Cerca:the keep

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

,,Hologramm" is the new EP by Schwefelgelb.

Remix contributions by Nastia Reigel and Norbak make it a 5 track Techno heavyweight.

An intriguing combination of positive, joyful atmosphere and gritty, pushy sound aesthetic spans all over the record. "The Show" and its euphorigenic rising stabs appears like what could be transformed into an Euro Dance anthem easily.
Yet the aware and well curated production holds it firmly in the zone of Techno and House underground. Speaking House, here's "In Mein Glas" - a sportive track with an irresistible bounce foiled by a lackadaisical vocal line, which gives it a comic twist.
As "Fieber" keeps the bounce we're getting a little more aggressive again: a delicate distortion, a dominant bass and a groovy drive. In all these 3 original tracks it's the melange of melodic motives, vocal highlights, crispy production as well as versatile creative details, which creates this specific sound that gets you hooked. It is lightness however wrapped in an Industrial musical language.

That said, the remixes proof how a new energy can be revealed by more minimal re-interpretations. Nastia Reigel, getting hands on "The Show", pushes drums and a fresh rhythmic play of vocal chops into the foreground. A sparse break followed by a powerful drop adds a strong climax. Norbak's approach on "In Mein Glas" takes the melodic motive and embeds it into a dubby space, not giving up on the hard-hitting kick.

"Hologramm" will be released on 140 g colored vinyl and digitally, April 10th, on n-PLEX.

Straight out of the Hungarian underground and straight onto marbled wax, Daniel Meister delivers his debut for Dubøka with the Euphoria EP, three tracks built for the dance floor.

Raw, hypnotic, and unapologetically groovy, Meister’s originals lock into that perfect sweet spot: driving basslines, and crisp percussion to keep the floor locked in. This is proper main-room business.

Rounding out the package is a special remix from Swedish veteran Chris Llopis. He takes one of the cuts and injects his signature warmth and swing, stretching the groove into something even deeper and more hypnotic, a proper late-night weapon.

Pressed on 140g marble vinyl, limited run, no repress planned.

This is the fifth chapter in our vinyl series and easily one of the strongest yet.

Support the label, support the artists, and get this one in the bag before it disappears.

Available now via selected record stores worldwide.

Dubøka Records – keeping the underground spinning since day one.

DBKAV003 – Daniel Meister – Euphoria EP

Out now. Play it loud.

Loud Ambient 2 picks up directly from where Loud Ambient left off. After picking the drum machines back up, we returned to the colourfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off.

Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality.

The creative side landed easily this time. There is some- thing about working with colourfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response.

With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result.

- 2026 repress -

Planet Rhythm proudly kicks off its brand new ORIGINALS series with a heavyweight reissue of classic DJ Misjah cuts - essential gems that shaped the hard-edged techno sound of the mid-90s. Remastered with care and pressed on high-quality vinyl, these tracks capture the raw energy and relentless groove that made DJ Misjah a household name in underground techno circles. An unmissable chance for collectors and fans of authentic underground techno to own a piece of techno history, fully restored and ready to devastate dancefloors once again.

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

A track built around bass, drums and horns that carry the groove from the very first bar.

The beat breaks into an explosive breakdown featuring a bongo solo performed by Borja Vizcaíno, adding tension and organic energy to the composition.

On the B-side, Rosvil keeps it straight to the point with a Battle version designed for the floor: pure, direct and functional rhythm. The 7” also includes a bonus Beats version — a DJ tool with drums and percussion ready to be remixed or used in session.

The EP will be available on 7-inch vinyl and across all digital platforms.

Artwork by graffiti writer Hize.
Mixed and mastered by Jorge Alamar.

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

Daybreakers keep it rolling in 2026 after two essential Vick Lavender samplers, this time back east with some DATs from the Jersey boys “Raw Tunes” Little to nothing is known about those two. We will keep it that way and let the music do the talking.

Medlar sends us a less anonymous remix straight from the Cayman Islands too... Hard hitting deep house perfect for the peak time, What more do you expect from us at DAYBREAKERS?

Buy or cry.

Fresh off heavy-hitting releases on SlothBoogie and Refuge, Glasgow's very own Tiptoes finally makes his way to Footjob. Renowned for his uncompromising MPC-driven workflow, the Scotsman delivers a four-track EP that stays true to his reputation: raw, sample-heavy house bangers built for pure dancefloor energy. With Shuffle Service, Tiptoes serves up a masterclass in groove. Whether it's dusty breaks or filter-heavy workouts, every cut is engineered to keep the feet moving.

Romania's Costin Rp delivers the third trip into the Hypnodose void with his Full Of Surprises EP.

