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Fides Records pushes further into its 10-year anniversary journey with X3, the third chapter of the series. Staying true to the label’s decade-long commitment to forward-minded underground techno, this new instalment sharpens the focus with five cuts that move between peak-time impact, melancholic tension, and dubwise pressure—each one a different angle on the Fides aesthetic.

Side A opens with Dustin Zahn’s “Madness”, a no-nonsense peak-time weapon built on stomping momentum, immersive pressure, and relentless drive—proof of why the US veteran remains a constant reference point. Marco Bruno follows with “Aura”, where melancholic leads and detuned synths shape an introspective yet heavy-hitting groove, capturing the Italian producer’s emotional weight and versatility. Closing the side, JANEIN (co-founder of Seelen Records) delivers “Polaris”, a spatial, bleepy roller that leans into darkness while keeping the propulsion locked forward.

Flipping to Side B, Yant’s “Fractured” shifts the palette: playful yet precise, kinetic in motion, with textures that keep mutating as the rhythm snaps into place. DHÆÜR “Sealand” captures the mood of a young Italian artist carving a new lane in minimal, elegant, unapologetic techno—energized and raw, yet defined by clean design, confident restraint, and a sharp personal signature. The record concludes with Hadone’s “No Longer Observed”, a dub-tinged stomper rich in detail and low-end depth; club-weight with an emotional undercurrent, balancing elegance and power in a way that feels unmistakably Fides.

Limited Plum Colored, Full colored Vinyl 12” Jacket 12 Inch Release

Hot on the heels of the recently released Divine Harmonics – From Then Until Now (Part One of Two) the limited orange vinyl edition that sold out within weeks, we are thrilled to announce the arrival of the highly anticipated Part Two of Kuniyuki and Joaquin “Joe” Claussell’s Divine Harmonics imprint.

This next installment is expected to surpass the excitement of both earlier releases, especially as it comes as a plum colored vinyl packaged in a stunning full-color jacket designed by the incomparable Akemi Shimada. As with all Divine Harmonics editions, this is a strictly limited full 12-inch package, created with collectors in mind.

About the Record

Recorded in a fully equipped studio in Brooklyn, New York, this project was born from the idea of gathering musicians who deeply admire Kuniyuki’s work and inviting them to contribute to the composition.

Joaquin Joe Claussell Presents the Second Installment of His Acclaimed Alias: BlackSalsoul

Brooklyn, New York City — Renowned producer, DJ, and spiritual music visionary Joaquin Joe Claussell returns with the second chapter of his celebrated alias, BlackSalsoul. Continuing his lifelong exploration of deep, soulful soundscapes, this latest release focuses on edits and reinterpretations across Spiritual Jazz, Soulful Disco, and African Dance traditions.

Following the success of the debut 7” (Cat# UEDNEXT.1), which sold out within weeks and remains a one-time pressing despite overwhelming demand, the BlackSalsoul series reaffirms its commitment to exclusivity. Each edition will be available strictly on limited 7” and 12” vinyl—a tribute to the physicality and ritual of true record culture.

Blending the warmth of analog production with Claussell’s signature spiritual energy, this release bridges eras and continents, honoring the roots of soulful expression while speaking directly to today’s dance floors.

For fans of Fusion Jazz, Soulful Disco, and Afro-inspired Edits, the new BlackSalsoul record offers another essential journey through rhythm, emotion, and transcendence.

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

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

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

Diagonal welcomes Scott Gordon to the fold. Scott has previously released on Editions Mego as one half of Oto Hiax, a collaborative project with Mark Clifford of Seefeel (Warp Records). He's also released a series of EPs and one album under his Loops Haunt alias via the Black Acre imprint. For his Diagonal debut, Scott offers up "Metals", a double EP of sorts: two sides of wax with two separate titles, "And Away" on side one backed with "Tilts" on side two. Each set is a study in using mechanical means to seek tone, rhythm and texture via unexpected objects and instruments. Both sides feature Scott's custom made Spinning Plate Instrument SPI. The SPI is a large, motorised vertical frame that spins a series of metal plates. These can be struck via midi - mechanical 'beaters'. These recordings also feature Scott playing the SPI manually. The results are both gripping and provocative. Mastered by Russell Haswell. Direct Metal Mastering (DMM) to vinyl.

DJ Support: Carl Cox, Mark Knight, Riva Starr, Tedd Patterson, Hector Romero, Grant Nelson, Kevin Yost, Saison.

Luca Olivotto returns to Groove Culture Deep with a new four-track EP entitled: “Bring The Funk EP”, A great exploration of deep house that seamlessly blending classic influences with a modern, dancefloor-driven touch. Olivotto's expertise shines through, creating an atmosphere that is both nostalgic and cutting-edge, ensuring a brilliant journey on this new release.‘Bring The Funk' EP is a testament to the evolving soundscape of Luca. This collection promises to captivate enthusiasts and DJs alike.

