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As warmer times approach Caruan and his Deset label have crafted a package which will undoubtedly be welcomed with open arms, adding to the brighter months ahead with this innovative release from tastemaking live performer and artist, Mathew Jonson. It is to no surprise that his “SOS” EP addresses an array of beautiful textures as he moves gracefully between refined jazz textures, ethereal ambience, and minimalistic moods. Jonson’s acute attention to detail has seen him remain an influential figure amongst the world of pioneering electronic music.

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

Ethan Fawkes is an oldskool rave techno and EBM DJ and producer based in Tilff, Belgium. He’s known for his charismatic presence and combat ready style on stage, comfortably playing anywhere from raves to clubs or shows and festival stages with his signature sound which is a masterclass in unmistakably powerful and personal tracks. His unique vision and tireless work ethic are evidenced by a growing catalogue of original EPs, LPs and remixes for top international labels, winning the respect of his peers, the adoration of fans and the full attention of DJs and clubbers worldwide.

‘Dancefloor EBM’ is an energetic sensation of a release with all tracks having a distinctly unique sound of their own which encapsulates the industrial post punk, EBM and techno vibe of the label. Along-with the original version of Ethan’s track, which is an event all unto its own, the EP also comes with three stunning remixes.

The 1st is from legendary Italian producer Adriano Canzian who subtly smashes out a rusty snaking baseline version that’s on a journey of foreboding discovery. That’s followed by Columbian industrial EBM nutter Delectro who comes blustering in with a full on forceful driving session of a remix that leads impeccably into label owner Paulitical’s rearrangement that’s a 135 bpm ‘monster from the deep’ infused version with synths aplenty to round the release off in orchestrated style.

DUBFIRE INVITES CHRIS LIEBING, TRUNCATE, CARL CRAIG, DRUMCELL, NADIA STRUIWIGH & MORE TO HIS REMIX ALBUM
EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.
The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, DEAS, Carl Craig, Truncate, Drumcell, Chris Liebing, and Luke Slater as L.B. Dub Corp who have all given the original music in their own unique style.
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

Studio One was founded by Clement "Coxsone" Dodd in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.
Amongst its earliest records were "Easy Snappin" byTheophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only, original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release, Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally resurfacing from the darkness.

2026 Repress

The incomparable Deepchord is back on Soma and drops the first single from forthcoming album, Auratones due in October. As is expected from the Detroit based sound designer, the Campfire EP is everything we have come to know and admire about his productions, from the spaced out, ambient sound fields to classic Dub Techno.

Perfumes Of A Spring Mist delicately opens this latest EP with entrancing, processed soundscapes, beautifully haunting melody and simple rhythmic elements than seem to evolve naturally allowing you to get lost in the sea of vibrations. Xpan leans on the more classic Dub Techno sound from Deepchord of years passed. Sub heavy beats and jagged yet tranquil synths sweep across the palette as Deepchord plays with constantly fluctuating chords, bringing the quintessential 90s Deep Techno into his more modern, processed sound. Title track Campfire brings ambience to the forefront to close out the EP. Melancholic synth elements drift across an expanse of refined and uniquely crafted field recordings, offering an insight into the areas from which Deepchord draws his inspiration.

Once again Deepchord proves to be one of the most visionary artists the electronic world has seen.

There was a long time I considered Raymond Richards the ultimate secret weapon. There were sounds he could make that other people just couldn’t. Pure, whole, yet complex sounds. The pedal steel is an extremely niche instrument outside of its Country confines, but its sheer and transcendent depth has never failed to floor me. Raymond’s ear for implementing the steel into literally 'anything' has always been uncanny. After decades of being savvy to his work ethic, multi-faceted studio skills and overall sense of musical honesty, it became a priority for me to channel some of this into narratives through the ESP Institute and get his stories told. Without further recounting the history and trajectory of our musical relationship (see the press release for 2020’s critically-acclaimed album 'The Lost Art Of Wandering'), I can whole-heartedly confirm this sophomore release, 'Sand Paintings', opens an even wider door into Raymond’s visceral, contemplative world. The cast of players has elaborated to include Calexico’s John Convertino on drums and percussion, a bevy of eccentric stringed instruments and even a hint of brass to collectively stratify context for the pedal steel. Through diversifying the timbral palette, we invite an increased soundstage acuity but also reveal untapped wells of emotion for the listener, perhaps even testing cultural literacies. One foot remains in our established ambient realm, while the other steps toward grand cinematic gestures, and despite the dense, insurmountable emotion in these songs, there is a stoic singularity, like a lonesome cowboy pulling up his boot straps to endure another day. 'Badwater Basin' opens with courage, an enormous chord evoking Raymond’s image of “hard dawn”, but in navigating through the dramatic depictions of 'Monument Valley', 'Saguaro' and 'Deer On Hwy 80', we grapple with a cloaked vulnerability—weathered by the elements, beaten down and alone, yet still madly in love with the world. —Lovefingers

