Suche:the flow

Hommage is the 20th studio album from prolific Detroit rapper Boldy James. In following the formula that has brought him success, Hommage continues the series of full-length collaborative albums that his fans have come to love, and marks his first project with fellow Detroit producer, Antt Beatz (formerly of Team Eastside, production credits for Lil Baby, 42 Dugg, Eminem, Tee Grizzley). Steeped in the styles and sounds of Detroit, Hommage does exactly that – pays homage to the city that Boldy & Antt Beatz came up in. From the beats, to the tasteful features (all from fellow Detroit artists), to Boldy’s iconic style, it’s hard to come across an album that represents The Motor City better - polished and magnificent yet undeniably gritty and humbly hardworking. Previously released singles include “Super Mario,” “Dead Flowers,” & “Street Cred.”

In 2047, amidst the deafening yet oh-so-familiar soundscape of the Movement Festival in Detroit, we met again: I, pdqb, and Scape One, known as two of the most respected electronic music composers worldwide. The air pulsed not only with the latest beats but also with a barely perceptible energy only the two of us knew. We hadn't simply flown in; we'd arrived with our fantastic "Diskmind" time-travel machine, an incredible invention, capable of effortlessly catapulting us through the centuries.

"It's unbelievable, isn't it?" I shouted over the bass, eyebrows raised. "A machine that lets us travel through all of history, and there isn't a single song that honors it! Not one!"
Scape One nodded vigorously, his gaze sweeping over the stage lights. "That's absurd! How can such a revolutionary invention remain unsung? It's almost an insult to music history itself."
We looked at each other, a silent understanding in our gazes. The mission was clear: The "Diskmind" needed its anthems. And who, if not us, who used and loved it, should create them?

And so, we decided to become the musical chroniclers of the "Diskmind," ready to tell the story of our time machine across four different eras...

For Synaptic Cliffs, it's an extraordinary honor to present these three Scape One variations of the original song 'Diskmind' (first released on The Electrifying Dojo, 2025). Each masterpiece was recorded in different future decades of the 21st century (of ourse with the help of the Diskmind time travel machine) and reflects the corresponding trend in electronic music. A1: A timeless, pristine Electro composition from the year 2035. A2: An IDM marvel from late summer 2075, recorded in the Zero gravity of Space Station 775. B: An Experimental Electronica symphony recorded at pdqb's Studio 577 on Mars Outpost 47A. Only musical equipment that doesn't currently exist was used for this release

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Death Is Not The End release a second part collecting pre-partition film music, compiled by Gary Sullivan of Bodega Pop.

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood's "Golden Age," thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry's history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan's most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

Iter, Calgolla's latest concept album, is an intense and layered sonic journey into the contradictions of the contemporary human condition.
With a musical language that combines alt-rock, post-rock, post-punk, spoken word and forays into performance art, the group constructs a complex work that defies any simple definition.
The record deals with themes such as migration, inner transformation, social alienation, ecological collapse and a sense of loss, layering lyrics and sounds into a coherent but fragmented narrative, like the time it tells.
The lyrics are taken and adapted from Viaticus, a graphic poem written by the singer together with visual artist Giacomo Della Maria, reshaped to adhere to tense, dense and visionary soundscapes.
The nine tracks of Iter thus form a journey that crosses different languages, styles and moods, like stages of an initiatory path that reflects the precariousness of modern life.
An album that refuses to offer answers, but invites immersion, surrender and transformation through listening. It is a meditative, multi-layered exploration of transformation, perception and resilience in the fragmented reality of modern life. With nine tracks and several languages, Iter (‘journey’ in Latin) traverses internal and geopolitical, sacred and profane landscapes, layering spoken words and sound collages into a deeply expressive experience. The guitars weave textures that are now ethereal and now abrasive, while the rhythm section builds a pulsating framework that supports and amplifies the evocative atmosphere of each piece. Iter does not merely recount the decay of our time, but attempts to bring it to life, immersing the listener in an emotional flow that blurs the boundaries between dream and nightmare, between meditation and chaos. An album that refuses to offer answers, but invites immersion, abandon and transformation through listening.

Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015. As close friends living near each other, their musical journeys were intertwined; Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin), at that time putting the finishing touches to his debut album ‘Hipnotik Tradisi’, was also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune arose organically, serving as a creative outlet for exploring analogue machine music in an improvisational context.

Sessions in their North London studios led to a handful of gigs at venues including Hamburg’s legendary Golden Pudel and London’s LN-CC. This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, they drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, the trio immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow.

Across the four long-form compositions that make up ‘Oast’, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo.

Recorded entirely live and improvised without any overdubs, ‘Oast’ offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation.

Sleeve art and design by Michael Willis.

DJ Support: Tedd Patterson, Michael Gray, David Penn, Mousse T, Brian Tappert, Hector Romero, Derrick Mckenzie.

Definite Grooves 'Disco Light' EP is a vibrant, disco-infused collection that merges classic grooves with modern production. The title track, 'Disco Light', is a fun disco gem, capturing a Disco 70s mood with a fresh House twist. 'Getting Stronger' takes the funk further, building up to a filtered disco crescendo that's perfect for late-night floors, oozing with energy and sleek edits. On the flip side, 'Sundown' offers a happier vibe, giving the EP a well-rounded feel with its rich bassline and Vocal Hook. Finally, 'Let It show' is catchy and playful, bringing a polished sound that keeps the rhythm flowing. Altogether, 'Disco Light' is a solid pick for those craving both nostalgic and modern dancefloor moments.

To mark a decade as one of Ibiza's most iconic musical sanctuaries, Hostal La Torre announces 'La Torre Ibiza Volumen Cinco', a new compilation curated by long-standing residents Pete Gooding and Mark Barrott. Released June 27 on CD and double vinyl, the 15-track collection captures the spirit of the venue that has come to define the golden-hour soundtrack ofthe island's west coast.

Since opening in 2015, La Torre has established itself as a bastion of Balearic culture-set high on the cliffs overlooking the sea, where music flows with the sun rather than the clock. The fifth volume in the celebrated La Torre series is a journey through Brazilian soul, ambient electronica, classic deep house, orchestral minimalism, and dusk-lit Detroit techno-an emotional arc designed to mirror the progression of an evening at the venue.

From timeless icons like Nina Simone, Mazzy Star, Talk Talk (with their Spirit of Eden closer "Wealth"), and Boards of Canada, to boundary-pushers like Auntie Flo, Eden Burns, and µ-Ziq (aka Mike Paradinas), Volumen Cinco weaves together deep-rooted classics and leftfield discoveries. Mark Barrott contributes a brand-new exclusive, 'When Devils Become Gods', while the compilation closes on a rare gem from Yellow Magic Orchestra's Yukihiro Takahashi. Also includedis Software's 'Present Voice', a quietly powerful tribute to the late José Padilla, the spiritual architect of Ibiza's sunset sound.

Volumen Cinco is more than just a listening experience-it's a tribute to La Torre's ethos: open-hearted, genre-fluid, rooted in place and time. Each track is carefully sequenced to evoke a feeling, a shift in light, or a shared memory beneath the fading sun.

Over the years, La Torre has welcomed some of the most influential names in Balearic and electronic music, from José Padilla, Alfredo, and Jon Sa Trinxa to DJ Harvey, David Holmes, Lovefingers, Heidi Lawden, Wolf Müller, Don Carlos, and Phil Mison. With each summer season and each release, the venue continues to build a musical legacy that has earned critical acclaim from Resident Advisor, Phonica Records, Juno, and Piccadilly Records, regularly featuring in their year-end lists.

As Test Pressing once wrote, "La Torre is not a party, it's a place of pilgrimage. It feels almost sacred." That spirit resonates deeply in this anniversary compilation-a celebration of music, community, and connection that spans a decade.

La Torre Ibiza Volumen Cinco is dedicated to the artists, friends, collaborators, and guests who've shaped its story so far-and to everyone who continues to gather, listen, and lose track of time as the sun slips beneath the horizon.