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

Mit ,A Constant Charade" nimmt der Künstler und Produzent Elujay aus Oakland die Maske von seinem facettenreichen, genreübergreifenden Schaffen ab. ,Einer der talentiertesten Singer-Songwriter der Bay Area" (Hypebeast) gibt sein Solo-Debüt beim kunstorientierten Indie-Label drink sum wtr mit einer risikofreudigen LP, die auf fast ein Jahrzehnt einzigartiger Arbeit in der zeitgenössischen Pop-Landschaft folgt. Er sieht seinen Stil als eine Fusion unerwarteter Einflüsse: R&B gemischt mit Rhythmen aus Yacht Rock, Sophisti-Pop, Dancehall, Al Jeel, Lovers Rock und den Klängen seiner trinidadischen Wurzeln. ,A Constant Charade" ist eine dynamische Sammlung, die von Verletzlichkeit und Ehrgeiz geprägt ist. Die Themen berühren soziale Signale, Verhaltensmuster und die Art und Weise, wie wir uns anderen gegenüber verhalten, ,einfach beobachten, wie ich mich fühle, wenn ich unter Menschen bin", sagt er. "Ob ich nun den Code wechsle oder mich anders verhalte ... wir alle tun das, es ist eine Farce." Mit seinem charakteristischen Gesang und den bisher stärksten Arrangements, zusammen mit einer Reihe von Mitwirkenden und Co-Produzenten, durchbricht Elujay die Spielchen, um echt zu sein. Aufgenommen an verschiedenen Orten über einen Zeitraum von drei Jahren, krönt "A Constant Charade" ein bahnbrechendes Jahr 2025, das mit der zweiten Folge von GEMS IN THE CORNERSTORE von JEMS! begann, seinem von dsw unter Vertrag genommenen Projekt mit J. Robb. Wie GEMS lehnt sich das neue Album stärker an den Einflüssen karibischer Musik und Leftfield-Elektronik an, von Dance bis Ambient und einem Dutzend Stilrichtungen dazwischen. ,Ich denke, es ist wichtig, einfach zu erkennen, dass diese Leute, mit denen man zusammenarbeitet, den neuen Sounds, die man entdeckt, eine gewisse Glaubwürdigkeit verleihen", sagt Elujay. Er schreibt einen Großteil der nostalgischen Qualität von "A Constant Charade" Nicholas Creus zu: ,Er ist Jazzgitarrist und ein großer Fan von The Police und Yacht Rock, er ist einfach überall auf diesem Album zu finden." Ebenso wie den langjährigen Mitstreitern Martin Rodrigues, Jaden Wiggins und Ben Yasemsky, die Elujay seit seiner Kindheit kennt. ,Benji ist einfach ein stiller Killer, ein großartiger Gitarrist, Produzent und Finisher, der immer in letzter Minute alles aufräumt." Wenn es um die Zusammenarbeit mit anderen geht, ,habe ich kein Ego, es geht nur darum, dass die beste Idee gewinnt. Letztendlich geht es um die Menschen, wir wollen einfach nur die bestmögliche Musik machen."

Alan Vegas selbstbetiteltes Debüt-Soloalbum kam 1980 raus, zur gleichen Zeit, als Suicide ihr zweites Album "Suicide: Alan Vega and Martin Rev" veröffentlichten. Während Suicides Plattenlabel ZE Records das Duo in Richtung eines synthetischen Disco-Sounds drängen wollte, der von Moroders Produktion von Donna Summers "I Feel Love" inspiriert war, zog es Vega in eine andere Richtung. Er wollte tiefer in die Wurzeln seiner eigenen musikalischen Identität eintauchen, die von Blues, Rockabilly, frühem Rock ,n' Roll und seiner anhaltenden Liebe zu Elvis Presley geprägt war. Vega nutzte die Zeit zwischen den Aufnahmen mit Suicide, um seine selbst geschriebenen Songs auszuarbeiten, begann mit der Produktion seines ersten Albums und trat live auf, um diesen Sound weiterzuentwickeln. Wie auch in seiner bildenden Kunst schichtete Vega Klänge auf minimalistische, dynamische und bewusste Weise. Das Ergebnis war ein einzigartiges Album, das aus rohen Materialien entstand und tief in Vegas künstlerischer Vision verwurzelt war. Tracks wie die klassische Hymne "Jukebox Babe" mit ihrem schwungvollen Rhythmus und ihrer minimalistischen Selbstsicherheit fingen diesen Ansatz perfekt ein und wurden in Frankreich zu einem Hit. "Kung Foo Cowboy" hat einen südstaatlichen Touch und lehnt sich stark an den Blues an, während der goldene Pop-Glanz von "Ice Drummer" mit melodischem, aber klagendem Gesang, marschierenden Trommeln und einem geschmackvollen Mundharmonika-Solo überzeugt. "Bye Bye Bayou" ist ein eindringlicher Mutant-Rockabilly-Song, der den Rock der 50er Jahre mit Vegas exzentrischem Performance-Stil verbindet und später in der Coverversion von LCD Soundsystem aus dem Jahr 2009 neu interpretiert wurde, wodurch Vegas Solowerk einer neuen Generation vorgestellt wurde. In ähnlicher Weise würdigte die Coverversion von "Ice Drummer" durch The Flaming Lips Vegas Außenseitergeist. Jetzt von Josh Bonati anhand der Originalbänder neu gemastert und erstmals auf Streaming-Diensten verfügbar, wurde Alan Vega von Sacred Bones Records originalgetreu neu aufgelegt, wobei die rohe Intensität von Vegas Originalaufnahmen erhalten blieb und sie gleichzeitig für Hörer auf der ganzen Welt neu zugänglich gemacht wurden. "Alan Vega" ist mehr als ein Solo-Debüt, es ist eine Erklärung der künstlerischen Unabhängigkeit und Freiheit eines der einflussreichsten und kompromisslosesten Künstler New Yorks. Ohne die intensive Elektronik von Suicide, aber mit Vegas Außenseiter-Energie und Schärfe, übersetzt das Album den frühen Rock 'n' Roll durch einen Art-Punk-Filter, der sich als eigenständiges Kult-Meisterwerk bewährt hat.

