Buscar:the pressure

FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.

EPM Music celebrates it’s 25th anniversary with a “double A” 4 track turquoise vinyl EP from some of the finest Techno artists in the genre

Alex Nut returns with The Heat, a four-track EP that further explores the fertile ground between House, Soul, Broken Beat and Jazz. As co-founder and curator of Eglo Records, his productions have always reflected the same ethos that has defined his label: music unconcerned with genre boundaries, rooted instead in groove, feeling, history and culture. The Heat EP showcases his unmistakable musical palette, featuring collaborations with two of contemporary soul’s most distinctive voices: Allysha Joy and Steve Spacek. Title track The Heat finds Australian vocalist Allysha Joy at the centre of the record. Floating over skipping, broken, drum programming, warm analogue textures and deep low-end pressure. Opening the EP is Bright, Alex’s collaboration with the inimitable Steve Spacek, first unveiled earlier this year, here it’s joined by a brand new Re-FreQ Mix, flipping the original into an acid-soaked club workout, all bubbling 303 lines, swinging percussion and late-night bump. Closing the EP is Duck Duck, the original sketch that would eventually become Bright. Featuring long-time collaborator Sam Croweon Rhodes and piano. It’s a beautifully loose, deep, jazzy, House-infused piece that captures the spirit of the session before the song took its final shape.

Alpha’s Trip continues its vinyl journey with the Day Tripper EP from French producer - Framboisier. The title track sets the tone with rolling rhythms, E-MU basslines, and subtle UK garage inflections, while ‘Body Double’ leans into deeper territory through understated grooves. ‘Kessel Drive’ pushes forward with late-night energy, blending progressive and tech house influences into a stripped-back but effective club tool.

Throughout the EP, nostalgic vocal fragments and warm pads meet punchy low-end pressure, creating a sound that feels both timeless and contemporary. Designed for intimate dancefloors and peak-time moments alike, Day Tripper showcases Framboisier’s ability to fuse character and functionality. Closing the release, Alpha’s Trip founder A for Alpha delivers an exclusive remix, reshaping the original around a driving, seductive bassline and her signature atmospheric pads, while maintaining the groove-focused energy that runs throughout the EP. A versatile package that moves effortlessly between warm-up sets, intimate dancefloors, and late night moments, Day Tripper is a record built for selectors who value depth, movement, and timeless house music.

Ketiov joins Radio Slave’s Rekids with the ‘I’m Okay’ EP The artist, also known as one half of the Catz ‘n Dogz duo, released on the REK’D sublabel last year.

Ketiov, AKA Voitek Taranczuk, drops the ‘I’m Okay’ EP on Rekids 17th July 2026, following his ‘10 Hours Extravaganza’ EP with Edvvin on sublabel REK’D last year. Opening track ‘La Dopamina’ sees Taranczuk, also known as one half of renowned touring duo Catz 'n Dogz, team up with Equatoguinean Spanish DJ, vocalist, producer, and visual artist Megane Mercury. Their mesmerising voice, paired with ‘La Dopamina’s raw, infectious groove, drives this club tool forward, while ‘Shut Up’ follows with playful, crunchy, glitchy dancefloor energy. On the fl ip, the mind-melting ‘My Version Of A Kickdrum’ builds pressure to distorted intensities before dropping into a hypnotic spoken-word ritual, while ‘Guiri 2026’ closes in a whirlwind of Ketiov’s own chopped-up vocals and muscular, jackin’ drums.

“This EP is all about experimentation and just jamming out. I wanted to keep the arrangements super raw and get back to the roots of music—capturing a specific feeling in the moment so people can experience it on the dancefloor later. Overall, I wanted to make an old-school club EP with different tracks for different parts of the night.” – Ketiov

As part of Catz ‘n Dogz, the Madrid-based Ketiov has shaped global dance fl oors and contributed to his own co-founded Pets Recordings and its off shoot, Step Recordings, alongside labels like Radio Slave’s flAgship Rekids imprint, Defected, and plenty more. He also runs the local queer party CARBS alongside his husband and is a resident at Madrid’s Cafe Berlin and fetish party MyPleasure.

New York’s Ma Sha brings wigged-out rhythms to Nerve Collect with an explosive, future-facing new EP. The six tracks prove she is bound by no rules but knows exactly how to energise the club.

Ma Sha deals in sounds that operate outside the usual boundaries and demand full-bodied, physical reactions. She has become a driving force in the New York underground with Kindergarten, which is both a much-loved party and a much hyped label. Though built on global techno foundations, Sha’s grooves range from peak-time brain melters to more twisted and rugged, always at high tempo and with plenty of invention on labels like Steel City Dance Discs and Rhythm Section International.