Energy Fields is Gus Paterson’s vinyl debut. One of the brains behind Bokhari Records, this four tracker melts disco, italo and house into a creamy funk fondue. Staggered bleeps and crisp percussion introduce the title piece, samples echo as a squelching thick bassline drops. Countering the fudgey strings are sparkling synthlines, bold brassy analogue bursts tethering the track to the floor. Although tempos drop for “Emotive Feel,” the energy remains high. Robust keys are further fortified by blasts from vintage machines, a free flowing groove lifted into astral jazz. Sharp beats open the flip for “Cyborg Dateline.” Soon, Paterson’s melodic skill takes over. Layers of inspiration are held together by ambling notes. Echoes of cosmic and disco are adopted, a contemporary twist delivered through the complex intertwining of elements. Paterson takes us into the stratosphere for the finale. “Jetpack Joyride” maintains the rhythm of its predecessor, pouring on the funk through daring piano lines and rich strings of double bass. A trip into the beyond from this debutant.

In the late 1980s, Klaus Wiese (Popol Vuh) deepened his connection with Tibetan culture. The result is a series of works solely dedicated to the universal purity of the Singing Bowls. Uranus, perhaps the most rigorous of these, is an intense meditation on the trans-personal sphere of the VI chackra. The music becomes like a single harmonic chant, the reflection of a constant flow of divine light, which transforms the psyche and dilates the secret passages of the heart. In the galaxy of pure sound, the accumulated overtones offer the intrepid listener the access to a prismatic, fluoriscence-rich consciousness. The ego thus becomes the sonorous composer of itself, of the vital circle flooded with beneficial acoustic vibrations. In this sense, Uranus, originally published on tape (Aquamarin Verlag/1988), also marks a parallel with the same research by Henry Wolff & Nancy Hennings or Nada Himalaya's Deuter.

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting paths of sand, a remarkable creation by Amsterdam- based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work.

A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot be said, and to embody what can never be described.

The second volume of this series is as good as the first with more finely tuned twilight dubs and Balearic chuggers, expertly curated by a master of this form in Pete Herbert. Across two sides, the comp flows between low-slung grooves, deep synth atmospheres and sun-kissed dancefloor moments. Highlights include Statues' warming 'Andromeda' and a powerful synth-driven turn from Imogen Soundsystem, while side two leans further into Balearic romance, from Herbert's nostalgic 'At Zuka to Kasper Bjorke's proto-dancefloor elegance. Cohesive, tasteful sunset music with real substance.

DJ Feedback

Phil Mison/Cantoma/Ambala:
"Great tunes as always , full support. Lovingthe Zuka tune!"

Sean Johnston/ALFOS:
"Killer Petey! Next few ALFOS sets sorted"

Conrad/Idjut Boys:
"Nice selection, totem project rmx has it for me"

Sally Rogers/A Man Called Adam:
"Excellent, dependable DJ fodder from Pete and Co. Thanks for the consistency :) "

Camilo Miranda/Ibiza:
"Nice combo of tracks here ! loving these!!"

Dream Chimney/Blog:
"SF vol 2 is 10/10 every track a winner on here"

Logan Fisher/Try Outs:
"Superb comp. full of goodies"

4Trepanado/Selvagem/Brazil:
"Great compilation! the Pete Herbert Remix for Time is a great weapon to flip the switch at the dancefloor"

Simon Lee/Faze Action:
"Stunning compilation, hard to pick a winner but I'm heading for Pete Herbert - Zuka"

Marco Gallerani/Hell Yeah:
"Beautiful selection!!! loving it. Can't wait for summer now"

Dicky Trisco/File Under Disco:
"Classy release. All winners. Giselle is my fave. Nice one Pedro xxx"

Felix Joy/Rinse FM:
"Sounding great!"

Jaime Fiorito/Ibiza:
"Some cool bits! Time is my favorite!"

Originally from Sicily but living in Basel, electronic composer Marco Papiro confirms his eccentric and multifaceted personality. The sound articulation of his analog synthesizers flows into in an artificial hyperrealism of great thematic and expressive variation. The tracks unfold between ascending cosmic moments, more ecstatic meditative tones, symphonic planetary floods, exotic afrodelic and psycho-andean drifts. Papiro synthesises and converts echoes of acoustic wind instruments (oboe, recorders, bamboo flute), while the percussion lives on its own pulsating reality. The influence of certain folk traditions, as well as contemporary music, also suggests the more acoustic flavor of an ethereal minimalism (for voice and psaltery), making his music a continuous open sea of visions. Cover painting by Anton Bruhin printed on two different colored papers. Co-released with Les Giants.