Joseph Capriati is firmly established as one of the greatest techno DJs in the world, but growing up in Naples his first connection with electronic dance music was actually in the House Music genre. “Peace And Blessings” feat. Arnold Jarvis is Joseph’s very personal tribute to this genre, where he produced a track that he felt encompassed the vibe and spirituality of House Music. He wanted a song and vocal performance that would equally represent all the best qualities of the genre, and joined with one of the industry’s most iconic and legendary vocal talents Arnold Jarvis to write lyrics and deliver a vocal performance that perfectly complements Joseph’s percussion and synth driven track. Bushwhacka! on board as Mix Engineer on The Groove Mix.

Series 4 of the TELUM sub label, AURUM has arrived!

A different chapter with a similar story to be told - 4 dance floor weapons from good friend of the label, Swoy.

Each track has been making noise around the world with heavy support from some of the biggest names in the industry!

Grab a copy whilst you can!

2024 repress

Melody As Truth founder Jonny Nash returns to action with his first solo album in four years.

Over the course of eleven mesmerising tracks, Nash points the compass gently inwards, casting aside any conceptual frameworks in favour of exploring an imaginative and idealised “personal folk music” that combines elements of traditional acoustic music with the producer’s richly immersive interpretation of ambient, a sound he has been developing for well over a decade.

From the smudged acid-folk bliss of ‘Theories’ and ‘Eternal Life’, to the layered acoustic guitars of ‘All I Ever Needed’ and the delay-soaked, Durutti Column-esque ‘Light From Three Sides’, a wide variety of musical textures weave their way throughout the album.

Point of Entry is much more than a mere ‘guitar album’ – it draws on a rich and diverse palette to achieve its purpose. The delicate saxophone work of ambient-jazz contemporary Joseph Shabason swells on ‘Ditto’ and ‘Light From Three Sides’. Cascading piano lines ripple through the crystal clear sonic waters of ‘Face of Another’, whilst echoes of Nash’s work with Gigi Masin and Young Marco as Gaussian Curve appear in the dancing synth sequences of ‘Ditto’ and ‘Golden Hour’. Nash’s reverb-laden voice also appears for the first time since 2016’s critically acclaimed Exit Strategies, used delicately throughout the album to conjure up a world of dusk and golden light.

Combining the delicate human touch and naivety of earlier Melody As Truth releases with widened scope and vision, Point Of Entry is arguably Nash’s most complete work to date – an album that’s as much a statement of his “personal folk” vision as a future ambient classic.

One of the most consistent new labels around, Cyphon Recordings, marks double figures with another standout release that gleans from the past, but faces the future. This time they look to the talents of Emotive Technology, a new alias from Chilean Massiande who provides a five-track EP of machine-wielding, soul-rousing techno from across the spectrum.

Although this may be the first release under his new moniker, Massiande has spent the last decade putting out productions with labels such as Housewax, Phonica, Freerange and Groovin. Firing on all cylinders from the get-go, ‘Rise’ kicks off the Walk Into The Light EP. A hyperspace melding of new beat, Italo and arp-operating techno that opens out into a slice of peak-time revelry.

The swirling textures of ‘It’s On’ follow, pushing you into the next dimension. A hypnotic, entrancing and arresting heads-down powerhouse. Crunchy and considered it's the kind of strobe-stuttering basement jam that turns heads inside out.