‘Salpa’ opens with a clipped rhythm drenched in neon and psychedelic swirls as oversized bass cocoons from below with glitchy vocal fragments and hard but bouncy techno momentum. ‘Gillz’ swallows you in waves of bass and rubber kicks while screwy synths spray across the mix while a syncopated broken beat brings irresistible funk to a post-human world. ‘Shots’, a collab track with Hodge, works in overdrive with rising tones and liquid metal textures that trap you in a hall of mirrors. Intense club pressure builds with pristine percussion and hyperreal vocals.

‘Spinmachine’ is a freaky sound world of fuzzy synths, cantering drums and static electricity that is full of threat and never lets go. ‘Total Energy’ locks into rolling drums and hyping swing with descending leads and a sense of future rave chaos designed for sheer dance floor release.

Ma Sha’s sound designs feel beamed back from the future to rewire familiar rhythms that tickle the brain as they make their way through your entire body.

Three decades deep and still as restless as ever. That's the energy Tokyo's Realrockdesign collective bring to this second anniversary split to mark 30 years of cross-disciplinary creativity. DOTT opens things with two tracks crafted from unpredictable basslines and razor-sharp vocal chops that never settle into anything predictable. Then Rio Kawamoto takes over and the shift is immediate: funky breaks laced with tribal samples give way to a heavier, acid-warped second cut that feels rather feral by the end. These tunes map out two different corners of Asia's underground but they share an unrelenting originality and shared allergy to the norm. A fitting way to mark three decades, then.

The arrival of REAL, Vol. 1 marks a seismic shift in the global music landscape, uniting two of Nigeria’s most formidable forces for a project that defines the current zenith of Afrobeats. This collaborative effort sees Wizkid, the smooth-talking pioneer of the genre’s international expansion, and Asake, the "Mr. Money" whose neo-Fuji sound redefined the street-pop aesthetic, finding a middle ground between luxury and grit. The project serves as a sonic bridge between eras, blending the minimalist, high-fashion sensibilities of Wizkid’s recent output with the high-octane, choir-backed energy that has made Asake a household name. It is less of a competition and more of a conversation between two masters of their craft, exploring themes of spiritual gratitude, the weight of superstardom, and the unyielding pulse of Lagos.

With soundscapes both cinematic and deeply rhythmic, the production moves beyond standard club formulas, opting instead for a sophisticated fusion of traditional Yoruba percussion, shimmering synths, and the heavy, resonant log drums of Amapiano. Wizkid provides the effortless, melodic swagger that acts as the project's anchor, while Asake injects a spiritual intensity through his signature layered chanting and rapid-fire flows.

Ultimately, REAL, Vol. 1 is a celebration of authenticity in an era of global crossover. By stripping away the pressure of conforming to Western pop standards, Wizkid and Asake have created a body of work that is unapologetically Nigerian yet universally resonant. It captures the spirit of a city that never sleeps and the ambition of two artists who have conquered the world without losing their souls. This is more than just a collection of hits; it is a blueprint for the future of African music, proving that when Wizkid and Asake occupy the same frequency, the result is nothing short of legendary.

“Twenty-five years into their existence, The Album Leaf are an old comfy sweater. It might not be the most fashionable thing in your collection but it always feels good when you put it on. Jimmy LaValle’s synth textures are warm, nostalgic and steeped in Boards of Canada / Ulrich Schnauss-style soundscapes that are relaxing, otherworldly and melodic” – Brooklyn Vegan

The Album Leaf shares his new ambient LP, Rotations. The record is a mediative experiment into atmospheric sound. Creator Jimmy LaValle explains, “This collection of music is a true reflection of my creative process—rooted in sound exploration, experimentation, and spontaneous response. Each track captures a moment of creative discovery, free from the pressure of achieving a polished result. Throughout my career, I’ve often placed significant weight on what an album should be. With this release, I’ve let go of those expectations to share a body of work that feels genuine and authentic.

The Album Leaf began as the solo project of Jimmy LaValle, who came up in the San Diego music scene playing in hardcore bands and the instrumental rock band Tristeza. He had inked a deal to release his next solo album through the indie label Tigerstyle Records, so he put the modest advance towards a self-recording starter setup, building out the sound with occasional studio access. The music that emerged — vivid, rhythmic, soaring instrumentals guided by lines of Guitar and Rhodes — not only set the path for The Album Leaf over the next two decades of acclaimed releases (for Sub Pop, City Slang, and others), it became a touchstone for the next generation's wave of melodic and meditative electro-organic music.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Tipped by many as a true DJ’s DJ, London’s Isaac Carter has a sound that sits between heritage and reinterpretation. Drawing from the iconic hubs of Chicago and Detroit, his productions reframe classic influences with a contemporary UK perspective, prioritising groove, swing, and a stripped, functional edge.