2026 Repress

Augusto Taito makes his mark on Renegade Methodz with Rough Skin - a raw, powerhouse Techno record that confirms his place among the genre's most exciting talents. Known for his unfiltered, high-octane approach to techno, Taito has already captured the attention of the scene, with respected releases on labels like Mord and Tar Hallow. The sound of 'Rough Skin' is a fearless fusion of techno's physicality and dynamic rhythmic patterns, with each track a testament to his constant evolution while staying true to the genre's roots.

2026 Repress

With his first full techno album ANFS returns to the label in full form.
Delivering a cohesive, introspective piece of work shaped by tight sound design and an intuitive sense of flow. The music is minimal yet expressive, exploring a detailed palette of textures, subtle groove manipulations and low end pressure that sits gently beneath the surface. A work of art that sounds like nothing else out there at the moment. It's a focused and forward- thinking piece of music creation that shows artistic maturity, profound inspiration and masterful execution.

Inside every man, lives the seed of a flower If he looks within,
he finds beauty and power.

Arno goes full length again on his second solo album.
Following a string of juicy releases on Trelik, Brouqade and The Wizzard Sleeve
the Berlin based producer is back with a bang.
Strictly Vibes Unit !

Special Limited Cover only 300 copies worldwide.

Originally released in 2005 and now repressed due to high demand, Da Sunlounge's ‘1972' EP remains an underground classic 20 years later. The tracks continue to appear in deep house and tech house DJ charts and influential sets around the world to this day.

The track ‘1972' features a tightly crafted groove that blends tech house elements with a gritty, bumping house sound, enhanced by sampled jazz elements.

‘Elvis' is a playful, bass-driven deep house track that flows smoothly with rich chords and spoken word samples.

'Whore House' is a club-ready banger built around cheeky spoken word samples, gritty hooks, and a funky, bumping bassline!

OLO Records proudly presents its ninth release, A powerful new EP that brings together the raw energy of Miroloja & Pauli.

Two collab tracks – built to destroy dancefloors with precision-crafted grooves and hypnotic drive.

&

Two original tracks by Pauli – deep, subtle, and irresistibly groovy… perfect weapons for the after-hours.

Early support by Raresh, Priku & others …

2026 Reress

Frame Of Mind is back with another piece of art. Synaptic Voyager delivers 6 amazing classic house and techno tracks. Beautifully produced deep and analogue moods!

Veruh makes his debut on LOK.Ltd with a powerful statement of minimal precision and hypnotic groove.
Driven by deep, stripped-back rhythms and subtle textures, Neanderthal EP explores raw energy and immersive flow.

Featuring the original “Yuca Bara” and a captivating Funky Trip Remix, this release delivers a refined yet driving sound built for late-night floors.

Minimal. Hypnotic. Timeless.

M.in & Steffen Kopp deliver Heartbeat Symphony on Music is the Answer’s 18th release — a four-tracker tailored for the club.



From the deep pulse of the title track to the uplifting Finding Love, the rhythmic flow of Right Love, Right Time, and the raw bounce of The Aaah Groove, this EP brings variety without losing the focus.



Strictly limited vinyl. No digital. For selectors only.

2024 Repress

Prana glistens into existence as ethereal pads drift by, giving way to a subtle, almost deep house beat that pulses nicely, backed by tribal-esq percussion. A gently staccato synth pattern flutters in and out toying with the idea of techno ever so slightly yet keeping well within the realms of his usual sound. Simplicity is the key in this track and Deepchord allows it to evolve slowly and he toys with sweeps of reverb and FX giving the track a lush, organic sound.

Tantra gives off a tougher vibe than it predecessor. Gently layered, deeper, edgier synths open the track as percussive elements, swathed in FX form the basis of the groove. Bolstered by a typical Deepchord dubbed out bass line this track once again evolves perfectly almost without the listener noticing the subtle changes that give Tantra a deep and emotive flow.