Two Detroit-leaning tracks ‘Your Zone’ and ‘Walk IntoThe Light’ are up next. The former is a heavyweight machine workout. Layered synth lines and crisp drum programming transfix, as that grooving low-end powers bodies into bedlam. The latter, a Motor-City-influenced tour de force. One that sees Massiande recode the circuitry to hit with a piano-laden stunner, balancing power and presence, with emotion and nuance.

Closing out proceedings, ‘The Swing’ sucks you in deeper. A resonating world of synth stabs, pulsating basslines and atmospheric electronics.

Doing the Emotive Technology namesake proud, Walk Into The Light is machine music hardwired with a heavy sense of soul.

Repress!

Having already released four singles from his forthcoming sophomore album, including 'Hypnotized', 'Exotica', 'Fireworks', and 'Playbox', renowned producer Purple Disco Machine delivers ‘Dopamine’ the fifth and final taste of the forthcoming album ‘Exotia', announced for release later this year via Sweat It Out / Sony / Positiva.

Teaming up with London-based, Dutch born singer/songwriter Eyelar, Purple Disco Machine treats us to ‘Dopamine’, a harmonious combination of Eyelar’s effervescent hooks and pop sensibilities, and PDM’s signature bass lines and overall funk.

With just shy of 1 billion streams across his catalogue to date, and over 9 million monthly listeners on Spotify, Purple Disco Machine continues to live up to the hype of #2 Beatport Artist of All Time.

‘Hypnotized’ became an anthem the world over, having been streamed over 250 million times across platforms, whilst going triple Platinum in Italy, Poland and Switzerland with the carefree stylings of ‘Fireworks’ quickly following suit with over 80 million streams to date.

Malted Milk's 1975 album tackles subjects that concern the band's singer in particular, but also paints a picture of a society with which many people identify. Difficult present times, a broken family and dependent children. The character oscillates between moments of great lucidity and optimism, and moments of anger. Feelings that are reflected in a general vision of the world we live in today, devastated by the abuses of the powerful ones and rendered insensitive to the "false" freedoms they offer us. Could it be that the personal condition of the album's character is also the result of a twisted society?

Malted Milk takes a stylistic journey from strong soul and funk roots to resolutely more modern musical influences, all seasoned with sweet hooks ranging from disco to folk-world. Malted Milk is newly committed to speaking openly about uncomfortable subjects and honestly reflecting its passion for American and pop music. The result is an authentic album, in which the singer becomes kind of a spokesman for the band and the listener.

Man Power debuts on Rekids with ‘We Trawl The Hurts’ ft Louisahhh. The duo’s first collaboration, a huge spoken vocal house cut, comes alongside three interpretations from Deetron.

DJ, producer, promoter, composer, and cultural agitator Man Power makes his debut on Radio Slave’s Rekids with ‘We Trawl The Hurts’ featuring Louisahhh on 12th April. The first fruits of a long-term friendship see Man Power (Me Me Me/Throne of Blood/Optimo) serving up a stomping, big-room cut that tips its hat to late-90s NY house and serves as a bed for the inimitable Louisahhh’s (RAAR) breathy vocal delivery of classic Prefab Sprout lyrics.

An intimate, spoken-word vocal from Louisahh weaves through a world of vibrant pads and chords. The gorgeous lyricism of their ‘We Trawl The Hurts’ is underpinned by an uplifting and emotive swirl of melody and a rock-steady beat. Man Power’s love of Murk and Tenaglia shines through.

The evergreen Deetron delivers three versions of ‘We Trawl The Hurt’s ft Louisahhh’: a remix that flips the original into a thumping deep techno cut featuring loopy synths and pixelated leads, a stripped-back and powerful dub, and his DJ tool ‘drum and bass’, built for those who like to mix.

The King of Miami's Cuban music scene, the late Ray Fernandez, is featured here fronting his enormously talented family band on an album that first brought him into the spotlight.

Heavily influenced by deep funk and Latin music, their psych-tinged creations also incorporated many other kaleidoscopic sound infusions, including soul, calypso, Afro-Cuban and salsa. Fronted by Ray Fernandez, his band included his very talented wife and two sons and proved to be a highly influential group on Miami's Latin music scene in the late 70's. What also made them stand out was their versatility; this group could easily shift from Cuban funk to Reggae in a blink. Their instrumentation was also different to the 'norm', and where a lot of similar sounds were saxophone-led, this band used a bass clarinet. Instead of bongos, Ray and His Court played with the unique Osi drums from Africa.