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

The banging broken dry kickaz from Teknambul is back !! Masterpiece full of energy :m Bangerz get ready !

A student of the Weatherall school of DJing, Asa Tate has showcased an astonishingly mature approach to production over the years that belies his age. You’d be forgiven for thinking these 4 tracks had been discovered from a dusty DAT tape, locked away in the vaults of a northern Italian club and rediscovered after 30 years....Listen more closely and you’ll notice the contemporary production flair and more recent influences that make this EP a perfect reinterpretation of the mid 90s house sound: sitting somewhere between dream house and Morales finest work under the red zone moniker.

The EP wastes no time in setting it’s intentions with the A1 Title Track, “Replica” - after a brief and floaty progressive house intro the refrain “ E-e-e-e-e-e-e-ECSTASY” echoes loudly over sampled vocals, euphorias piano chords, throbbing lead synths and a bouncy tech house bass line.

“89” is a sultry deep house cut featuring rising Spanish star, Dariam Coco on Vocals. It floats like a butterfly, but stings like a bee, as the soft chords are interrupted with huge drum fills deftly transforming an after party jam to a peak time moment.

We continue to “ Unknowns” - a masterclass in building tension and holding it - this track simmers with restrained intensity for almost 6 minutes. It’s trademark Asa Tate production at its most understated and classy. We round of the EP with the fittingly titled “Last Dance” , a wistful composition that brings us back down to earth slowly, safely and gently; always grooving but never pushing - this one is the soundtrack to the end of a long summer day and reaffirms Asa Tate’s claim to be a modern master of Deep House.

Man O To from the elusive producer NU is finally set to be released as a single on Crosstown Rebels, featuring remixes from Parisian producer Pépé Bradock who producers two amazing takes on the original. Since its inclusion on Acid Pauli's Get Lost Compilation in 2012, the track has gained huge support and become a modern-day electronic classic.
A nomad of modern times, NU has travelled the continents with his diverse music to unearth his imitable style. Represented heavily in Man O To, where instruments amalgamate with electronic production to become solid rhythms. An extra spark come from its lyrics, outtakes from an old Persian poem from the well known poet Rumi, who speaks of true happiness in love here performed by Ghazal Shakeri from an original recording made by renowned French composer Armand Amar.
Julien Auger aka Pépé Bradock is a widely respected producer best known for his ground breaking remixes and releases on labwes such a Avatisme, Classic and Versatile Recordings. As a DJ, he has spun in almost every major club in the world and is known for his versatile, and mesmerising style. Bradock conjures a trippy remix and dub version of Man O To and fitting ode to the original.

Beyond Structures by Giomini is an exploration of form and perception within deep house. Across four tracks, he distills the genre to its essential elements: rhythm, texture, and atmosphere. The result is a set of pieces that move between motion and stillness; grooves that evolve organically, and silence that holds meaning. Every tone is deliberate, every pause intentional.
This is music not made for distraction but for immersion; a deep listening experience that invites reflection through movement. Beyond Structures seeks the point where architecture dissolves into feeling, and the dancefloor becomes a meditative space.

The incredible story that began with The Most Mysterious Song on the Internet (TMMS) now enters an exciting new chapter: Skyscraper, the debut album by FEX.

Skyscraper features ten original tracks recorded in the early to mid-1980s-carefully re-transferred, remastered, and brought back to life. The album cover, designed by Darius S., brings the story full circle. Darius is the very person who preserved the now-iconic track Subways of Your Mind by recording it from NDR radio in the mid-80s. Without him, FEX may never have been discovered.

FEX's debut opens with its namesake, Skyscraper-a brooding, previously unreleased track the band once described as part of their "psychedelic phase." With haunting synth-helicopter textures and deep guitar riffs, it immediately sets the tone and raises tension.

The release flows naturally into the energetic and fully remastered studio version of Subways of Your Mind. This version of the TMMS - re-discovered on the "yellow label tape" by Reddit user Marijn-was long believed to be from a smaller home studio, but was actually recorded in November 1984 at Hawkeye Studios in Ganderkesee, near Hamburg.