At the heart of his work, Carter has developed his Ochi imprint, where his deeper material has circulated within a select circle of DJs, with love from names such as Ben UFO, Raresh, and Joy Orbison. A controlled outlet for ideas shaped specifically for club use, that approach also carries over into his sets, playing at the likes of DC10, Glastonbury, and Love International.

Fresh from his appearance for the London favourites at FUSE’s annual Open Air showcase, Enzo Siragusa now welcomes him to the label for the first time as he brings a collection of cuts that journey into varying corners of the house sphere.

The ‘Disconnected’ EP brings five tracks built around direct function and contrast. ‘Disconnected’ opens with rolling low-end pressure and slinking drums, loaded with swing, setting a clear rhythmic foundation for the project. ‘Bad Girl’ shifts into a more playful space, led by vocal fragments, hazy chords and dubby tones. On the B-side, ‘What We Do’ leans into crisp repetition sitting beneath shifting, trippy movement, followed by ‘Loopy’, which strips things back into a reduced late-night percussive trip.

Sextile, das in Los Angeles beheimatete Duo, das für seinen unbeugsamen, elektronischen Punk-Sound gefeiert wird, hat Details zu ihrem kommenden, starken Album „Yes, please.“ bekannt gegeben, das am 2. Mai 2025 auf Sacred Bones erscheint, sowie Pläne für eine umfangreiche Europatournee in diesem Sommer geteilt. Sextile, die sich derzeit mit ihren Labelkollegen Molchat Doma auf einer großen US-Tournee befinden, kündigen ihr neues Album mit der Single „Freak Eyes“ an, die ihren dunklen, pulsierenden Sound in neue Höhen treibt. Der Song beginnt mit einem fiesen Bass-Growl, das abrupt in einen Techno-Beat übergeht, der mit klirrender Kuhglocke und scharfer Hi-Hat gespickt ist. „I feel the pressure / Man the pressure I feel when we're together“, singt Sänger Brady Keehn kühl, aber bestimmt, in den ersten Zeilen. Inspiriert von der Art und Weise, wie Druck sowohl Herausforderungen als auch Verbesserungen hervorrufen kann, beschwört „Freak Eyes“ elektrisierende Bilder von schäbigen Hinterzimmern auf dem Sunset Strip und von in Leder gekleideten Tanzflächen in Lagerhäusern herauf.

Manche Bands finden ihren Groove und bleiben dabei, andere erfinden sich ständig neu. Sextile gehört zu den letzteren, die den Nervenkitzel einer sich ständig verändernden Landkarte genießen. Das Duo Melissa Scaduto und Brady Keehn aus Los Angeles macht Musik mit Lebenslust und lässt sich dabei von No Wave bis Hardstyle inspirieren. Ihr neuestes Album „yes, please.“ stößt in kühnes Neuland vor, indem es anarchisches Elektro-Feuer mit rohen persönlichen Erinnerungen verbindet - und mit genug aufgemotzten Bässen, um ein oder zwei Boxen zum Platzen zu bringen. „yes, please.“ ist ein Album der Kontraste: eine verletzliche Platte, die ihre Seele ebenso entblößt wie sie im Exzess schwelgt und zeigt, wie weit man seinen Sound treiben kann, wenn man seine Hemmungen abschüttelt. Zusammen verraten die beiden ein Selbstvertrauen, das niemals schwankt, und machen einen kühnen Spritzer auf dem schnellen Intro mit einer Rave-Sirene, die aus einer New Yorker Hausparty der `00er oder einem verschwitzten Brooklyn-Lagerhaus stammt. Auch der Geist des Electroclash pirscht sich an das Gebäude heran, zeigt seine Identität bei den mit Kuhglocken gespickten Donnerschlägen von „Freak Eyes“ und „Rearrange“ und sorgt mit „Women Respond to Bass“ für eine schmutzige Dancefloor-Bombe. „Push Ups“ - mit dem Gesang von Jehnny Beth - ist pure Muskelmusik, gestärkt durch einen wummernden Bass und ergänzt durch Synthies, die so hart hämmern wie Hagelkörner auf einem Glasdach. Aber hinter den Slogans, der Frechheit und der monstermäßigen Tanzenergie verbirgt sich eine Intimität, die man nur finden kann, wenn man sich über schmerzhafte, lebensverändernde Ereignisse öffnet. „Hospital“ und ‚Soggy Newports‘ reflektieren Scadutos erschütternde Erfahrungen in einer staatlichen Einrichtung in New York nach einem beinahe tödlichen Unfall. „Resist“ befasst sich mit Abtreibungsrechten, während ‚Penny Rose‘ das amerikanische Bildungswesen, künstliche Intelligenz und zukünftige Generationen thematisiert. Scadutos elastischer Gesang glänzt überall, von den messerscharfen Synthesizern von „S is For“ bis zu den Trance-Pop-Höhen von „Kids“ mit Izzy Glaudini von Automatic. „yes, please.“ ist eine actiongeladene Dance-Platte, vollgestopft mit wilden, berauschenden Gassenhauern, aber im gleichen Atemzug auch ein Zeugnis dafür, zu leben und niemals zurückzuschauen. Indem sie sich für eine neue, „befreiende“ Art des Musikmachens öffnen, haben Sextile ihr bisher kreativstes Werk geschaffen. Bisher, denn man spürt einfach, dass sie noch so viel mehr zu geben haben.