4 dazzling tracks spanning the genre-verse, delivering a hypnotic whirlwind of futuristic groove.

Theres something for everyone here, with flavors of minimal, acid, melodic, and just the right amount of weird to keep the party going deep into the naughty hours.

Undisputed legend of the dubstep scene Commodo collaborates with Jazz aficionado Alfa Mist on Deep Harbour. “I’ve admired Alfa Mist’s work for some time and I had a couple of avenues I wanted to explore using keyboards. One being a darker, dissonant take on a jazz flavoured half-step. The release also features two mixes by Anz. "Anz is a real producer’s producer with a broad range and felt like the perfect remixer.” Commodo has seen support from DJ Mag, Crack, Clash, BBC Radio 1, BBC Radio 6, NTS and played likes of Boiler Room Festival, Outlook Festival Boomtown Festival, Keep Hush and more.

The fifteenth release from electro label Gladio Operations once again brings us a multi-artist format, featuring new faces and a distinctly Spanish flavour.

This EP opens with the return of producer Cycloplex, with his characteristic minimalist sound.
This track, titled ‘EP01-A’, once again showcases his powerful and aggressive bass lines.
From Gerona comes one of the new and talented artists on the Spanish electro scene. David Pasajero makes his debut on Gladio Operations with ‘Dislektro’, a fluid journey of melodies and warm textures infused with acidic touches.

On the B-side we find Barcelona producer Dark Vektor, who needs no introduction, as he is one of the Spanish icons of electro sound. This artist also makes his debut on the label with ‘Te Voy A Dar Ahhhhh’, a dizzying track with suspenseful melodies and a powerful bass line that will keep you on the dance floor no matter what.

The Spanish duo Slit Observers is another of the label’s new faces and treats us to this vibrant track titled ‘Green Machine’, where we encounter dark passages with a perfect dose of acid and embellished with subtle vocoders.

The EP closes with a collaboration between German producers Intergalactic Noize Commander and Elektrotechnik, the latter an artist who has released music previously. ‘Informationen’ is a rough track, created in the most hidden German bunkers, featuring arpeggios and robust bass lines that dominate throughout the whole track, accompanied by gloomy vocals.

Transient Response is a storytelling of moods in motion, from city to city, situation to situation from China-born, London-based artist Guohan. Side A opens with ‘Don’t Forget Your Hiss’, a funky dusty groove built around the repeated phrase ‘带走我的’ gradually unfolding into ‘带走我和你的故事’ meaning ‘bring along the stories of yours and mine’. ‘First Light’ follows as a percussive MPC-driven slow burner, capturing a swirling summer day in the studio.
Side B starts with ‘Seeds of Tomorrow’, a mellow drive through thoughts with a broken groove constructed with drum machine, djembe and shaker. Growing synths and bassline from the analogue devices keep your head nodding and feet moving. Backed with a remix from Xiamen-based artist Knopha.

A label long synonymous with raw, off-centre electronics and uncompromising club tools, Bjarki’s bbbbbb recors welcomes a producer whose approach feels cut from the same cloth, London’s Henry Greenleaf. In an era where functionality often outweighs feeling, ‘Brawn’ is a record that doesn’t court approval; it insists on impact. Built for high-pressure systems and low ceilings, it channels force not as spectacle, but as design.

Greenleaf’s catalogue to date, spanning labels such as Par Avion, YUKU, and ARTS, sketches a restless trajectory between precision and collapse. His productions operate where rhythm becomes architecture: kicks land like poured concrete, subs buckle and flex beneath shifting percussive grids, and textures are stretched until they fray at the edges. Sound is treated as a physical material, layered and stress-tested, reshaped until the familiar mutates into something tactile and strange.

Across the EP, that philosophy takes full form. A1 ‘Brawn’ sets the tone with dense, piston-like drums and tightly coiled low-end pressure, balancing brute force with meticulous spatial control. ‘Jump Up To Be’ follows with a more fractured swing, percussive shards ricocheting across a framework that feels perpetually on the verge of rupture. On the flip, ‘Gawk’ strips things back to skeletal components, carving negative space between distorted pulses and menacing, warped rhythmic figures, before ‘UNTUNTUNT’ closes the record in driving fashion, delivering a raw, functional workout that reduces the groove to its bluntest, most hypnotic form.

True to the label’s ethos, ‘Brawn’ doesn’t chase trends or smooth its edges. It folds air and pressure into motion, pares club music down to its working parts, and leaves room for spontaneous chaos to erupt within the grid; moments where structure splinters, energy misbehaves, and control gives way just enough to keep things volatile. Engineered yet unpredictable, utilitarian yet unruly, the EP embodies the tension, unpredictability, and uniqueness that have long defined bbbbbb recors.