Goldrush, first teased in raw form on FEX's YouTube channel, bends toward mechanical rhythm and shimmering synths, a snapshot of the band's experiments with programmed drum machine sound. Rückwardt's lyrics point to greed and criticizes materialism, and while the music leans toward pop sensibilities, it carries a raw, fractured edge.

Heart in Danger and I've Got My Eyes On You offer contrasting experiences-one rooted in classic post-punk tension, the other floating in melodic synth layers. The latter in particular feels like a fragment from a parallel radio history: a precise and one of a kind synth pop love song with a progressive touch.

From a rehearsal tape comes Dirty Slapstick, its urgency intact. Missing keyboard parts were later reconstructed by Michael Hädrich using his original DX7 synthesizer-recovering lost elements without rewriting the past. The lyrics take a wry look at forced optimism. Also included are the songs Talking Hands, Jenny and Strange Feeling, the latter being a slower blues-tinged cut, revealing yet another facet of the band's reach and Rückwardt's songwriting diversity.

The album closes where the legend began-with the original radio recording of Subways of Your Mind from Darius' cassette. This version of The Most Mysterious Song features alternate vocal effects, contributing to the track's enigmatic aura. Digitally transferred using a high-end Revox machine and carefully remastered, it now has its long-deserved official release.

The cover features a photo of the Eichenberg Bunker in Kiel-one of FEX's original rehearsal spaces and a symbolic monument to their sonic legacy.

With the 7th Grade of the Riddim Dub School series, Prince Istari enters Junior High School. Prince Istari returns with his Riddim Dub School series now on 12inch, pushing deeper into the intersection of dub, drum and bass, and sound system culture. This 6-track EP, titled "lessons into drum and bass wise", explores raw rhythms, analog feedbacks, and heavy low-end pressure.
The EP starts with a Drum and Bass cut with a One Drop of the DUB ME LOOPY tune from Riddim Dub School 5th Grade. INTIMACY COORDINATOR follows with a heavy Disco Dub. The last track on Side A is LABOUR’S DUB, with deep bass polished through spring reverb. The shakers come in late and push the whole thing forward. Side B begins with GONE TOO SOON from Riddim Dub School 4th Grade, in an alternative version. It’s followed by the most upfront track on the release CONQUERING DUB – brass fanfares and a deep disco rocker beat with minimalistic arrangement. NO DUB INNA DI WRONG ends the 7th Grade with a roots way style. It suggests
that dub music doesn't belong to or support negative, corrupt, or unjust actions or spaces. Dub music stays righteous, true, or positive, and doesn’t associate with bad vibes or wrongdoing.

2026 repress !

Blue Hour Music welcomes French artist Mathys Lenne for his debut EP as ‘The Scan’ - his go to alias for classic techno. Titled ‘Callgroove’ the record features four functional and highly seductive DJ tools aimed at darkly-lit dance floors. Each track is stripped to its essential layers, holding its own unique tension with hints of pre-pandemic club moments, lead by bold rhythmic groove manipulation, classic drum
programming and immersive atmospherics.

DJ friendly 8 track double pack of deep psychedelic cosmic house, the final entry in the BOO MOONMAN series. An interstellar shuttle ride where synth lines swirl like passing galaxies around celestial jazz textures and gritty, warehouse-ready rhythms

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

'The World in Air Quotes' is a genre-shifting style-melting kaleidoscope of art-rock, jazz, techno, folk & industrial. The God In Hackney sound like very little else from the early 2020's and whilst 'The World In Air Quotes' innovative progenitors are manifold - Eno, Coil, The Durutti Column, 1980s ECM jazz to name a few - it sounds beholden to none of them.

The God In Hackney's first album 'Cave Moderne' was Andrew Weatherall's album of the year for NTS Radio.

The God In Hackney's second LP, 'Small Country Eclipse', was album of 2020 for critic Sukhdev Sandhu of The Colloquium for Unpopular Culture: "Mordant music: stuttering, dread, black humour. A record that felt truly independent, beholden to no genre, out of step with all centres and signposted nodes."


'The World In Air Quotes' is The God In Hackney's 3rd album and their most musically emotive and lyrically inventive to date. It's an album that resonates with feelings about climate change, isolation, extinction, the social impact of technology, the flattening of history—and illuminates the darkness with imaginative rhythm, melody, noise & poetry. Songs range from widescreen, anthemic rock, to strange intricately arranged jazz-influenced songs, to abstract, textural electronic pieces. There's a strain of dark and surreal comedy too that runs through the lyrics and some of the choices the band makes in their sounds and arrangements.

The core God in Hackney quartet of Andy Cooke, Dan Fox, Ashley Marlowe and Nathaniel Mellors has expanded to include American multi-instrumentalists and composers Eve Essex (Eve Essex & The Fabulous Truth, Das Audit, Peter Gordon & Love of Life Orchestra, Peter Zummo, Liturgy) and Kelly Pratt (Father John Misty, David Byrne/St Vincent, Beirut, and Lonnie Holley among many others), signalling a new and ambitious direction for the band.