The brand new ANORAX RECORDS label’s mantra is #eatsleepcollect - which makes its’ debut release right on point.

Drizabone’s anthemic “Pressure” has become a huge collectors want with appeal to Modern Soul fans, Northern Soul followers and House addicts via the much loved Roger Sanchez remix.

Drizabone burst on to a dazzling British Soul scene in the early 1990’s, following the footsteps of Soul II Soul and Loose Ends, rubbing shoulders with the likes of The Brand New Heavies as UK acts laid down their own distinctive Soul DNA.

After debuting with “Real Love” which went from a mystery white label to a chart smash, Drizabone went on to record the iconic “Conspiracy” album.

“Pressure” has endured like fine wine and is now hailed as an all time classic.

ANORAX present the original and very in-demand original backed with Roger Sanchez’s Nu- Solution remix on limited edition 7 inch single.

Sticky Plastik returns with its fourth album. Side A features two peak-time tech-house cuts by Romanian artist Mar.c., while Side B resonates with warm-up and after-hours deep house from South African producer Saunter.

A1 “Errand" is hypnotic and driving tech-house groove built around stripped-back percussion, rolling low-end pressure, and subtle tension. “Errand” delivers a raw late-night energy designed for peak-time dancefloors. A2 “Advised” refines a rhythmic journey with crisp drums, infectious grooves, and atmospheric textures. It balances deep minimal elements with dancefloor momentum, making it equally effective in intimate clubs and larger spaces. Side B opens with “Memories of Venice”, a dark and emotional composition enriched by an unfiltered acid bassline and deep tech-house aesthetics, the kind of track made for dimly lit and intimate environments. The closing track, “Plastik Dreams”, is a deep and airy composition, perfect for warm-up sessions or open-air settings surrounded by nature.

2026 Repress

Words by Costanza Acernese
MOVING PRESSURE 04 / Obscur
With its fourth release, Moving Pressure welcomes its first external artist: young Slovenian producer Obscur. With a signature sound that is driving and subtly psychedelic, his debut on the label doesn't stray from the core tenets of its sonic ethos. Obscur delivers minimalism with purpose-dynamic, intentional, and wholly physical.
'F135' opens the A-side with a sinister tilt-rubbery squeaks stretch and coil around a flickering, synthetic voice. It's tactile and strange, without losing movement. 'Soul Eater' follows with a slow-burn crescendo, nestling psychedelic inflections into a warm low-end. On the flip, 'Stockholm Syndrome' pares things back. Dry, stripped rhythms carry an atmospheric tension-it's austere yet playful, leaving space for darker hues to linger without fully settling. A precise, heads-down statement. 'Blasphemy' follows with a tighter percussive grip and Feral-esque, panning modulations. Highs slice through a foundation of finely textured grooves-functional at its core, but laced with enough detail to give the track a sharper, more intricate edge. The digital bonus, 'Diamond City', stretches the sonic palette even further. Not through layers, but through tone: steel blues and deep violets bounce off metallic bleeps with cinematic restraint, closing the EP on a reflective note.

How much weight does it take before something finally shifts? Character Builder EP is Voorman's introduction to Stelus, four functional studies arranged as a single passage. The A-side carries weight: 'Dense' opens with compressed momentum, focused and unrelenting; 'Pressure' follows with restrained propulsion, austerity with distance held deliberately between the music and any release. The B-side turns inward. 'Angst' sits inside psychological friction without resolving it, letting the feeling stand on its own terms. 'Relief' closes the EP with a gradual lift, not resolution exactly, but the slow return of space. Personal development is built under load.