2026 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

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.

2026 Repress

French DJ and producer Hemka makes a striking solo debut on Mutual Rytm with 'Introspection'.

Born in Marseille and based in Paris, Hemka has been shaping her take on techno for over a decade, steadily growing her international presence with music on respected imprints such as Token. Her music fuses the raw energy of 90s techno with modern textures and is fast-paced, groovy and laced with subtle psychedelia. By weaving in her own vocals, Hemka adds a deeply personal and authentic layer that resonates with both the body and mind. Following the strong reception of her track 'Fragrance' on the 'Federation Of Rytm III' compilation, this potent new EP is a powerful reflection of her bold, emotional and forward-thinking artistic voice and the start of an exciting new chapter with SHDW's Mutual Rytm.

'Abyss' kicks off with tightly coiled, heavy-hitting drum funk and eerie synths that never let up while ghoulish vocals layer in extra darkness and anxiety. 'Time' is another sleek, stripped-back but banging wedge of linear techno excellence and 'I Can't Shine' layers up paranoid vocals with high-speed glitches and rubbery drums to ensure maximum impact in the club. The excellence continues with 'The Bad Place' with booming drums and moody synth atmospheres, getting you up on your toes and keeping you there. Last, 'Unchanged' fizzes with static electricity as wordless vocals refract around the mix next to wispy synths and icy hi-hats. Digital bonus cuts 'Voice In My Head' and 'Eternity' round things out with more heady and intense techno for driving deep into the night.

The Sound Of Soulfuric Vol. 2 continues the label’s reputation for vocal-led, groove-driven house music, bringing together strong vocals, solid songwriting and modern club-ready production across four DJ-focused cuts.

This is a release designed for dancefloor use. Whether it’s a vocal room, a terrace set or a packed house floor, every track is built to maintain momentum and keep the room moving.

Featuring voices from Donna Allen, Pearl Mae, Bobby Pruitt and J. Soul, this EP blends classic soulful house roots with current, punchy remixes, making it highly playable in today’s sets while still appealing to long-time Soulfuric fans.

After the massive success of Vol 1 Boogie Down Edits are back with Vol 2 keeping the same winning formula with another group of Hip Hop legends ATCQ. re-inventing some of their best-loved hip-hop cuts as party-starting house jams. Wisely, they've chosen to retain many of the key musical ingredients of their source material, subtly shifting the grooves to aid slick mixing and peak-time joy.

Limited Pressing get your orders in fast.

Helena Hauff's Return To Disorder keeps it disordered with legendary producer DeFeKT next up with his vision of twisted electro. 'My Mother' has a dark undercurrent but is doused in synth radiance that provides great comfort, so if you ask us, it's a fitting title. It's texture that again stands out on 'Disastrous Infinity which has a squelch, acidic lead wriggling about the mix, pounding drums and crispy percussion that all pull back to reveal pixel-thin and eerie pads. 'No Coffee' is a dense and gauzy world of ice-cold melody and rigid grooves, and 'Soaked' turns the same vibe up to 11. 'Phaser' and 'Early Morning Tea' close out with opposing energies - raw and prickly, then more smooth and serene.

Electro as its best! SS001 marks the first transmission from Serpiente Sounds, a debut 12" split that keeps it lean, direct, and floor-focused. Viewtiful Joe handles the A-side with two cuts that balance Electro snap and Detroit discipline: clean drum architecture, crisp low-end, and synth lines that feel both futuristic and functional. On the flip, Subversive brings two late-night weapons with a colder edge and a deeper swing. SS001 is a debut statement with zero filler, a compact toolkit of Electro/Detroit tools for the booth.

At the core of the creative process behind “HPC” and “Bor3d” lies meta-irony, a quality that permeates much of today’s digital content landscape.

Both tracks are a deliberate attempt to push the sound toward a barely perceptible absurdity and ironic unseriousness in their interpretation of well-familiar styles of dance club music. It is a play with form, expectation, and recognizability — balancing sincerity with sarcastic exaggeration.

Okay
Okay is built around interruption. Voices, fragments of dialogue, yawns, irritation — people seem to step inside the track uninvited. Someone is bored, someone is annoyed, someone tries to stop the flow entirely. Just like in real life, the process is constantly disrupted. The track reflects the experience of being surrounded by opinions, noise, and skepticism — especially the kind that will never be convinced, no matter what you do. “Okay” becomes a quiet, ironic response to this pressure: not agreement, not approval, but endurance. The track continues anyway.