The album cover features original artwork by Iranian-American artist Tala Madani, recently the subject of a career survey exhibition at the Museum of Contemporary Art, Los Angeles.

Advertising:

The Wire, Maggot Brain

Reviews & features:

Maggot Brain - forthcoming feature

Hi-Fi+ Magazine - album review in April 2023 issue

Dereck Higgins (You Tube review)

Sonosphere - interview / feature

Weirdo Shrine - interview

It's Psychedelic Baby - interview

Spettacolo (Italy) - feature.

Ghettoblaster Magtazine (USA) - feature

Airplay:

Gilles Peterson - BBC Radio 6 Music

Steve Lamacq - BBC Radio 6 Music

Dublab - playlisted & featured in Dublab Recommends (Los Angeles)

Cian Ó Cíobháin - RTE Raidió na Gaeltachta (Ireland)

WFMU - playlisted

Resonance FM - The Wire presents Adventures In Sound & Music

Human Pleasure Radio (New Zealand)

Pete Wiggs & James Papademetie - The Seance (Repeater Radio, Sine FM & others)

Peter Hollo's Utility Fog - FBI Radio (Australia)

Jonathan Lethem & Sam Sousa on Radio Free Aftermath (KSP Claremont 88.7)

Life Elsewhere

WRPB Princeton

In Memory of John Peel

Mike Watt's Watt from Pedro Show

Don Cherry, armed with a voracious musical appetite and boundless imagination, first made a name for himself - though not always fully understood - alongside Ornette Coleman, playing trumpet or cornet. In Los Angeles and then New York, he stood at the heart of a revolutionary approach to improvisation based on melody rather than harmony, later baptized "Free Jazz," the final structural development of American jazz. Over time, he became a champion of improbable fusions - gradually integrating into his style a whole array of "exotic" instruments, and more importantly, the cultures from which they originated. Among them: India, Brazil, Africa, Indonesia, and even China. The time had come for the emergence of "world music": in hindsight, a patchwork rich in imagination and seduction, but once the novelty wore off, often lacking in substance.

In Don Cherry's case, however, the commitment ran deep - tied to his personal engagement with a global vision of art and the human condition. Ustad Ahmed Latif Khan, from the Delhi gharana (a musical lineage), was part of a new generation of accompanists - percussionists, sarangi players, flutists, etc. - who had extended both the technical and conceptual possibilities of their predecessors to gain recognition as soloists and soon to venture onto the international scene. Among them, Latif stood out for his taste for irregular, highly syncopated rhythmic patterns - rich in variety and originality. Don and Latif had never met before the recording session, but the two quickly recognised one another as kindred spirits - calm, focused... and full of laughter. Don clearly knew what he wanted to create, and nothing seemed to pose a challenge for Latif, who grasped the American's intentions immediately, warmed up his fingers at astonishing speed, and with his perfect pitch, naturally took on the role of tuning Don's diverse instrument collection to match whatever was found in the studio - from concert piano and Hammond B3 organ to chromatic orchestral timpani.

Futura Resistenza is pleased to present the latest release from the prolific, restlessly creative composer-performer Anthony Pateras, two side-long pieces - one performed by Callum G'Froerer on double-bell trumpet, the other sung by Clara La Licata - in which soloists are accompanied by numerous pre-recorded tracks of their own instrument or voice, creating acoustic halls of mirrors where the distinction between live performer and recorded accompaniment becomes difficult to perceive. Palimpsest Geometry (2020) for double-bell trumpet & tape works with rapidly pulsed single trumpet notes, at brisk tempos that hover at the perceptual threshold between rhythm and tremolo. The interaction between different rates of pulse produces skittering echoes, as if G'Froerer's layers of trumpets were really a single sound bouncing around the sonic space. There Is A Danger Only Our Mistakes Are New (2021) for voice & tape goes to work on a see-sawing two-note melodic cell, insistently transposed and transposed again, hummed or sung with open vowels, contracting to a semitone and expanding to a minor third. More than anything in the canon of Western art music, the piece calls up the criss-crossing repeated figures of Inuit vocal games or the interlocking repetitions of Banda-Linda music, where rhythmic and harmonic displacements of repeated motifs fuse together individual parts into the illusion of an impossibly rich and multi-faceted unitary sonic organism. Essentially homogeneous in texture yet built up from constantly changing details, broadly static yet always moving and shifting, these pieces exemplify Pateras' recent work while also pushing it into a new, strikingly immediate direction. Here, form grows organically out of the material itself; the results are sparkling, immersive, and quietly uncompromising. (Francis Plagne)

At a time when Hawaiians were reclaiming their language and most new music was written in Hawaiian, Teresa boldly revisited the largely forgotten hapa-haole style - Hawaiian-themed songs in English that once dominated American radio in the early 20th century.

From her earliest work in the 1980s, she treated the genre as serious art, not nostalgia, reviving classics like “My Little Grass Shack,” “Sadie, The South Seas Lady,” and her own modern hit “Uwehe, ‘Ami, and Slide,” which won Song of the Year at the 1988 Na Hoku Hanohano Awards. Her voice brought sophistication and sensuality to songs once considered dated, giving them new life.