Sampled heavily by DJs worldwide (including DJ Shadow) On High presents a must have piece of music for any serious Latin, funk, or rare groove collector. Remastered and pressed on audiophile virgin vinyl for your listening pleasure.

Repress!

'Hold Your Colour', the debut album from Pendulum has been pressed on Heavyweight Triple Vinyl, on seminal Drum&Bass label Breakbeat Kaos, to help celebrate it's 15th year as a label. This Limited Pressing 3 x vinyl features the full original album plus bonus track 'Blood Sugar' for the very first time on Vinyl. The Album in full has previously only ever been on CD & Digital and was originally pressed on vinyl as a 6 track album of non single tracks.

'Hold your Colour' was originally released in July 2005 on Breakbeat Kaos and went on to gain Pendulum worldwide critical acclaim and festival headline slots. The album features collaborations with artists such as the DJ Fresh and TC, MC's $pyda, Tenor Fly and Fats, plus vocalists from bands Freestylers and Halogen.

In 2020, L'Osmose began its artistic collaboration by combining 70's psychedelia with catchy rhythms.

Blending auto-tune, electric guitars, percussion, and analog synthesizers, their music is a reflection of their incessant experimentation and their desire to explore new sonic avenues.

After several radio appearances (couleur3, Worldwide FM, Radiovostok), and opening acts for international artists (Chilla, Yin-yin, OBF, old Farka Touré, Arp Frique), the Geneva sextet has built a certain reputation within the Swiss cultural scene.

Spotted by L'Éclair in 2022, the group continues its rise by recording, with their help, a promising first album which they will sign on the Stone Pixels Records label.

While waiting for the release of this project, immerse yourself in the raw, sincere and captivating energy that their performances emit.

Jlin’s detailed and meticulous exploration of rhythm’s inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and classical music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her. Whatever the situation – from composing the Pulitzer Prize shortlisted ‘Perspective’ for Third Coast Percussion, to ‘Godmother’ her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest. Her new album ‘Akoma’ sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance. Jlin does what Jlin does and it’s beloved across genres, across scenes and across generations. ‘Akoma’ is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world.So how did she get here? Here’s a rundown for those looking for the facts. She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track ‘Erotic Heat’ on the Planet Mu anthology ‘Bangs & Works Vol.2.’ Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn’t stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can’t get to the level she is at. Since ‘Erotic Heat’ she has released two bold albums, 2015’s ‘Dark Energy’ and 2017’s ‘Black Origami.’ She has also released her soundtrack to Company Wayne McGregor’s dance piece ‘Autobiography’ (2018) and most recently (2023) the mini-album ‘Perspective.’ She’s remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She’s collaborated with Holly Herndon and the late SOPHIE. She’s worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. ‘Perspective’, her very well received percussion work for Third Coast Percussion has further opened doors for her in classical music. She’s even thinking of one day writing an opera. She had a residency at MassMoca Museum earlier this year (2023). She’s performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She’s also worked with Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There’s more but you get the picture - she’s working in contexts and in ways that few of her peers are able to. ‘Akoma’ is the next step - all these paths have led to this. We encourage you to tune in.

"Born in Poti, near Lake Paliastomi in Georgia, Nino Gvilia is a singer-songwriter whose lyrics offer up meditations on what it is to be human in the 21st Century, and aim to carry us beyond into ecology and the politics of the non-human world.

Her songs are influenced by folk and minimalism and make use of magnetic tapes, field recordings, vocal samples of contemporary thinkers and philosophers, and an array of strange instruments and vintage textures, drawing for us an intense dreamlike atmosphere.

Now I should tell you that Nino Gvilia does not exist. She is a purely fictional character invented in order to help us reflect on the place of the songwriter in times of global crisis."


Nino Gvili: songs & lyrics, vocals, toy guitar, harmonium, field recordings.
Zevi Bordovach: arrangements, synth, hammond, harmonium, vocals.
Pietro Caramelli: arrangements, electric guitar, electronics, vocals.
Giulia Pecora: violin.
Clarissa Marino: cello.
Recorded by Paul Beauchamp at O.F.F. Studio, Turin, March 2023.
Mixed by Paul Beauchamp and Pietro Caramelli.

repress!