Tripatura
Tripatura is a fictional creature — a warped echo of cryptid mythology. In this narrative, Tripatura doesn’t simply exist, it hunts. Once it finds you, it drags you into an endless trip with no exit point. Time stretches, perception blurs, and the track itself becomes the trap. Its prolonged, unresolved ending mirrors the experience of being stuck inside a loop that refuses closure. Tripatura doesn’t rush. It lingers, slowly pulling you deeper, until the trip no longer feels temporary.

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

Gregor Tresher is finally back on his own imprint with a track that once more showcases his impeccable songwriting skills and even though he manages to deliver a song that fans will recognize as a Tresher production, it's not a repetition of his earlier works in any way, but another step forward in his ever evolving sound.. "Sleeping Giants" has been a secret weapon in Gregor´s DJ-sets, often dropped as the closing track if the night was really a special one. It's a journey driven by arpeggios and layered drumming that culminates just before a mysterious vocal sets the tone for the second coming. Gregor is obviously back on top of his game. And well, then there´s the B-Side: A world renowned DJ and producer, and a dear friend of Gregor and the BNS family delivered a remix that can only be described as pure perfection. It forces the original track on to the most massive warehouse floor you can imagine. Mr. Enrico Sangiuliano invites you to witness a true masterclass in remixing by delivering nothing short of an absolute peaktime monster, while keeping the vibe of the original respectfully intact. Ladies and Gentlemen, we give to you: Sleeping Giants!

Gianmarco Silvetti and Conrad Van Orton drop Boyz In Da Hood Vol. 1 on a razor-tight 10" – raw, tunnel-vision techno built for sweat, strobe and low ceilings. Two locked grooves keep the loop hypnosis rolling for DJs who like to hunt in the dark. Secret Keywords staying strictly underground.

Detroit original, Terrence Dixon, returns to Tresor Records to kick off 2026 with ‘When Stars Remember’. Despite his thirty-year career, Terrence has always managed to keep a lower profile than his peers; he has given few interviews, preferring instead to speak through his music, with cryptic song titles hinting at the thoughts swirling around their creation.
However, ‘When Stars Remember’ finds him stepping forward. “I wanted to get closer to the dancefloor. I consciously made this one feel louder…made with Tresor specifically in mind.” And the EP does just that: whilst many of the hall marks of a Terrence Dixon production are present, the drums are more forward; the synth arpeggios so bold that ‘monumental’ seems a better descriptor than ‘minimal’.
“I put three or four sounds together on the same track, layering to make something bigger”, he says of opening track ‘Mono Collapse’, though the statement could apply to any of the music appearing on the release as all four pieces fold in sonics to create something hypnotic; more than the individual parts: “If you stick with the same layered tones, and repeat it over, after a while your brain changes it on its own; you hear a lot of things: things that you didn’t notice at first, things that maybe aren’t even there.”
The absence of things is another main theme of the EP, especially what Dixon sees as ‘The Forgotten’, a group of fundamental principles like common sense, trust, loyalty, honesty and respect that are missing from modern life. “This world is different…the love is gone. But I love everybody, man. I think, secretly, everybody love everybody, but they just don’t know it.”

Back on Celestial Echo Records with CER010, a record that’s been a fixture in the right record bags for a long time.

Africano – “Open Your Hearts” is a serious modern soul tune for the Chicago DJs. Super funky, big on feeling, and powered by explosive instrumentation that just keeps driving. — strong, emotional, and made for proper dancefloors.

It’s been spun for years by DJs like Mark Grusane, Theo Parrish, and others in that Chicago scene — and it works every time. Part 1 on the A-side is the one you know, while Part 2 on the flip stretches things out and lets the groove roll on.

As always, Celestial Echo is about soul records that have earned their place. Remastered with care and pressed properly, Africano is one we’re proud to finally put back out there.

Plastik People - no, not the legendary London venue that was host to dubstep's formative FWD>> parties - a garage label run out of Albuquerque, New Mexico with some seriously authentic roots. This new one kicks off with a raw, bumping Jovonn Project Boyz mix of a vocal house gem that overflows with dusty and soulful vibes. Straight & Shuffle offer the equally timeless 'Love', complete with twinkling synths, golden chords and nice undercooked grooves. The flip features Wayne Hunter's perfect US garage vibes as he flips 'Keep On Pushin'' and last of all is the super silky and speedy house of Baeka's 'All I Need.' These tunes are the very definition of oldies but goldies.

