythms.
The vinyl version (12" 45rpm) features two extra synth and drum machine tracks at the end of each side, a treat for DJs and producers.

The digital version expands the project with further bonus tracks, including edits by Federico Gallotti and the dub version by Paolo Petrella.

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

'Electronic lullabies and folk songs from Ethiopia! A landmark recording from Ethiopia’s vibrant cassette era of the 1980s, Resonance of Time features pioneering composer Wesenyeleh Mebreku reimagining Ethiopian folk melodies through the humble circuitry of an early Casiotone keyboard.
'Historically, the works featured on Resonance of Time (የጊዜ ቃና Yegizie Kana) stand as quiet documents of Ethiopian musical memory. Many of the original songs included in this release emerged during important moments in Ethiopian history when music carried the collective emotion of the nation - love, loss, resistance, dignity, and hope. By arranging these pieces from Ethiopia’s musical heritage instrumentally, Wesenyeleh Mebreku aimed to preserve their essence while protecting them from being confined to a single era or performance style. In doing so, his preservation of Ethiopia’s musical heritage became a contribution to his country’s musical legacy itself, as Resonance of Time serves as an important musical milestone of this composer’s innovative recordings and musical developments in the prolific era of Ethiopia’s 1980s cassette tape culture.
'On Resonance of Time, Wesenyeleh made use of the first Casio electronic keyboard - the Casiotone CT-201 - to arrange and perform Ethiopian folk songs in his own unique style. Implementing the soulful, lo-fi character of the keyboard, Wesenyeleh’s interpretations of these works take on a life of their own. Charming analog tones interpret swirling sounds of organ and piano in kignit modality to the beat of a nostalgic rhythm machine while twinkling synthesizer sounds carry the melodies drifting out of time. The recordings reflect a watershed moment in Ethiopian musical history - when traditional melodies started being interpreted on electronic keyboards, and the advent of cassette tape recording allowed for music to be transmitted more accessibly than centuries-old oral traditions. During this time, Ethiopian musical modes were syncretized with new technology and budding musical experimentation, and Wesenyeleh’s interpretations on Resonance of Time are a landmark recording of this era, following in the tradition of reflecting upon and re-interpreting historical Ethiopian music for a new generation.
'Featured on the release are timeless Amharic folk songs and lullabies, Tigrinya love songs, Gurage and Oromifa popular songs, and even works closely associated with performers from Ethiopia’s 1970s popular music era such as Tiz Alegne Yetintu (ትዝ አለኝ የጥንቱ) which was famously performed by Tilahun Gessesse. Each piece, thoughtfully chosen by Wesenyeleh, is beautifully transformed into instrumental music of his own style - allowing these worlds of song to echo into the future while they are synthesized with the electronic innovations of the 1980s and Wesenyeleh’s own musical history.
'Wesenyeleh says this about his musical approach - ”Instrumental music, for me, is a space of reflection. Without words, the listener is invited to remember, imagine, and feel freely. In Resonance of Time, I hear my own musical philosophy: respect for Ethiopian kignit, careful dialogue with Western harmony, and a deep trust in melody as a storyteller.”
'Each piece performed on Resonance of Time speaks to a time when Ethiopian music was shaped by oral transmission through live performance and communal listening. In today’s fast-moving musical environment, revisiting these works is an act of cultural responsibility. These works remind us that melody once traveled slowly, settling deeply in the listener’s heart. The instrumental format allows these works to cross linguistic and generational boundaries, making them accessible to audiences who may not know the original lyrics but can still feel their spirit.
'Resonance of Time also reflects a broader historical dialogue: the meeting of tradition and adaptation. Ethiopian music has always evolved while holding onto its core identity. These arrangements affirm that evolution does not mean abandonment. Instead, it can be a form of safeguarding - ensuring that the musical wisdom of the past continues to resonate in the present and inspire the future.
'In this sense, the album is both personal and collective. It carries Wesenyeleh Mebreku’s own musical fingerprint, shaped by decades of practice, but it ultimately belongs to a wider cultural continuum. It is the artist’s contribution to keeping time audible so that memory, history, and sound may continue to speak to one another.'

'Brooklyn-based pianist and composer Eva Novoa presents Eva Novoa Solo (I), her first solo piano recording and seventh album with 577 Records. Recorded at the legendary Sear Sound Studios in Manhattan, the album captures Novoa alone in the studio, embracing the artistic challenge of vulnerability, introspection, and creative freedom that defines the solo piano format.
'After several years working primarily within piano trio settings and other ensemble configurations, Novoa turned inward, embarking on a deeply personal sonic journey. Solo (I) marks a pivotal moment in her artistic evolution and establishes the foundation for a new series of solo recordings.
'An active and respected member of New York’s experimental and creative music community, Novoa prepared extensively for this session through months of solo performances - mostly in Brooklyn - leading up to the recording. These included a standout solo concert at the Brooklyn edition of the New York Forward Festival, where her approach to the solo format fully crystallized.
'On Solo (I), Novoa expands the traditional piano vocabulary. While the grand piano remains her primary instrument, she also performs on Fender Rhodes and electric harpsichord (the latter to be explored further in upcoming volumes), incorporating Chinese gongs, additional percussion, vocals, and even whistling on select tracks. The result is an intensely intimate and sonorous experience - raw, cinematic, and emotionally charged.
'Eva Novoa Solo (I) is the first installment in a planned trilogy of solo recordings. Across six original pieces, Novoa approaches the solo piano format with boldness, rhythmic fire, and fearless energy. Her percussive use of the instrument, expansive dynamic range, and deep command of tone transform the piano into both an emotional soundscape and a cinematic narrative.
'Recorded in Fall 2024, Eva Novoa Solo (I) captures an intimate session and deeply emotive music shaped by mature technical mastery and a highly compositional approach. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs, vocals, and whistle, revealing an expansive and deeply personal sonic universe.
'Originally from Barcelona, Spain, Eva Novoa has cultivated her distinctive musical voice since childhood. Now firmly rooted in New York, she has performed internationally and collaborated with some of the most adventurous voices in jazz and beyond.'

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell commanding you to get on the dance floor. Resistance is futile against the Grays...

A divine transmission continues…

The signal never stopped — it just went deeper.

For the second chapter of JESUS LOVES SKYLAX, we return to the source: raw emotion, machine soul, and the sacred pulse of the underground. A continuation of the Todd Edwards spirit — not imitation, but devotion. On the A-side, Byron The Aquarius opens with “House Music Was Good While It Lasted (Goodtimes)” — a bittersweet sermon in sound. Dusty, looping, hypnotic — somewhere between lost tapes and eternal truth, echoing the soul of Detroit at its most intimate. UK craftsman Tom Carruthers follows with “Crank Up” — raw, skeletal, almost industrial in its tension. A direct lineage from early machine music, channeling the stark energy of Cabaret Voltaire through a house framework. No compromise. Just rhythm and intent.

Flip the record.

Blue Mondays deliver “Warm Up For Ron Hardy (Disco Mix)” — a fever dream built for the booth. Loose, emotional, and dangerously effective. A tribute not in name, but in spirit — the kind of record that lives between two worlds, where disco dissolves into house under strobe lights and sweat. Closing the EP, CNVX – “L’Amour (Floorfillers Remix)” hits with pure peak-time electricity. Acid lines twisting through the mix, driven and ecstatic — a modern weapon forged in the language of the underground. A direct nod to the timeless pressure of Floorfillers energy, built for dancers who still believe.

✝ JESUS LOVES SKYLAX ✝

He still does.