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere

E – MELODROM – percolates with Latin percussion and shuffling snares, which commingle with an array of voices and whispers that come from every corner of the song. From toolish to melodic, itʼs the diversity that creates the magic.

F – SING AND RUN – is one of those tracks that gives you nostalgia and reminds us of early mornings at the end of the party when the sun would be coming in through the windows and the dancefloor was in total harmony. Could easily cast a spell with the right audience.

G –RUMBLING DREAM – is a ritualistic-sounding slice, crossing towards the kind of slow-burning, atmospheric cuts that doubtless inspire his intricate studio productions. The vocals are unusually illustrative and make a lasting impression.

H – KLAUS DID IT – is an intriguing interplay between dark functionality and high velocity grooves — the type of deep, trippy, IDM-tipped tunes. Its warped tones are forming dank, lurching rhythms that trap you like a spiderweb, venturing into a bizarre, rewarding territory. The conclusion? You can spend a decade honing a very particular personal vision and not run short of inspiration. Mihigh is a world-builder: everything he does is about further extending and reinforcing that world.

ARCHIELONG LP is capturing the beauty at the intersection of
experiment and perpetual learning

n Greyscale's continued focus on evolving and expanding the experience of the label, we have some exciting news to share with you. We are launching a new series on Greyscale - the Spectrum Series! This premier outlet will be dedicated to the most special and colorful projects, stepping away from our usual black and white visuals. For the first project, we dug in the vaults and chose to put out a legendary Lithuanian dub track - “Kasdienybės Šventykla” by grad_u & Eazystyle MC. It was recorded back in 2009 which means we are celebrating its 15 year anniversary! Back in 2011 we recorded an English version and released it as a double CD that came with a string of memorable remixes. Now, and for the first time on vinyl and in
the true roots of dub, released on a special 10” record. But that's not all! Each new Spectrum release will include a full cover print with specially created artwork.
For those that are new to the track, 'Kasdienybės Šventykla' is a pure representation of the origins and the lineage of dub music from the 70's and early 80's. As a result, you will find the full vocal on the A-side while the instrumental graces the B. On the original, you have Eazystyle MC wherein he speaks about what is most important in the world...everyday life. "Don't look far, because you will find everything here..." he urges us all to keep the world small and focus on the things right in front of you and the environment you live in every day. Wise words to live by. Ones that resonate as well as the cool echoed out chords do. We couldn't think of a better way to kick off the Spectrum Series! This sets the stage for a new and exciting extension
to Greyscale that we know you will love and enjoy. With grad_u at the wheels we can trust in his direction to lead us.

repress !

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere

A – The opening track, I HEAR VOICES THROUGH THE PIPE sets the scene for whatʼs to come, stirring the imagination with its dreamy, cinematic, organic sounds in disguise. The track provides a guidebook to distilling story, emotion
and image into sonic form.

B – EXCESS ALL AREAS – hypnotizes the dancers with endless, reverberating grooves and a punchy 4/4 beat, introducing the audience to his gloomy world of emotions.

C – LA MANIA – lights up some dark pitched atmosphere around you and makes you feel like you are on the mythical La Mania club dancefloor in complete harmony, surrounded by strange and beautiful trippers. The song is like a painting, with frames that evoke flashbacks.

D – NEW LIFE – is a perfect minimalist setup of a percussion loop, throbbing chords and a sinewy walking bass, and itʼs almost intimidatingly heady. Its militant kick and incessant hi-hats propel the beat – definitely a dancefloor highlight.

Delving deep into the shadowy realms of filmic soundscapes, Pheeks latest EP is a masterful blend of darkness and texture. Drawing heavy inspiration from moody cinema and the raw, gritty undertones of lofi elements, this collection manages to capture and amplify fond sound textures, seamlessly integrating them within techno structures. At its core, there is an unmistakable cinematic ambiance, an aura that paints a picture of suspense and mystery. But don’t let the atmospheric subtleties fool you. Beneath the misty veneer lies a pulsating heart of energy, with layers that rhythmically surge and ebb. It is a sonic journey that is as intricate as it is evocative, showcasing Pheeks prowess in both craft and creativity. Prepare to immerse yourself in a world where each track tells its own enigmatic tale.