Andalusian emerging-talent producer GAZZI, a young yet influential figure within the broader Spanish electronic scene, presents an LP that feels like a quiet turning point in his career. Rooted in ambient and new-age minimalism, the record drifts through piano-based textures, soft pauses, and spacious moments that invite deep introspection.
Across its delicate arrangements, GAZZI captures the sensation of slowing down in a world where everything feels fleeting. These tracks hold space for reflection-offering nostalgia, stillness, and the subtle suggestion that hope remains at the edges of even the most ephemeral moments. Each piece unfolds like a landscape suspended in time, shaped by restraint, emotional nuance, and a profound sense of presence.
Presented by Glossy Mistakes, the release reflects the label's ongoing commitment to uplifting a new wave of contemporary Spanish artists, highlighting creators who are redefining the country's sonic identity through experimentation, sensitivity, and forward-thinking sound design.
In GAZZI's own words:
"These songs were made to sit with the wound - to let you drift, to feel scattered, contemplative; they're meant to keep you from thinking too much - or maybe to make you think a lot."
The result is a meditative, deeply personal body of work-one that not only marks a cornerstone in GAZZI's artistic path but also extends Glossy Mistakes' mission to showcase innovative, emotionally resonant voices from Spain's evolving music landscape.

Fresh off their recent collaboration with Stephanie Cooke on “Love All Round”, Steal Vybe returns alongside Terrance Downs with a timeless, soul-driven composition built to last. When You Feel is a record about freedom the freedom of music, of choice, of doing exactly what you feel in the moment.

The track delivers a soulful, funky groove with an uplifting four-to-the-floor pulse, wrapped in warm, organic pads and Rhodes that instantly make you feel good. A driving bassline pulls you deeper, keeping the energy flowing and the desire for more alive. Terrance Downs’ vocal performance seals the deal warm, atmospheric and deeply emotional, sending chills straight down your spine and touching the soul.

Sicilian-born, Amsterdam-based Fran LF returns to Nastia's imprint with three Techno tracks built over a year of studio work, each one telling part of a single story that unfolds across the EP. The narrative moves through different chapters, starting with tracks that shift and transform as they play out, building tension through evolving elements rather than straightforward drops. These are straight-up warehouse cuts - the kind that start one way and shift into something heavier as they unfold. Dubby atmospheres that harden into driving rhythms, basslines that anchor the groove, and synths that evolve throughout.
Closing the record is a remix from Sicilian producer LPV, a close friend and admirer who reworks "Tsufuru Relaxation" with his signature dark, driving approach. He strips it down, adds a relentless bassline, and gives the track a completely different, moody and ethereal energy while respecting what made the original work.
Solid dancefloor techno with enough depth to keep things interesting.

Green Ink is back with the fourth EP on Altered States - a deep and driving four-tracker. All tracks were created in closely related sessions, dipping into atmospheric, techy and dubby sounds while keeping sweaty dancefloors in mind.

Miles Borghese’s Direct Styles, up next on Jupiter’s Depth, explores a meditative dub techno palette that sits somewhere between dub, tech-house, and minimalist club music. Following a run of standout releases on 9FINITY and Squid Recordings, among others, we’re thrilled to welcome that alien modern club sound to the label.

The floor-focused Direct Styles opens with the title track, driven by a hyperactive bassline and layered with delay-drenched synth chords, galloping through time with restless momentum. On A2, a more tempestuous techno side of Miles Borghese reveals itself on “Dark Plan,” charging the release with a mind-bending looped groove, pulling everything on earth into a hypnotic, blitzed state.

“Climber” — a storm of immaculately constructed, phase-shifting textures that drags us deep into the B-side; a real dub-techno delight made for outer space. Closing the EP, Miles joins forces with Pipo Renault on the lush “Parapluie”: warm and groove-focused, a captivating, house-leaning masterclass built to keep you moving.

A Bandcamp-only digital bonus, Substance, awaits those willing to dig a little deeper.

One of the industry’s rising stars, Ariane V is known for her widespread knowledge of music and an ability to weave together different subgenres of House in her DJ sets. Her “Safe Travels” EP represents a sampling of the tracks on her forthcoming compilation on Nervous Records, and spotlights a crew of highly talented producers who are part of the community who are keeping the House Music genre fresh and current.

Marking his vinyl debut on Lowpass, Berlin-based producer APRS steps forward after a run of striking releases on labels such as Soma, ARTS and Sungate.

“Drift” explores human emotions through drums, melodies and textures with five pieces that refuse to settle into one shape. Each track bends the EP in a new direction without breaking its thread, holding onto a sense of vastness, detail and intimacy. Andy Martin closes the record with a remix that widens the palette even further, pushing the material into heavier terrain while keeping its spirit intact.

LWP001 is less a declaration than a first gesture. Intuition over uniformity; a label shaped by instinct, variation and space; a place for artists to wander and for sound to evolve freely.