With Tropic Rhapsody (2008), created alongside arranger Kit Ebersbach, she perfected that vision. Blending Hawaiian warmth with jazz and Latin rhythms, the album moved gracefully from the shimmering “Lei of Stars” to the lively “Pagan Love Song” and the tender closing of “Aloha ‘Oe.”

In an era dominated by Hawaiian-language releases, Teresa’s decision to make a primarily English-language album was both confident and heartfelt. Tropic Rhapsody remains a modern classic - elegant, adventurous, and unmistakably Hawaiian, just like Teresa herself.

Felix Kubin's Der Tanz Aller is an energetic, rhythmically charged soundtrack created for the performance of the same title by the experimental arts collective LIGNA. The group specialized in site-specific, participatory works. Der Tanz Aller is based on Rudolf von Laban's radical 1920s concept of 'Bewegungschoere' (movement choirs), collective dances in public space that aimed to reimagine social order through shared movement. Combining minimal electronics, acoustic percussion, and brass, Kubin's compositions reflect both the experimental spirit of Laban and the political charge of mass choreography, inviting listeners to become dancers themselves.

Have you noticed that Western music emphasises linear time? Melody is a continuous sequence of sounds. Harmony and rhythm follow a progression from beginning through climax and resolution. Is it possible to have an art that is based on non-linear time? Can we even experience non-linear time? Efrain Rozas' Still posed this question in the form of an installation made for quadraphonic sound, architecture and light. A document of his installation at Queenslab--part of a one-month residency with The Kitchen, New York City in April 2021--the album is a live, stereo room recording of Still as it was presented over three one-hour viewings. Efrain Rozas is a Peruvian interdisciplinary artist working with Latin American music, robotics, sculpture and installation. He holds a PhD in composition and ethnomusicology from New York University, and is a 2023-2024 Jerome Hill Artist Fellow. He has published Fusi?n: a soundtrack for Peru, a publication, video documentary, and music compilation; and has released several albums internationally via Names You can Trust, the Ethnomusicology Institute of Peru, the Embassy of Spain and Buh Records.

Deep, fragile, rhythmic, dubby and funny - the album Tremor by Silva is a collaboration between Moa Franzen, artist and performer, and Magnus Dahl, artist and music producer. With clarinet as the leading instrument, backed by cello, synths and drum machines, they build a world at the intersection of different genres, influenced by dance music, jazz and ambient.

Two Intersecting Loops of Silence is a 10-inch experimental vinyl that turns silence into rhythm and time into matter. Side A features two silent grooves that create a mechanical ticking when played, while Side B animates a clock-like etched drawing as the record spins. Numbered edition of 200 with hand-printed, unique etching covers. Each copy a one-of-a-kind artwork.

agoya-based multi-instrumentalist and rising DJ Hiroyuki Kato returns to the ever-consistent Flexi Cuts with Life 今 (FLEX 031), a record that perfectly distills the artist’s layered approach to sound and the label’s instinct for unearthing voices that carry both groove and depth. Having built a relationship with the label over the past two years—already signing an EP and a single—Kato now delivers a project that feels like a culmination of that dialogue: four tracks on wax, complemented by an additional cut exclusive to the digital edition.

True to its title, Life 今 exudes immediacy and presence. Kato draws on his background as a polyrhythmic player, folding live instrumentation into supple house frameworks, always with a subtle melodic sensibility. The vinyl selections range from the quietly propulsive to the rhythmically expansive, each tune infused with that warm, unhurried Flexi aura. Basslines strut with understated confidence, chords shimmer with daylight energy, and the arrangements move with a natural, unforced flow.

What stands out across the EP is Kato’s ability to balance the organic and the synthetic, never leaning too far into polish or rawness but finding a fertile middle ground that feels both contemporary and timeless. It’s the sound of someone equally at home behind a guitar as in the DJ booth, someone who understands that club music gains power not just from rhythm but from emotional resonance.

