quête:underground track ma

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Released in the winter of 1995, Dah Shinin’ introduced Smif-N-Wessun as torchbearers of the gritty, sample-driven East Coast sound that defined a generation. Backed by Da Beatminerz’ haunting, jazz-laced production and supported by their Boot Camp Clik brethren, Tek and Steele delivered a debut that was as raw as it was revolutionary — capturing the essence of mid-90s Brooklyn.
Now, 30 years later, Dah Shinin’ returns in its most complete form. The 30th Anniversary Definitive Deluxe Edition brings together for the first time in one place, the full original album, two essential remixes "Wrekonize" and "Sound Bwoy Bureill" and rare material, including the long-unreleased “Nuttin’ Move But Da Money,” finally available officially after years on white label.
Pressed across three LPs and housed in a premium tri-fold jacket featuring original artwork, newly commissioned liner notes, period photography, and archival content, this expanded edition stands as a tribute to the album’s creation and legacy. From the underground anthem “Bucktown” to the crew showcase “Cession At Da Doghillee,” every track celebrates the timeless sound that made Dah Shinin’ a classic.

Following his ‘You Are the Music’ EP for Euphoric State, and the reissue of the underground classic ‘Voices’ by Jewellery, David Inglesfield returns with a second EP by PersistentRain – and the first release on his own label, Precipitation.

‘All Time Is One’ is a meditation on the passing – yet continuity – of time, whether across multiple decades, or just in the transition from one day to another.

Opening track ‘Farewell’ brings disparate voices and sounds from the past back to life in an intense, transcendent journey, all driven by a pulsating bassline.

‘The Night Is Done’ features a solid beat and lush array of synths, with the vocal by Bristolian Christine Hulbert the icing on the cake.

On ‘This Place (Displace)’, Inglesfield, a Londoner from birth, but recently moved to South Wales, turns to consider a corner of his beloved native city, where a once-legendary musical theatre was swept away, to become a makeshift car park in the 1960s, then the site of a brutalist block in the 1970s, now torn down yet again. ‘The first place we’re going to stop at … seems to be NOWHERE!’

‘I Remember’ closes the EP, with fragments of Fender Rhodes and strings fluttering like memories over a moody, minimal sub-bass and insistent kick.

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

Six track 12" collecting all the cuts of Wayne's first recording for Wackie's, from 1976. A classic of raw underground vibes from the Sounds Unlimited studio early days of Wackie's productions. This 12" contains: the original NY 45 vocal & dub cuts, the second mix of the vocal from the first 'Reggae Goodies' LP, the rare horns cut by Baba Leslie & Mark, the dub cut from the very rare 'Dub Unlimited' LP, a finally a previously unreleased raw rhythm drum & bass dubplate cut (NB: this last cut is taken from a 50 year old acetate and is appropriately crunchy!)

We are thrilled to announce that as we welcome the year 2026, we have the talented duo Horsemen joining us to kick off the year with four incredible house tracks. Their unique sound and creativity promise to make a significant impact, and we can't wait for you to experience their music.

Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality.

Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a rare balance of elegance and DIY ethics - it is truly an ode to life.

Punctuality presents its ninth release, Night Time, a potent four-tracker from Irish born, Berlin based producer New Members. Positioned on the spriitzzier end of the label’s canon, the record is a refined exercise in restraint, channeling classic, deep leaning house through a starry eyed, nocturnal lens.

The arrangements are unrushed and uncrowded, with each track built from a small selection of elements deployed for maximum impact. Evoking the deep cuts of early Balance and Global Underground mixes, the EP deftly weaves golden era progressive influences with neoteric production aesthetics. The result is polished, punctual tech house for late nights that stretch seamlessly into the morning light.

Title track Night Time carries a closing track sensibility: cute, catchy vocals glide over bubbling synths, blossoming pad washes, and jazzy chord stabs, recalling the finest Canadian Riviera house releases of the late 2010s: Total eyes closed on the dancefloor energy. Whisper In the Dark comes in trackier and toolier, with a rolling bassline resplendent with attitude and key changes, while trance and euro referencing stabs add a subtle touch of euphoria to the late night feel of the track.