Logout Record Shop Firenze is happy to present its first official release: LGT 001, signed by Novosti Kulturi. Known for his raw blend of electro, raw synth and underground industrial textures, Novosti Kulturi has been active within the darker electronic circuit through the Waveform community — a cult underground platform and party series connecting artists and dancefloors across Europe and beyond. Alongside connected to legendary German coldwave label Kernkrach, Berlin-based cassette label Detriti Records and London’s Meta Moto. Widely associated with contemporary electro, dark disco, techno and EBM-oriented dancefloors, Novosti Kulturi continues to shape a personal sonic language balancing cold machine-driven rhythms with saturated synth pressure, cinematic atmospheres, tape saturation and distorted nocturnal nostalgia. Built around classic TR drum machines, VCO and DCO synthesizers, 12-bit sampling and tape recordings, Novosti Kulturi operates like a transmission from an unidentified place — where past and future dissolve into raw sonic waves and frequency distortions.

This debut EP delivers five tracks moving across sharp electro rhythms, stripped techno structures and darker EBM-infused territories. Cold machine grooves, industrial tension and late-night melancholia define the release, balancing dancefloor functionality with a distinctly cinematic approach. Influences from electro-industrial, new beat and dark synth-driven club music emerge throughout the record’s sonic palette. With LGT 001, Logout Record Shop introduces a vision centered on artistic identity and storytelling, embracing a broad sonic spectrum rather than a fixed aesthetic direction. The label’s first release reflects this approach through Novosti Kulturi’s personal language — crossing styles, moods and textures while keeping a strong connection to modern underground dancefloors.

Where LWP001 moved inward, LWP002 moves forward - five artists converging around a shared pull toward the dance floor, each arriving from a different angle. Peryl opens with the precision and restraint his sound is built on, texture held under careful tension. Aöcram follows with something hypnotic and dense, pressure that doesn't let up. APRS and Lask, collaborating for the first time, match that intensity with something lighter in its construction - drive without weight, air without losing grip. nil closes the record in a different register altogether, slower and more introspective.

All dubbed-out edges and low-end pressure for listeners and advanced record entertainers — former London, now Seoul-based DJ Botermelk drifts into dubwise territory with ‘Favourite Worst Nightmare’ : delay-led, sirens and bass heavy. Jorg Kuning reworks the track, soaking further in with his trademark modular sound palette. Flip-side business: ‘Knock Knock’ locks into a straight acid line, tight and elegant, while ‘Chunky Monkey’ opens the frame again — rhythm breathing, dub fragments drifting loose.

2026 Repress

Moving Pressure 03 lands as Rene Wise's third release on his imprint. With a refined approach to rhythm and restraint, the artist once again distills techno to its purest form: hypnotic, percussive, and propulsive. Across four tracks and in line with the label's essence, MP03 thrives on movement-low-end mastery meets tightly coiled grooves, while textural elements shift and evolve with subtle precision.
A1 'Relax' sets the foundation with a mighty sub-base, rolling forward with effortless force. Chopped-up claps ricochet through the mix, while a funky, disembodied vocal repeats a single command: "relax". Then comes 'Chomp Chomp', a denser offering in Wise's sensorial arsenal. Layered with gritty textures, his signature percussion builds a soundscape that is both tactile and weightless, evoking a kinetic dream state where groove and space are in constant conversation. On the flip, 'Cave' plunges into murkier terrain. Swathed in fog and sinister atmospherics, it unfolds through an eerie blend of sci-fi surrealism and grounded physicality. Bleeps hover like distant signals, their sharpness softened by a cavernous, smothering embrace. It's a study in tension-hypnotic and unsettling in equal measure. Closing the release is 'Deep Under', a track that embodies its name with subterranean mystique. The soundscape is rich with detail, an ecosystem of sonic fragments shifting beneath the surface. It's immersive yet elusive, like catching glimpses of something just out of reach-a mirage that flickers between the tangible and the ethereal.
This is minimalism with intent, built for deep immersion. Less, here, is infinitely more.

Unheard Music returns with its second release, delivering a hypnotic and club-driven Tech House package by Malandra Jr. and pizzaaftersex.
Built around the infectious pull of Your Retreat, this EP captures that late-night tension where groove, atmosphere, and repetition lock into one fluid movement. The original mix sets the tone with a stripped yet emotionally charged framework, balancing rolling percussion, subtle pressure, and a strong sense of floor-focused depth.

2026 Repress

Founded by Rene Wise, Moving Pressure is a record label aimed to explore the immersive dialogue between soundsystem music and the human body, celebrating the profound connection of sound and movement.