Never one to sit still and be pigeon holed into a genre, Deepchord easily turns his hand once again a brings two beautifully crafted tracks in his own inimitable style

An elusive and quiet figure amidst the Portuguese electronic scene, Timóteo Azevedo aka Random Gods releases his debut album on Discrepant's sub label Souk after his killer appearance in the long sold out 'Antologia de Música Atípica Portuguesa Vol. 2' compilation back in 2019.
With two previous EPs on Danse Noire and ZABRA, Random Gods' futurist visions project themselves through a scavenger-like body music assembled from the hopes and debris of these uncertain and dread-inducing times. Rituals conjured from metal shards, blunted kickdrums, submerged basslines, reverberating textures, cut up vocals and lazer guided melodies.

The orchestral runs of opener 'Abertura' as a glimmer of nervous light into the deep end bass weight meditations on syncopated kicks and grimey synth stabs of 'Somatiga'. Slow burner 'Pneuma' conjures neon synth lines into its halfstep flow, while 'Acervo' complicates the rhythm further with its profusion of crumbling kickdrums, tossed off claps and tonal percussion. 'Prumoo' dwells deeper into post-industrial ardkore nuum with its merciless drum patterns and molten basslines and 'Alvoro' feels like footwork taken into those same wastelands, with a nervous percussive backbone from some ancient future - take that as you will. Closer 'Ex.Tejo' brims with a certain sunrise melancholy among the storm as if there's still some hope after all.

Let's hold on to it.

Multi-instrumentalist, visual artist, and scene creator, Jonathan Uliel Saldanha, has been releasing music under various guises for two decades. With the successes of his moniker HHY (Nyege Nyege Tapes) whether in symbiosis with The Kampala Unit or the syncopationophilic big band of The Macumbas, Jonathan Uliel Saldanha's sonic signature continues to grow more and more singular. Ever synthetic and digital, Uliel Saldanha's work-ethic never eases—having recently started a label of his own, Horror Vector.

Surface Disorder sees the release of the music from Jonathan Uliel Saldanha's large-scale exhibition of the same name that occurred in Porto & Lisbon, (2024-25). As with much of his work, there is a Ballardian sense of a near-future in dystopia. And since we're already living the apocalypse, there's never a hidden moral to veer away from the torment. Instead, Uliel Saldanha dives into it and catalyzes it further.

Information from Angels feels like a cunty John Dee AI (credited as The Mouth) becoming an oracle of information overload, accompanied by an instrumental bidirectionally that splits into a lush harmonic layer of blissful punctuated pads and another that is a speedy but subdued melodic bassline. The Mouth intones a 15-minute fever dream that flows through themes that have occupied Uliel Saldanha for quite some time.

On Swarming the Pit, the intricacy of Jonathan Uliel Saldanha sonic wizardry is on full display. A constantly moving swarm of granulated particulates of sonic material morph into a variety of textures: coins or gunshell casings hit the floor, engines rev their monstrosity, rubber-like pulses are splayed into spectral blurs and pops. This is clearly an update on music conrète's obsessions.

The Mouth on the closing track, Wolf & Virus Dialogues, has a completely different texture from the first, alerting the listener to the uncanny nature of its genesis. Here the instrumental sounds are all triggered by the articulations of the voice: a weird unison, it serves as its own artificial accompaniment. The reiteration of a self-model (a rabid 'my') creates a greater tension between computational self-certainty and the terror of its inevitable actualization.

Toscal Records proudly presents its third vinyl release, TSCL003. Following the trajectory established by its previous offerings, the label continues its commitment to showcasing exceptional talent with this dynamic collaboration from production duo Ritacco & Igna.

The release features five outstanding tracks that demonstrate the pair's versatile approach to electronic music. Side A opens with the infectious energy of "Disco Loco," followed by the sharp lyrical flows of "Rap A2," and closes with the intense bassline of "Boyz Down."

Side B delivers two remarkable reinterpretations: "Test (Toscal Remix)," a fresh perspective on an obscure gem from the archives where the label imprints its distinctive sonic identity, and "Cyber Bass (Space Remix)" which transports listeners to unexplored sonic dimensions with its futuristic and spatial foundation.