Wishing Well maintains the afterhours feel with subtle atmospherics, gentle pads, and dubbed out acid wiggles, while chopped vocals and a pulsing low end push the groove forward. Hovering between genres, the result is a sleek, highly playable track for savvy selectors. The EP rounds off with Jealousy, a moodier affair with a dub techno feel that maintains the restraint New Members demonstrates throughout the release. Echoed whispers, delayed stabs, and a barely audible sub meld with delicate pad work and beguiling FX to striking effect. The piece as a whole is a luscious meditation on the hours after dark before light arrives.

As the EP suggests, this is once again not to be slept on. More A grade material from Punctuality HQ.

Francesco Skip's debut EP delivers a focused, club-ready sound that draws from contemporary UK club music while embracing the simplicity and raw energy of early 2000s techno and dubstep. Each track explores a different underground electronic direction and highlights include 'Ocean Explorer' with late-90s techno vibes and swingy dub stabs, 'Kronplatz', which is a dark, bouncy bass journey, 'Hondra B' a stripped-down jungle and drum & bass tool, and 'Wrong Glidez', a post-dubstep homage with 2-step drums. This great debut is also well mastered with bass depth and mid and high texture for loud deployment on peak-time systems.

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

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

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

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

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

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

Available now via selected record stores worldwide.

Dubøka Records – keeping the underground spinning since day one.

DBKAV003 – Daniel Meister – Euphoria EP

Out now. Play it loud.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

Parissior, moving between EBM, dark disco, indie dance and electronic music while blending analog and digital production.

The album brings together tracks that originally didn’t belong to previous EPs but eventually formed a coherent narrative exploring themes such as digital identity, illusion, authenticity and human imperfection.

From the sense of social pursuit in “The Chase”, to reflections on artificial validation in “True Connection” and “Smoke and Mirrors”, the record balances introspection with dancefloor energy.

The album also includes “Sintes Guarros” featuring Size M, and two additional digital-only tracks, expanding the project beyond the physical format.

Human Control ultimately works as a sonic map connecting machines, emotion and underground culture.

Matias Aguayo drops debut single on Rekids‘El Internet’ is a prelude to the Coméme founder’ upcoming album on the label. Chile’s Matias Aguayo debuts on Rekids with ‘El Internet’, the first single of his upcoming album on Radio Slave’s acclaimed label. Coméme co-founder Aguayo’s ‘El Internet’ is a dancefloor-tested, pumping and uptempo track with personal, intimate vocals phoning in.

“El Internet” tells about walking through the city in hot summer nights looking for the perfect dancefloor and about moments in life where you feel (musical) freedom and change, revolutions in music and dreams in community, about YouTube, MySpace, Fotolog and about people who dance in their houses, yards and on the streets to primitive, raw, and direct music (like the rhythm of the track itself).” - Matias Aguayo

Chilean-born musician and DJ Matias Aguayo has been active for three decades, co-founding the Cómeme label in 2009 and releasing work on the likes of Kompakt, Pschent, Hard Fist, and Permanent Vacation. Beyond music, he has organised underground parties and led social projects, including a theatre production at Le Châtelet in Paris.

Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Tal Fussman, Tiger Stripes, Harry Rimero, The Hacker, Sean Johnston, and many more.

For the first time, several tracks from Machomover's second album 'Bare, Deep & Long' from 2006 are being released on vinyl.
Originally released as a double CD, the album was considered groundbreaking for German deep house at the time. The first four tracks from this album selection are now being released on Flaneurecordings. The two Berlin DJs and producers Oliver Marquardt, alias DJ Jauche, and Björn Brando combine warm grooves with precise drums, atmospheric basslines, warm pads, strings and the unmistakable depth of their house sound. For music lovers who appreciate deep house with substance, this release clearly bridges the gap between the original underground character of the album and its timeless range. Anyone who wants to understand the origins of modern German deep house productions will find a tangible snapshot here, stylishly remastered and presented on a 12-inch that is definitely worth listening to.

Some tracks don’t age, they just wait for the right dancefloor to hit again.

Originally released in 1985, Main Attraction by Toronto-based duo Yoh-Yo is one of those high-energy sleepers that quietly tore through clubs while never fully crossing into the mainstream canon. Produced by maestro Allan Coelho (Tapps, Click) and driven by the instantly recognizable vocal of Carlos Borges, it’s a pure shot of mid-80s Hi-NRG euphoria. Tight, glossy, and unapologetically emotional.