As the inaugural release, Moving Pressure 01 serves as a sonic diary showcasing Rene Wise's music storytelling. Each track on the EP contributes to a harmonious blend of innovation and restraint, inviting listeners to embark on a captivating journey through the artistry of sound and rhythm. Sometimes, it's the space between the notes that resonate the loudest.

A special one-sided 12” promotional pressing from Love Universal Music.

Built on hypnotic rhythm, deep groove pressure, and widescreen atmosphere, Yankari have quietly been carving out a sound that feels both timeless and impossible to pin down — blending afrobeat pulse, psychedelic textures, and ritual energy into something raw, transportive, and deeply physical.

For this exclusive remix, Frawl strips and dubs the original into deeper territory — extending key passages and reshaping sections for dancers, selectors, and late-night floors. A spacious, hypnotic rework built to stretch out and lock in.

Pressed in an ultra-limited run of 100 copies, this release acts as an early transmission from the wider world of the forthcoming Yankari LP — a record already generating serious attention behind the scenes.

Vertice Di Convergenza explores the intersection between two rhythmicarchitectures. The sub-driven asymmetry of UK bass and dubstep blends thehypnotic cyclic motion of Dutch psy–IDM trance. Both share a focus on low-end design: basslines as structural anchors, kicks tuned to harmonic tension andpercussive spaces engineered for negative pressure. The result is a sonic plane where mechanical precision meets psychoacoustic flow.

There are records that do not so much belong to an era as they pass through it, leaving traces rather than statements, circulating in the margins where function outweighs discourse. World Cup, written at the end of the 1990s by Kiko, emerged in precisely that way — as a techno track whose presence was felt less through promotion than through repetition, carried from booth to booth, absorbed into the working vocabulary of DJs who recognized in it something immediate and self-evident. Its architecture is minimal yet insistent, driven by tension and release, a form of clarity that resists ornament and instead privileges duration, pressure, and movement.

When it resurfaced in 2006, it did not return as a revision but as a continuation, reaffirming its role within the ecology of the dancefloor. The same internal logic remained intact, allowing it to re-enter circulation without friction, as though it had simply been waiting to be picked up again. In both instances, the track operates less as a fixed object than as a tool — something to be used, extended, and recontextualized in real time.

Bringing together these two versions alongside Tainted Life, the release traces a subtle but telling trajectory. If World Cupdefines a certain techno functionalism, Tainted Life reveals another dimension: a proto-Italo sensibility that gestures toward what would later coalesce as electroclash, not through stylistic declaration but through texture, tone, and attitude. Long absent from digital circulation and largely confined to obscurity, it appears here not as a rediscovery, but as a piece whose relevance has simply remained latent.

Nothing has been added, nothing has been altered beyond what was necessary to restore presence. The recordings are allowed to exist in their own continuity, detached from the temporal markers that might otherwise confine them.

The artwork, conceived by H5, extends this approach into the visual field. Its restraint is not aesthetic minimalism for its own sake, but a form of structural clarity, where composition and absence articulate a space in which the record can be encountered without interference, as if resurfacing from a parallel timeline that never fully closed.

Rain Dance is the debut album from Bristol-based producer Arcane, released on Over/Shadow. Across eight tracks the record explores atmospheric jungle, drum & bass and breakbeat influences, combining deep bass pressure with rich melodic detail and immersive sound design. The album moves between expansive, journey-like pieces such as “Nebula” and “Metropolis”, heavier dancefloor cuts like “Underground” and “Fear", resulting in a spacious but rhythmically detailed LP that balances classic junglist energy with a cinematic sense of atmosphere.

The first release in the Between Dimensions vinyl series, BDREP001 , presents Oi Zé EP by Lipp — a deep and hypnotic journey rooted in minimal grooves, organic percussion, and timeless underground aesthetics.
Crafted for intimate dance floors and extended listening sessions, the EP balances raw rhythmic energy with refined textures, delivering a warm and immersive sound signature that reflects the identity of Between Dimensions.

On the A side, “Atleta Do Ano” and “Oi Zé!” explore stripped-back grooves, subtle melodic movements, and rolling low-end pressure. The B side features a special reinterpretation of “Oi Zé!” by Barac, transforming the original into a deeper and more atmospheric late-night tool.

BDREP001 marks the beginning of the Between Dimensions wax journey — a carefully curated series focused on timeless electronic music, connecting artists from different parts of the world through a shared vision of depth, rhythm, and dance floor storytelling.