Move and dance!

Big Disco Dub 12″ on the obscure Jahtari spin-off Jahmiga, exploring the sweet spot between funk bass and echo chamber with two certified heaters produced by LA axe master Dubsworth and disrupt.

UK dancehall veteran Speng Bond spins a big heart-shaped tale with ‘Empress’ on the A side, meshing his signature ragga-comedy flow with uplifting lofi jazz funk vibes into a sexy anthem that will put a big smile on faces and Reggae sound systems alike.

On the AA-side the enigmatic voice of Domino Slims takes you to an all too familiar scene: the DJ drops your favourite song – but suddenly someone tries to chat you up! ‘Don’t Talk To Me Now!’ can be the only answer when this thumping slap bass epic hits the floor.

Also watch out for the hypnotic Dub cuts, two groove-focused percussive workouts layered with mystical vocal haze by Kimchi Shocka and plenty of Space Dust sparkled on top.

2025 repress !

I walked away from the mirror.
It was morning, it was afternoon,
it was night.

Nothing changed,
it was locked in place.

I was born for this.
Shot like a flower in the dance.

***

Early support by: Blawan, Perc, Clouds, James Ruskin, Truss, Pfirter, Chris Liebing, Adam Beyer, Drumcell, He/aT, P.E.A.R.L., Slam, ROD, Lucy, AnD, Gary Beck, Paul Birken, Exium, Ansome, Sawf, Henning Baer, Dustin Zahn, Objekt, Adam X, Rebekah, Norman Nodge, Markus Suckut, Jonas Kopp, Marcel Dettmann, Takaaki Itoh,...

Cataleya reach double digits with a very special cover of a Soulful House classic. Coflo freshens up 280 West’s Love’s Masquerade for modern audiences with the help of Canadian vocalist CEE. Their sparkling cover is backed by mixes from Vick Lavender, DJ Spinna and more from Coflo. Coflo’s Classic mix has the vibe of the 90s mixes, whilst Vick turns the track into a glorious synth addled bumper. Spinna offers his own version, where sturdy beats, vocals and free flowing keys combine. This is a fantastic update of a classic!

Repress

Get ready to experience the groove with your upcoming vinyl release, "I Enjoy You So Much"! This collection of house tracks has been meticulously crafted and rigorously tested on dance floors, ensuring every beat resonates perfectly whether in a club, at a picnic, or hosting any kind of party. Each track offers its vibe while staying true to house music's soulful and energetic essence.

A1 - I Enjoy You So Much
The title track features an emotive male vocal repeating the heartfelt phrase, "I enjoy you so much." Paired with uplifting melodies and a driving house rhythm, this track sets the tone for connection and joy. It's perfect for those peak moments on the dance floor or vibey listening sessions at home.

A2 - Volero
A dynamic and energetic groove, "Volero" carries an infectious rhythm that builds and swirls, pulling listeners into its hypnotic flow. It’s a track that thrives in the club but works equally well as a backdrop to lively gatherings and laid-back outdoor vibes.

B1 - Work Harder
Featuring a soulful saxophone solo, "Work Harder" brings a jazzy edge to the mix, blending smooth melodic lines with a deep, groovy bassline. It’s a versatile track that transitions seamlessly from dance floors to chill sessions, leaving a lasting impression wherever it’s played.

B2 - You Can, You Will
This track is a motivational anthem with a relentless beat, layered with empowering vocal snippets that remind you to push forward. The rhythm feels vibrant and energetic, making it a perfect pick-me-up for parties or workouts.

This vinyl is a celebration of versatile, heartfelt house music, bringing together soulful vibes and danceable beats. It’s designed for club settings, cozy moments, and everything in between.

Teasing dread atmospheres and zooming in on microscopic details that bring every beat in every bar to life, Seb Uncles returns to Samurai Music with another deep dive into his exquisitely crafted, cinematic progression of the drum & bass tradition.

Even a cursory glance at the Eusebeia back catalogue tells you Uncles is an artist committed to the storytelling promise of breakbeat culture. His work has been heavily tipped towards albums since he first broke through around 2015, and across more than 10 long-players he's cultivated a strong line in moody, evocative jungle and drum & bass more concerned with world-building and subtle detail rather than aggression and intensity.