Flexi Cuts has long been a home for thoughtful, groove-driven records, and Life 今 is no exception. It is music that doesn’t demand attention with force, but rewards close listening with detail and atmosphere. At once intimate and club-ready, grounded yet expansive, it’s a confident statement from Hiroyuki Kato, an artist steadily carving his space within Japan’s evolving electronic landscape and beyond.


~~~~*
Written and produced by Hiroyuki Kato in Seto City, Japan
Mastered by Francesco Brini at Spectrum, Bologna
Distributed by Rubadub, Glasgow.
Designed by Galluzzi
A&R Simone Guerra aka Relative

Flexi Cuts, Italy 2025.

"rat" is an electronic project born from the gutters of Brussels in 2024 by long-standing collaborators "neither" and "Milius." After 15 years of hidden experiments they have been assembling a sonic language where glitch, ritualised circuitry and spectral noise merge. Their debut release "home" (Futura Resistenza) unfolds as a labyrinth of disjointed rhythms, haunted textures and fleeting moments that feel slightly out of time. Very little is known. All you can do is listen.

Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.

The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.

ugne&maria is a collaboration between Marija Rasa Kudabaite and Ugnė Vyliaudaite, both residing in Belgium. Their musical style is characterised by a multilayered, down-tempo, yet danceable approach, incorporating violin, synthesizers and sampling techniques.

We were completely blown away by the duo’s live performance at Meakusma Festival in August 2024. It was one of those rare moments when time seemed to stand still: the music, the atmosphere and the audience merged into a single warm, smooth and radiant aura of positive energy and vibes. This experience made us want to share such exceptional talent on Hands in the Dark and we are over the moon to announce the release of ugne&maria’s new album ‘Zotasphere’, dropping on 16th January 2026.

The 8 songs featured on the record came together slowly, bit by bit. Diary-like, each track reflects on different moments and life events that have followed ugne&maria over the past couple of years. Layers of sound and layers of memory are interlaced into the album, an embodiment of all that feels distant, yet still present. Most of the tracks move around a steady, unhurried pulse, never faster than 120 bpm. Some tracks even ended up being intentionally slowed down, as if the music itself wished to breathe more, mirroring life’s natural pace, with elements stretching, shifting and decelerating. Focused on bass and rhythm, influenced by the depth and warmth of classic house and low-end music, ugne&maria let the sounds drift elsewhere. The violin became a voice, the voice became a texture.

Belgian producer and DJ Ethan Fawkes returns with Funky Raver, a vibrant six-track vinyl release that channels the spirit of 70s funk and disco through a modern electronic lens. It features three originals alongside remixes from Victor Muerte, A.Fruit and Nite Fleit.

Fawkes, known for pairing raw rhythm with emotional punch, dives headfirst into the golden age of groove and rebuilds it for today's dance floor. The result feels warm and energetic, fresh take that nods to disco's roots while pushing forward.

Each remixer takes the core idea in a new direction without losing its heartbeat.

Victor Muerte takes "Funky Raver" track into a remix out a driving techno rework marked by hypnotic whiper repetition. It taps into the darker side of the groove, building steady pressure and giving the release a powerful late-night edge.

A.Fruit flips her version of "Get the Groove" into a fast, broken beat-driven workout full of tight percussion and futuristic low-end, giving the original a kinetic bass-forward storm that keeps the momentum surging.

Nite Fleit, the producer with a reputation for bold, genre-blending club tracks, injects her remix with electro pressure. She delivers a high-voltage version of "I Misplaced You" to take that turns the funk foundations into pure rave.

Taken together, the originals and remixes trace a full arc, from glittering disco lights to the throb of the warehouse. Funky Raver is a celebration of groove, motion and emotion. A reminder of how timeless dance-floor energy can be.

WRWTFWW Records is thrilled to unveil the limited edition vinyl reissue of Natural Sonic, the groundbreaking 1990 environmental percussion album by Japanese composer and performer Yoshiaki Ochi. Long a hidden gem of the kanky? ongaku movement, Natural Sonic finally returns in its full analog glory, housed in a heavyweight sleeve with obi and carefully remastered from the original archives of Wacoal Art Center / Spiral's visionary NEWSIC label.
Originally released only in Japan at the dawn of the 1990s, Natural Sonic is a mesmerizing exploration of earthly sound and rhythm - a sonic tapestry woven from wood, water, and stone, and skin. Ochi, who at the time was the in-house composer and performer for world-renowned designer Issey Miyake, created a series of elemental pieces that blur the line between avant-garde percussion, ritual music, and environmental sound art. The result is both deeply physical and profoundly meditative - an album that breathes with nature itself.
Echoing the organic minimalism of Midori Takada's Through the Looking Glass and the ecological grandeur of Geinoh Yamashirogumi's Ecophony Gaia, Ochi's compositions open portals into primal landscapes, evoking forests, rivers, and stones in flux. Part of NEWSIC's celebrated experimental catalog - alongside Yoshio Ojima's Une Collection des Chaînons, Motohiko Hamase's #Notes of Forestry, and Satsuki Shibano's Rendez-Vous - Natural Sonic now finds new life for contemporary listeners seeking sound that feels both timeless and vital.
A singular album of resonance and restraint, Natural Sonic is a treasure from the golden age of Japanese environmental music, finally available again over three decades later.

XL Recordings is proud to mark the 10th anniversary of Archy Marshall’s (aka King Krule) A New Place 2 Drown with the release of a newly remastered instrumental edition.
Originally released on 10 December 2015, A New Place 2 Drown remains a singular entry in the Archy Marshall catalogue. Known to many for his work as King Krule, Marshall released A New Place 2 Drown under his own name, highlighting a different facet of his creative identity. An atmospheric blend of submerged beats, woozy textures, and diaristic storytelling, the project earned widespread acclaim upon release, including Pitchfork’s Best New Music.