Credits
Original Tracks
by Filipe Rodrigues Bezerra
Remix by Nicolae Barac
Mastering by Rob Smalls
Visual art by Steph Gar

Gold Panda returns with TON UP, a brilliantly stubborn new album for Studio Barnhus: eight rough-hewn dance tracks and two cozy little service-station interludes, all crafted with the robust determination of a producer who knows that 140 bpm is not so much a tempo as a way of life.
Made with Derwin Dicker’s unmistakable sampler-bashing touch, the tracks on Ton Up carry the raw knock of old-school hip-hop instrumentals, pushed through pumping house-music machinery and ready to cause absolute trouble on any half-decent sound system.
Here you’ll find zero of that dreaded, over-explained “maturity” usually demanded of beloved electronic artists several albums deep into the game. Instead, Gold Panda just sounds as happily locked in as ever, carelessly chasing the physical joys of pressure, swing and repetition.
TON UP is functional, funny and oddly tender club music, arriving just when the world needed it the most (June 26 that is.)

Outdom Records returns with another dose of uncompromising underground material on wax. For its ninth vinyl release, Outdom presents: Latent & Retrolog, none other than the founders of the label themselves, for a special split EP: “Vertigo EP”.

Across four carefully crafted cuts, Latent & Retrolog deliver a record designed for adventurous dancefloors: sharp rhythm science, low-end pressure and mind-bending textures, all wrapped in a distinctly raw, UK-influenced and analog spirit.

A record for selectors who like their dancefloors groovy, unpredictable, quirky and slightly dangerous.

ORANGE - Limited Edition! SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.

SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.

For their third release, Sarturan Records immerses you in the electrifying and captivating world of Wave Catchers (aka Baldov & Lazer Man).

The duo delivers a truly immersive sonic experience with their debut vinyl. Electric Pressure captures the essence of electronic music, where saturated bass meets retro sounds with tracks like Aerosmith and 80’ Spirit. Then comes a plunge into introspection, all tinged with haunting melodies and hypnotic rhythms, with Secret Emotion and The Russian Nightmare. A bold EP, at the crossroads of eras and emotions.

With Agenda EP, Tom Carruthers closes a landmark trilogy on Skylax Records, following Neutralise EP and Deepline. Three records. Fifteen tracks. One coherent vision of machine-driven house music stripped to its raw, functional core. This final chapter dives deeper into direct, club-focused energy, where groove, repetition and tension do the talking. Agenda is less reflective, more physical — built for movement, sweat, and long transitions in dark rooms. Opening track “Chrome” sets the tone: sharp drum programming, metallic pressure, and looping synth phrases that lock the body into motion. “Agenda (Raw Mix)” follows with a tougher, stripped-down approach — no excess, just pure rhythmic insistence rooted in early Chicago jack and warehouse discipline. “Beat Down” pushes further into machine funk territory, where relentless patterns and rugged textures meet in hypnotic repetition. On the flip, “Fade Away” brings a deeper, moodier tension — a late-night track where subtle emotion seeps through minimal structures. Closing cut “What You Want” is classic Carruthers: jacking drums, understated melody, and a groove that feels timeless rather than retro. As with the previous releases, the visual identity is handled by H5, whose modernist, reduced artwork mirrors the sonic philosophy: clarity, impact, and purpose. Agenda EP completes the Skylax trilogy as a statement of intent — not revivalism, not nostalgia, but dance music reduced to its essential elements.

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

Anthoney J Hart continues to leave an indelible impression on the underground with his latest album as Basic Rhythm, returning to Sneaker Social Club after a string of incendiary EPs to deliver his definitive statement on 8 Bar Techno. The clue's in the name — a deadly fusion of grime sonics strapped to the pummelling locomotion of peak-time techno.

Hart's roots in pirate radio reach back to the 90s, forming a bedrock of uncompromising attitude that has permeated his work ever since. Between his work as Basic Rhythm, East Man and Imaginary Forces he's split the difference between incisive UK club sounds and experimental intention, applying artistic thinking to the physical impulses of grime, techno, D&B, drill and more. It's no wonder his work has been held aloft by labels as respected as Planet Mu, Metalheadz, Future Retro and The Trilogy Tapes.

On 8 Bar Grime Hart stretches out with a potent statement on his vision for club music in 2026. The thrust of the title track's opening 4/4 stomp is quickly interrupted by a none-grimier gun lock and load — an unambiguous thesis for the direction the album is heading in. The pressure stays high for the duration, barrelling through the distorted kicks and rabid wobble breakdowns of 'Weed Killer' before bringing the flawless flow of NyNy into the mix for half step sheller 'Vibez'. Elsewhere Lyrical Strally brings savage bars to 'Clutch' and Eklipse takes it deep and moody on 'Who, You'

In between the vocal spots, Hart maintains the flexibility to bend between styles with poise, edging a touch of UK funky's staggered groove to 'Teutonic' and wreaking havoc with a Drexcyian sound palette on 'More Pricks Than Kicks'. 12 tracks deep and without a moment of respite among them, the first Basic Rhythm album in five years finds Hart operating a peak strength, firing off neck-snapping payloads of ferociously infectious club gear for the more advanced kind of dance.