Following up on his 2023 LP for Samurai, X, on Undertones Uncles applies his signature meditative tones to a broad expanse. There's a consistent sound palette that leans on the warm snarl of monosynth low end and aqueous pads, delicately edited breaks and crisply sculpted synth percussion, but Uncles moves with dexterity around different tempos and structures within this considered sound world. The overarching notion is one of things lurking beneath the surface - a comfortably open theme to be approached and understood from any number of angles. It certainly chimes with the upfront detail and brooding tension that gives the Eusebeia sound such depth.

There are moments of direct drum pressure, such as fierce opener 'Undertones' with its diced-up breaks and icy chords, the boisterous jungle dread of 'Uncover' and chasmic roller 'Root Out', but on the likes of 'Beneath The Surface' and 'Out In The Open' it's the mellow elements that take precedence over the deft drum science. The motion is persistent and nuanced, but it's achieved without deferring to default dancefloor tropes.

'Emergence' marks a pointed shift towards a delicate strain of techno that maintains the album's sound at a mid-paced pulse, focusing on synth shapes and textures to achieve propulsion with only the lightest of drum parts. Alongside the energetic intrigue of Uncles' sonic choices, the melodic make-up of the track is a compelling showcase for his emotionally ambiguous approach, both rousing and chilling in the same curious chord shapes.

From the half-time prowl of 'Lifting The Veil' to the creeping textures and haunted phrasing of 'Brought To Light', Undertones is another stunning exercise in widescreen jungle. It flows naturally from the rich body of work Uncles has cultivated over the past 10 years while carving out its own unique pocket - a reminder if you needed one of the profound sound bedded into the Eusebeia project.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Following their mesmerizing debut Tradition, CHO CO PA CO CHO CO QUIN QUIN return with Correspondances—a 7-inch release that drifts effortlessly between organic textures and delicate electronic landscapes. Expanding on their signature blend of dreamy synth work and nylon-stringed warmth, the trio refines their approach with a more mature, immersive sound that feels both nostalgic and forward-thinking.

The A-side, “Adan no Umibe” (Adan’s Seashore), opens with a soft, relaxed vocal delivery reminiscent of Haruomi Hosono’s solo work, floating over a gentle groove of nylon guitars and spacious synths. It captures the essence of a quiet shore, where melodies ebb and flow like waves against the sand, infused with the scent of Okinawa.

The title track, “Correspondances,” embraces an airy, ambient minimalism. Whispered vocals glide over sparse beats, floating basslines, and interwoven birdsong—blurring the lines between nature and sound.

Closing the record, “Koe o Kikasete” (Hear Me Your Voice) introduces a subtle rhythmic pulse, with its soft vocal refrain weaving through a beautiful chord progression, layered with nylon guitar and delicate electronic textures. The birdsong theme resurfaces here, echoing the lyrics and enhancing the immersive, weightless atmosphere.

While rooted in the warmth of vintage Japanese pop experimentalism, Correspondances carries CHO CO PA CO CHO CO QUIN QUIN’s sound into new, refined territory.

This is a record of quiet yet deeply expressive beauty—an invitation to pause, listen, and drift.

Italian artist Raffaele Attanasio kicks off the New Year for Mutual Rytm with his superb 'South Signatures' EP, channelling multiple techno styles into one potent package.

Landing as Raffaele Attanasio's second outing on SHDW's Mutual Rytm label, following his incredible debut 'Quasar' and recent appearance on the third instalment of the label's Federation Of Rytm compilation, the EP is a showcase of an exciting artist with a new school take on techno while bringing real respect for the roots of his sound. He has played live on stage with the legendary Jeff Mills, and is involved in several other musical projects in different genres but reserves his finest techno for his own name.

'Madrigal' opens the EP, with Attanasio crafting an apocalyptic anthem composed of one sound, the Nord Wave 2 synthesizer and a pumping groove. It is pure dance floor heat with unrelenting drums that lock in the crowd. The brilliant 'Heat' then brings tribalism, with a powerful rolling groove peppered with chord stabs that bring it to life. 'Aogiri Tree' features rousing drums that emerge from the undergrowth and accompany the macabre lead synth. Its mischievous notes hint at hidden danger and keep you on your toes.