Purple Disco Machine has been setting the world on fire for years, and he’s showing no signs of slowing down any time soon. He has teamed up with German artist Roosevelt for their latest collaborative single, 'Higher Ground.'

'Higher Ground' sounds straight out of the 80s. It’s a club banger with an infectious synth loop that will keep you sweating on the dance floor.

Operation_PPRCLP kicks off release SUB010 asking how far will we go in the race for technological advancement, and at what cost? Have we forgotten our humanity as a result? Should we be more focused on how to expand human consciousness rather than trying to command, control and obfuscate or is this just in our habitual nature?

41 Minutes Past Midnight investigates painful emotions around losing loved ones without being able to get any closure, how do we move forward without answers in the face of unexplained, heartbreaking tragedy.

6EQUJ5 aka the Wow! signal first detected on August 5th 1977 shifts the perspective out into the constellation of Sagittarius from where the signal is thought to have originated. In 2022 we learned that 3 distant Sun-like stars within the original antenna-pointed coordinates may provide the answer but at a vast distance of 1800 light years from earth, since then, it's all gone quiet... What world reached out from the cosmos, intentionally or mistakenly...

The final track Celestial Beings asks the age old question of what other life exists across the universe, how advanced are these civilizations that may already be exploring distant galaxies with our shared sense of curiosity and when will we be able to connect collectively with such conscious entities.

Oro Azul‘s debut offering, ‘Water Seeds,’ takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are moss-like, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

A collaboration between Ultima Esuna and Michael Red, the music of Oro Azul took shape over the course of a year of purposeful and transformative studio sessions. This release follows the pair’s solo releases on DJ Python’s Worldwide Unlimited, Nervous Horizon, and Isla.

Long awaited new record YOIONWAXOO9 is finally here!

We've been preparing for it for a really long time.
But there's a reason for that.

First of all, meet a brand new kind of records in our series - printed vinyl! Let's tell you a secret, our distributor made it exclusively for YOI, for which we thank him for such support and faith in our art! Now the incredible artwork made by our boss Alexey Mikheev is even easier, more exciting and fun to watch! So YOI becomes the first and only dance music label who makes printed vinyl with animated artwork.

Secondly, of course, the whole situation in the world cannot go unnoticed, and we cannot and do not want to remain silent about it, because we are as always, as from the very beginning, for unity and art, creation and development, friendship and love, happiness and peace. So this record once again brings together artists from different countries: Mariche from Argentina, Italian Sbruf, label boss Watsche from Russia and Englishman Yogi P, and the artwork reflects our planet, which is spinning thanks to our dancing day and night everywhere where the best house music is played!

microCastle’s first offering of 2024 welcomes Adrian Roman back to the label for his second artist showcase. Hailing from Spain, Adrian Roman first rose to prominence in 2021 with a string of superlative releases which redefined his sound, resulting in an aesthetic that was both cutting edge and effortlessly cool. F, nmully formed within the creative confines of his Castello studio, Adrian’s first microCastle project, 2022’s‘ Disturbing the Perception’ succeeded in showcasing his inventive approach to composition, while remaining club-effective, and in turn earning play from Aera, Fideles and Jimi Jules, amongst others. Moving forward the next eighteen months have proved to be impactful for the young Spaniard, recording standout projects for AZZUR and Sum Over Histories, releases which continued to build on his creative acumen, while remaining in the playlists of underground tastemakers Ame and Dixon. With 2024 beginning with Adrian’s latest Sum Over Histories vehicle ‘Oratorical Ability’, the Spaniard now makes a welcome return to microCastle with a six-track showcase entitled ‘This Is What I Was For A Moment’.

From the opening monochromes of ‘Le Sabbat’ Adrian’s craftsmanship reveals itself across this slow-burning piece, one where grating growls, granular flares and panoramic arps ultimately set the pace for the groove-centric ‘Customized Reality’. It’s here where Adrian puts a greater focus on the dancefloor, marrying hopeful vocal phrasing and silky chord stabs for a rejuvenating experience, while a drum-driven drop ultimately charts the course for a finale of deconstructed sonics and post-rave bliss. The haywire electricity of ‘Faces of Belmez’ finds the Spaniard once again flexing his creative muscles, as corrugated bleeps and cataclysmic rhythms provide a vast sense of space, creating the ultimate backdrop for distorted synths to propel choppy rhythms into dark underground passages, and perhaps onto some of the world’s most adventurous dancefloors.