Developed in parallel with a visual world shaped with his brother and longtime collaborator Jack Marshall, the quietly influential project stands as a multidisciplinary love letter to their home of South London, originally released alongside a Will Robson-Scott–directed short film and a book of artworks, photography, and poetry by the Marshall brothers.
The 2025 instrumental edition offers a newly illuminated perspective on the record’s sonic core, drawing fresh attention to the production craft that underpins the project. By stripping the songs back to their foundations, the release highlights the intricate textures, rhythmic detail, and atmospheric depth that have helped A New Place 2 Drown grow into a cult favourite over the past decade.
“A New Place 2 Drown evokes a septic world filled with flickering halogen bulbs, sticky synth keys, and corroded outputs. Marshall has made tremendous strides as a producer, gorgeously reproducing the gloom and loneliness of early '90s hip-hop and finding a way to integrate it into his own style.” - PITCHFORK

Limited edition (numbered 100 copies) 180g black vinyl with insert.

"BEN BEKELE does not exist. At least not the one I'm thinking of.


It's a mix of memories and fantasies from the mid-80s when it was my father who visited Ethiopia, returning with two small drums, a couple of pictures and tons of tales.
One of them was a story of a boy named Bekele, who taught him a traditional Ethiopian song.

Father passed this song on to us, as best as he could - now I'm having doubts as to what the message is actually about - but back then I was fascinated. Many years later, when I was preparing a song for a compilation "Portrety" at U Know Me Records, I realized that the bass line that I created resembled a fragment of that exact song. Apparently the melody buried itself somewhere deep in my subconscious and unexpectedly revealed itself at that moment. Therefore I decided to honor the memory of my deceased of 30 years dad (whose friends called him Ben) naming the composition: "The Life and Death of Ben Bekele". The song turned out to be very happy to me - its success definitely exceeded expectations, while in my head an idea to go further after Ben Bekele began to form.

This time I didn't want to work alone. I invited Kamil Piotrowicz and Igor Wiśniewski to cooperate with me. Incredibly creative, sensitive artists and wonderful companions on stage as well as off it. The music on this album is similar to a small extent to the "founding" piece.
It has however a couple of common features, with focus on the rhythm as the form-forming factor at the forefront. It's also organic, emotional, at times trance-like and illustrative.

I sincerely hope that when listening to this record, for these tens of minutes you'll escape from the surrounding us not-so-pleasant everyday life."

The night is restless, the streets eerily silent... only distant echoes and haunting rhythms fill the air. Halloween 2025 drags you deep into the atmosphere of a world forever changed.



As shadows lengthen and whispers grow louder, the familiar coziness of Lofi Girl’s room takes a darker turn. This 20-track compilation gathers artists from across the globe to conjure chilling melodies and spectral beats, the perfect soundtrack for the spooky season. Press play, and lose yourself in a soundtrack where the undead roam and even the walls seem to listen.

Repress

R&S proudly presents brand new signing Felix Manuel AKA Djrum.
Djrum is a perennially acclaimed underground artist, since his first release in 2010 who's quietly built a list of fans that reads like a who's who of contemporary dance music.
As an artist, Djrum has formed a reputation for his unique fusion of a range of genres ranging from jazz, hip hop and dubstep to ambient and techno. His music swells with oceanic bass laded beats, cavernous atmospherics and deeply emotive melodies. An accomplished DJ his compositional approach feels like a natural collage of his influences which has seen him release for the likes of the Zenker Brothers Ilian Tape imprint as well as the influential 2nd Drop label, plus remixes for Ninja Tune and Domino.
Felix now steps up to the plate at R&S with one of his most visionary releases to date. Deeply meditative melodies twist and turn through stuttering rhythms and pulsing low bass, hypnotic pads and woozy atmospherics. Manuel's music somehow manages to retains the urgency and dynamic pressure of the dance floor with the intimacy and elegant detailing of the best headphone music.
A natural fit for R&S, there is a full length Djrum album in the pipeline in 2018 - looks like it's going to be an exciting year ahead.

A true gem of French animated cinema, Sylvain Chomet's Les Triplettes de Belleville (2003) left a lasting impression with its quirky universe, tender humor, and unforgettable musical score.


Composed by Benoît Charest, this cult soundtrack blends retro swing, gypsy jazz, ramshackle brass bands, and cycling rhythms to create a unique atmosphere that is both nostalgic and fiercely modern.



This vinyl edition finally celebrates the soundscape of Belleville as it deserves to be celebrated: unusual percussion instruments made from bicycle parts, mischievous orchestrations, and the playful voice of the cult song “Belleville Rendez-vous,” performed by M - Matthieu Chedid in its French version.



Carefully remastered for analog format, the record captures all the warmth and vitality of this timeless music, a vibrant tribute to the creativity and audacity of the film.


A must-have for lovers of cinema, jazz, and beautiful vinyl editions.

A concentrated dose of club energy weaving together house, electro, obscure disco, and groove. This is the new vinyl adventure from Raibano Records and Mondo Groove, two Romagna-based labels that have long championed an uncompromising and authentic vision of the Italian electronic scene.

The 12” brings together six unreleased tracks, three per side, crafted by Raibano’s founders Alberto Melloni and Gianmaria Gamberini. On one side, hypnotic rhythms and pulses for the darkest corners of the dancefloor; on the other, Balearic echoes and textures designed to take you far beyond it.