Keeping the energy high, 'Stratford Fog' delivers a battle between drums and the constantly pulsing bass. Edgy chord stabs and raw percussion make for a breathtaking groove that never lets up and keeps you utterly engaged. The title track is a laser-focused production that harks back to the golden age of Neapolitan techno with a perfectly designed groove, before digital bonus 'Eleven' brings hints of stylish Detroit techno with its lush chords and arpeggiated saw bassline, creating a continuous flow right to the last beat.

SHDW's Mutual Rytm imprint is back with its third release of 2024, marking a full label debut from Sonic Propaganda with their 'Native' EP.

Sonic Propaganda comes from the collaborative minds of Earwax and Rosati, a pair who favour dark and intense techno sounds and take inspiration from Jeff Mills and Robert Hood. In the studio, they blend analog and digital technologies into smoky warehouse atmospheres and immersive journeys that connect with listeners on an emotive level, and this full EP lands following their contribution to the third instalment of the Mutual Rytm's Federation Of Rytm compilation series in February.

The powerful 'Native' opens up at high speed with tightly coiled drum loops that never let up. Sleek metal percussive sounds peel off the grooves and lock listeners into a perfect state of hypnosis. 'Soul Pressure' is just as absorbing, with a tense bassline keeping you on edge as the train-like drums march under incendiary hi-hat ringlets. There is plenty of perfect machine funk to 'Terminal', which has more rusty synth textures and chopped-up vocal fragments humanising the turbulent grooves. 'Basic Path' brings an extra skip to the kicks as they enter, scuffed up and flowing just above the groove, while vocal pulses and twitchy synth modulations bring the detail. 'Body Empire' closes the vinyl package with a deeper vibe and pensive synths that add warmth and soul to the brilliantly mechanical grooves, while digital bonus 'Acid Riot' closes with squelching acid lines amongst a swell of analog crunch and laser-sharp percussion.

Robot Says E is a meticulously assembled four-track compilation that connects the tactile groove of dub tech house with the lucid propulsion of contemporary techno. The release is divided over two contrasting but complementary sides, presenting an impressive palette for those who move purposefully and listen intently. Side A kicks off in an immersive warm atmosphere; A1. Tvardovsky – Eleven and A2. Spectral Model – Plasma both deliver deep low-end foundations, atmospheric dub textures, and clean dancefloor-ready production quality. The sound is fluid, minimalist, and very physical; perfectly complimentary to subtle intensity and groove-based hypnosis.



On the flip, the energy shifts. B1. Rene Lorenzo – Reflections and B2. Kirill Matveev – Code Redeemed push off in much faster, gliding, terrain – where flow and high-speed rhythms embrace their high velocity, and deep repetition creates a trance-like state. This is techno that feels both expressive and “summer-in-the-city” active and is meant to enhance your sensory plates and keep you energized. Easily executed, future forward designed and mood-blissfully transformative, WRSE1 VA –What Robot Says E is not just a VA, it's a sonically-derived blueprint for refined dance music going forward.

Straight from Copenhagen, Danish DJ/producer B From E delivers an EP that sits halfway between Trance and House. With deep melodies and infectious rhythms, Blue Lava opens a portal to a new world — both icy and fiery. Split into two parts, the A-side burns with energy, while the B-side shines with luminous melodies.

With its powerful vocals and a melody that brings a breath of fresh air, the opening track of the EP We Are Gods truly lives up to its name. Representative of the EP, it beautifully embodies the deep and captivating melodies of Blue Lava.
Ocean Drive offers a subtle blend of softness and groove. Like a dream, light percussions gently land on a track filled with ethereal melodies.

Hypnotic, the arpeggio of Arp Dream never leaves the track and opens the B-side of the vinyl. The drums evoke the energy of an erupting volcano where the melody of the track would represent the blue lava flowing poetically.

With Blue Lava, B From E closes his EP on a nostalgic note. Blue Lava recalls an early morning sunrise, in the atmosphere of a night you never want to end.