The collection’s midway point is marked by the hypno-architecture of ‘Mind Design’. Trickling reverberations and long sighs of tonal tension wade through its pulsating framework, with frayed effects and thumping rhythms submerged beneath a buzzing panoramic glow. Played by Ame and sitting as one of the project's most enigmatic tracks is ‘TAGDI’ (They Are Gonna Do It). Tinted with contemplative synths and guttural vocals, Adrian’s unique emotionality peaks here, as he crafts a low-slung, slow-building dystopian romance, all while weaving in cerebral manipulations for an unforgettable ride. The mist breaks instantly on the collection’s final piece, as your thrusted into the muscular grooves of ‘Fear Track’. Horrifying vocal stabs strike, leaving the gauzy purple skies of ‘TAGDI’ behind for a more robust romp, one where anabolic bassline, retro-arps and off kilter percussion bring the release to a feverish peak. A fitting conclusion to a diverse collection of music, one where Adrian creates a journey that speaks to the complexities of life against an immersive and challenging backdrop.

Artwork: Maurcio Seidel

Dominik Krammer's EP, "The Fields As She Left Me," stands testament to his unique style and profound grasp of electronic music and each track within this collection serves as a portal to the human experience. In this musical journey, Dominik Krammer takes the listener on a relentless ride through the depths of longing and the ecstasy of fulfillment. The EP's four tracks, though diverse in their individual flavors, are interwoven by an undeniable red thread—an overarching conceptual foundation consisting of the complex realm of human emotion, ranging from heart-pounding energy and bittersweet melancholy to raw passion and intense rage.


The EP kicks off with its main track, "The Fields As She Left Me," a sonic journey initiated by ecstatic synths and heavy drumworks that set the pace for what follows. The driving arp and caressing lead of "Nocturnal Desires" embody the ambiguity of being lost and simultaneously feeling at home in the night. "Ketaigel" follows suit, featuring a memorable melody that etches itself into your memory, guiding you through a sinister journey of joy and fulfillment. The remix by David Heine for "Ketaigel" introduces a different sonic sphere compared to the rest of the EP, yet excels in capturing and releasing the fundamental emotional world that defines this musical exploration.


As you immerse yourself in the emotional, melodic, and at times, disorderly soundscape of 'The Fields as She Left Me,' Dominik Krammer's prowess becomes evident. His EP not only resonates on a visceral level but also leaves the audience craving for more.This sonic journey is destined to linger in your memory long after the final note fades away, creating an enduring impact that transcends whatever boundaries of electronic music.

repressed !

Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl - The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme 'Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time

Welcome back to Demon’s ‘Disco Discharge’ series, originally issued in a series of 2CD collections between 2009 and
2012. The themed compilations of full-length, extended Disco originals, lovingly curated by the mysterious “MrPinks”
and with detailed sleeve notes by author and Disco aficionado Alan Jones, have remained in-demand among collectors
and the club cognoscenti. This time around, the series kicks off with ‘Classic Disco’ and ‘Disco Fever USA’, both issued
in new-formatted 2CD Deluxe gatefold sleeves and, for the first time, as 2LP coloured 140-gram vinyl editions.
While Disco happened the whole world over, ‘Disco Fever USA’ cherry-picks 12 milestones hailing from its American
birthplace on 140g White vinyl. Alongside lesser-known cuts from the likes of Fern Kinney, Gloria Gaynor and Boys
Town Gang there’s also another wealth of treasures including a rare instrumental version of Earth, Wind & Fire’s
‘Boogie Wonderland’, the sublime ‘Like An Eagle’ by sometime gay porn actor Dennis Parker and Bionic Boogie’s ‘Risky
Changes’, a track you could say predicted Chicago House sound a full ten years before the fact.

‘Out There’, the first album by the duo KOLORA, is a continuous collection of warm and layered soundscapes. The organic guitar sound of Liloe Barend in combination with the synthetic synthesizer sounds of Koenraad Wiering provide a calming sound palette.