Fast forward to now, and Vintage Pleasure Boutique digs deep into the archives of Boulevard Records to deliver the ultimate collector’s package, bringing together all six officially released versions from the original 1985–86 pressings across Europe, Canada and Mexico. But this isn’t just a reissue, it’s a full-spectrum reconstruction of a club weapon.

From the Original Version, still hitting with that raw, uplifting drive, to the Sandy St. Alban Version, adding a slightly different vocal flavor for the heads who know, each cut reveals another angle of this underground anthem. The Instrumental and Hi-NRG Dub Version strip things down into pure mixing tools: extended grooves, pulsating basslines and synth hooks that lock dancers into a trance. The Remix pushes things further into peak-time territory, while the real gem for DJs lands on the B-side: the long-sought Hot Tracks Extended Edit by Gregg Denewith — originally exclusive to the US market and finally resurfacing in proper, playable quality. A true secret weapon for selectors who like their sets with a touch of authentic 80s heat.

This release is a love letter to Hi-NRG, to analog excess, and to the global club network that kept these records alive long before algorithms caught up. For fans of neon-lit nostalgia, sweaty dancefloors and that unmistakable Italo-adjacent pulse. Main Attraction is exactly what the name promises. Pure energy. No compromise.

File under Boy Harsher Jae Matthews lends her unmistakable voice to a striking reinterpretation of Buzz Kull’s cult classic “Man On The Beat.” Built for midnight drives and neon-lit highways, Matthews’ version transforms the track into a dark, hypnotic pulse of tension and atmosphere, carried by her haunting, commanding vocal. Released as a special limited-edition 12" by Heartworm Press, the single reimagines the underground favorite with a colder, more cinematic edge.

On the B-side, Los Angeles duo Spike Hellis deliver an extended remix, stretching the track into a dancefloor-ready transmission of ecstatic synth and rhythm. Matthews is widely known as the vocalist of the dark electronic project Boy Harsher, but here she steps into a different light, channeling the nocturnal spirit of the original while making the song unmistakably her own.

,,Hologramm" is the new EP by Schwefelgelb.

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

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

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

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

Superonda’s debut release, Aurora Spectralis, introduces the latest project from Mahatmos, a duo emerging from long-established practices in electronic music, sound design and composition for moving images. Released on 12” vinyl and digitally, the EP unfolds across four tracks of electronic ambient music shaped by atmosphere, con1nuity and restrained propulsion. Ambient textures open a broad emotional and spa1al field, while slow, insistent rhythms provide steady forward motion.
Superonda has created a space for Mahatmos to sharpen their focus on sound as material. Modular synthesis, analogue instruments and live processes techniques are balanced with precision and restraint, resulting in music that moves between progressive and hypnotic forms, informed as much by underground club culture as by cinematic composition.
Mahatmos is a Rome-based duo with complementary and deep-rooted practices. Gianluca Meloni brings a long-standing presence in techno and experimental music scene, with international releases and performances (as Laertes and as part of Modern Heads). Maurizio Loffredo contributes an extensive background in composition, production and sound engineering across popular music and film, with a refined sensitivity to timbre, structure and sonic narrative.
Superonda is a Rome-based label founded by artists engaged in deep sonic research and advanced technical exploration. Operating as an open platform, it connects collaborators working across recording, synthesis and composition, approaching music as a process-driven practice rather than a fixed genre. Each release stands as a distinct exploration, linked by shared sensibilities rather than formal constraints.
The physical edition of Aurora Spectralis is conceived as an extension of the work itself. Alongside a standard black vinyl pressing, a limited run of color and marbled copies has been produced, each one unique. Variability and tactility are embraced as part of the object’s identity, reinforcing the record as something to be experienced gradually, over time.

Just when you thought you had heard it all.... Evil Grave were an exceptionally unique underground rock band from Malta that shook the islands with uncompromising attitude and dark imagery. In the early 1970s they ruled the Maltese scene and were voted best band in national polls. Heavily influenced by Black Sabbath and early progressive rock with a traditional Maltese flavour, Evil Grave never released any material during their existence. Several low budget demos were recorded at the time but, over the following years, the name Evil Grave simply vanished into obscurity. Until now! During a recent vacation to the islands, label owner Lee Dorrian became aware of the band and has spent the past three years tracking down as much information about them as he possibly could. With the blessing of original guitarist/songwriter John E Zammit Pace, we are excited to release this ungodly artefact upon the work for the very first time. Death From Malta, gathers together all known existing material from the band, the sound quality of which is decidedly lo-fi but, if anything, this only adds to the mysterious vibe of this simply enigmatic band.