After he dropped his full debut with Sneaker back in 2024, Oxford’s own Silas steps back up to serve more crispy grime variations. With a deep affinity for the power of a 140 instrumental, his breakthrough streak continues to yield the toughest beats with a stripped back, steely resolve that could fold into all manner of dance situations.

Continuing the pressure laid down on the ‘Wot’ EP, the A side bowls in heavy with ‘Dimensions’, a cool and deadly whip-up of nervy string stabs and crooked, cubist drums. Meanwhile ‘Lost Souls’ amps up the atmospheric tension and lets the bass flex out behind the groove for a potent sidewinder joint to get the whole club shifting its stance.

‘Book Of Spells’ on the flip stretches the nervous energy out even further, leading in on the iciest ambience before locking into a devastatingly stripped down drop evoking the assured restraint of the weightless grime days. Making sure nothing feels too predictable, Silas pivots to a rugged, 2- step informed structure on final floor wrecker ‘Ritual Step’ . It’s another demonstration of the clear-eyed intention at the heart of everything this must-check producer puts out — a consistency of vision yielding some of the dankest workouts in the wider bass music sphere.

2026 Repress

Berlin-based producer Red Rooms launches his new imprint ROT with a debut EP called Endurance that captures the full spectrum of his techno vision. From hypnotic minimalism to peak-time drive and closing-time euphoria, ROT001 delivers versatile tools for every moment of the night.
The record opens with Znakva, a mesmerizing ambient piece that sets the tone with atmospheric depth and introspection. Septima, Not Gonna Last Forever, and Disturbance bring the raw energy: pounding low-end pressure, whipping hi-hats, trippy synth lines, and gritty textures designed to ignite the floor. Closing the EP, Endurance lifts the mood with an emotive, uplifting finale -balancing intensity with a sense of release.
A statement debut, ROT001 introduces ROT as a label committed to deep, hypnotic, and dancefloor-focused techno.

Darkai returns to Artikal with his next EP featuring 2 tracks of deep, dark, dubstep pressure.

'See Jah' takes the lead with it's unique mystic dubbed out swing of sub low weight.

'Low Tek' flips the script, the dark heavyweight stomper has been mashing up venues worldwide.

With support by Mala, Youngsta, J:Kenzo, Distance and Mantra.

Somewhere between the after-hours haze and the first flicker of sunrise, Nebraska re-emerges - this time with a twist in the signal. Long respected for his deep-cut sensibilities and dancefloor intuition, Ali Gibbs returns to Delusions Of Grandeur not just as Nebraska, but with a handover to his new alias: Dubl Drat. The Alter Alter Ego EP plays like a transmission from both sides of his creative psyche - one rooted in warm, groove-led house and disco mutations, the other drifting deeper into dubbed-out, heady abstraction.

The A-side opens with Alter Alter Ego in its Nebraska OG Mix form - a crunchy, funked-up mid-tempo burner. Chopped Rhodes solos flicker in and out of the mix while a rolling bassline locks into a low-slung groove - equal parts party-starter and late-night dancefloor hypnosis. Next, The Teckel Track slides the tempo down into a proper slo-mo four-on-the-floor bumpy groove. Fat stabs punch through layers of glitchy FX while a melodic bassline snakes underneath, forming a hazy, infectious earworm tailor-made for those early-night mood-setting sessions. Closing the A-side, Olive (Dubl Drat Dub) signals a shift. Here, Gibbs leans fully into his Dubl Drat persona, dissolving structure into a blissed-out dub excursion.

Chopped breaks scatter across the stereo field, chiming melodies echo into the distance, and granulated percussion parts build a dense, immersive landscape - one to get lost in rather than dance through. Flipping over we have Alter Alter Ego (Dubl Drat Remix) which reconfigures the title track into a stripped-back boogie workout. The groove is leaner but no less potent, driven by a killer bassline and punctuated with signature Rhodes licks - pure, understated club pressure. Finally, Olive (Nebraska Version) offers a gentle comedown. This alternate take softens the edges, introducing additional guitar textures that drift into Balearic territory. It’s nostalgic, introspective, and quietly expansive - a closing chapter that lingers long after the last note fades. The Alter Alter Ego EP isn’t just a new release - it’s a dual-state exploration, a conversation between rhythm and space, between Nebraska and Dubl Drat, and marks the last ever Nebraska release as Ali closes the chapter and the alias for the final time.