The collaboration between Liloe & Koenraad arose during and because of the corona period. Both musicians live in the artist commuity ‘Heesterveld Creative Community’ in Amsterdam South East and were restricted by the corona measures. However, these limitations turned out to be fertile ground for a new musical collaboration: KOLORA.

In addition to KOLORA, Liloe Barend has her own solo project ‘Liloe Rix’ and is a guitarist in the cover band Steam Sister. Last summer she released her new EP with her solo project as a singer-songwriter.

Koenraad Wiering works in the music world as a producer and DJ. You can find him on stage as a DJ under his own name ‘Koenraad’ and also under various pseudonyms including: DJ Beukeboom and 06NRG. In addition to music, he also designins and build light installations.

Coral Morphologic and Nick León’s Projections of a Coral City marks a series of collisions between distant
worlds: the organic and the artificial, the Eocene and the Anthropocene, sea and cement—and even, perhaps, ambient music and activism.

Coral Morphologic are the Miami duo of marine biologist Colin Foord and musician J.D. McKay; since 2007, they have used a variety of multimedia projects to generate environmental awareness of marine biodiversity—most notably Coral City Camera, an underwater webcam streaming live from an urban reef ecosystem in PortMiami.

Their citymate Nick León is a linchpin of South Florida’s contemporary leftfield electronic scene, with releases for Tra Tra Trax, Future Times, and NAAFI, and credits on records by Rosalía, GAIKA, and Iceboy Violet, among others.

This collaborative project dates back to 2022, when Coral Morphologic mounted a monumental projection-
mapping installation on Biscayne Boulevard. For five nights in late November and early December, macroscopic films of corals played out across the exterior of Knight Concert Hall. The installation was, on the one hand, a glimpse into a possible future, imagining how the city’s skyline might appear if unchecked global warming and rising seas led coral reefs to colonize the built environment. But it also represented a look back into the deep past, a reminder that Miami is literally built from marine limestone mined from the Everglades. Its concrete foundations began life, eons ago, as a marine ecosystem—the same ecosystem that may one day reclaim them. As above, so below.

As an album, Projections of a Coral City is a suite of interconnected movements spread across two sides of vinyl. The tones are watery, the mood elegiac, the colors a washed-out pastel. Forms that appear static on the surface gradually open up to reveal hidden depths teeming with microscopic movement. You might detect resonances with other aquatically minded works—Jürgen Müller’s Science of the Sea, Harold Budd’s liquid piano compositions, even the slow-moving melancholy of Dr. Roger Payne’s Songs of the Humpback Whale. But ultimately Projections of a Coral City creates the impression of a world unto itself—a hauntingly beautiful space at the meeting point between sorrow and hope.

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Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

Überkeine sets the tone of his own record label with four esoteric tracks, designed for the club. An obvious intention to establish a radical style with conceptualized sonorities, is revealed throughout the Ep. The sound materials are elaborate, and go straight to the point. Obsessing over the flow of creativity offered by his modular synthesizer, he delivers a very dense techno and already affirms a well-marked identity. Powerful and textured kicks, intricate synthetic sounds contained in an arrangement reduced to the essential. The tracks come to life as the forthright reflection of the thoughts of the producer. Guillotine Whistle instantly plunges into the unbridled world of the Ep. An ominous atmosphere hovers over our heads as it reveals organic and disconcerting tones. A gentle brutality emanates from this whistling guillotine that awaits to cut you up in two. Leading the way towards Drifting Data, a track inspired directly from Jungle Patterns. Überkeine is humbly trying to render DnB to a techno format. The dense, saturated Bassline sustains the idea of breaking the dancefloor in pieces. A hard hitting, broken beat environment accompanied by heavily filtered synthetic chaos. Third track’s the charm, the B side starts with Mirror Moist. A drop-down, wet and straightforward techno track with a carnal Bassline. As sensual as it gets, this track conveys a kinky loop urging intimacy and blasting heat throughout the club. Last but not least, Shaney’s remix of Mirror Moist. Picking up core elements of the original vibe and translating it into the off-beat techno nightmare it deserved to be. Full-on obscure dancefloor piece of equipment.