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

2026 Repress

35th Anniversary Edition of Peacefrog - 2LP Smokey Vinyl

Born and raised in the birthplace of House Music, Paul Johnson was known for his raw, soulful, and infectious sound, that helped shape Chicago's house scene and inspired generations of DJs worldwide in particular he was a massive inspiration to Daft Punk and the 'French Touch' scene. Releasing a vast amount of music throughout the 1990s for some of the most consistently underground dance labels including legendary Chicago imprints Cajual, Relief and Dance Mania he finally gained global fame with his 1999 hit “Get Get Down,” a dancefloor anthem that topped charts across Europe. Despite facing physical challenges, including losing both legs in accidents, he remained an unstoppable force in music—touring, producing, and uplifting others with his resilient spirit and signature groove.
Originally released in 1996 Feel The Music was Paul's second album for Peacefrog Records. Containing some of the classiest house music to hail from the Windy City. Classics such A Little Suntin Suntin , Summer Heat and I Wonder Why will have you smiling while you’re jackin’ and the irresistible and infectious Hear The Music was fthe opening track for Daft Punks legendary Radio 1 Essential Mix.

Swedish producer Robert Leiner’s landmark 1994 album ‘Visions Of The Past’ finally gets a vinyl LP reissue on Apollo, the ‘ambient division’ of R&S Records. Long regarded as one of the pivotal ambient/electronic long players, the album has stood the test of time and serves as a reminder on how potent the early ambient techno releases were.

Leiner was a central figure in the early European techno and ambient landscape, carving out a distinctive sound that bridged atmospheric depth and rhythmic intensity. Known for his releases as The Source Experience and contributions to the R&S/Apollo catalogue, as a producer and engineer, Leiner’s work resonated across the underground, earning him a reputation for visionary, emotionally charged productions that stood apart from his contemporaries.

'Visions Of The Past’ captures this duality perfectly with expansive ambient passages that drift into hypnotic techno, while layers of intricate sound design and pulsating low end create a timeless and immersive listening experience. Tracks unfold with patience and precision, like the 12-minute-long marine epic ‘Aqua Viva’, balancing introspection with kinetic dance energy, and the new age ambience of ‘Dream Or Reality’ and ‘Northern Dark’ embodying the forward-thinking ethos that defined Apollo’s golden era.

Three decades on, this long out of print album finally returns on vinyl format, freshly remastered and restored, reaffirming its status as an essential document of electronic music’s evolution and Robert Leiner’s enduring influence.

‘Visions Of The Past’ by Robert Leiner is available on Apollo Records from 7th November 2025.

Jazzbois is a jazz-hiphop fusion trio from Budapest, Hungary. Their studio albums and live shows are all equally heavily rooted in improvisation and momentary self expression, each performance is absolutely unique and daring.
In the past 3 years Jazzbois has played SOLD OUT headline shows in: Melkweg Amsterdam NL, Jazz Café London UK, Village Underground London UK, Duc des Lombards Paris FR, La Hasard Ludique Paris FR, Gretchen Berlin DE, Knust Hamburg DE, Ekko Utrecht NL, Simplon Groningen NL x 2, Jassmine Warsaw PL x 2, AKvarium Budapest x 3
Played on festivals like: Montreal Jazz Festival CAN, Montreux Jazz Festival CH, SZIGET HU, X the Tracks London UK, Brick Lane Jazz festival UK, Jazz á Vienne FR, Istanbul Jazz Festival TR, Jazz Open Stuttgart DE, Blue Summer Festival PL, Jazz Around PL, Jazz in the Park RO, JAZZx RO…

In June 2025 Jazzbois performed at the Montreal Jazz Festival in Canada. The boys were approached by Rémi Hermoso to record a live session video in front of a small audience in Studio Fast Forward. The session was planned for 4 hours to have time to record with a small live audience, but Jazzbois went in and played 5 songs in only one take without any pause and were done with the material. They handled this recording session like all of them, do one take and be done with it. This way they can get the essence of the moment and not have to worry about making a mistake and starting over. All of these are part of the song, it's honest and raw as it was born right in the moment.

“We did all this for the passion of it, for the music and for the culture, thank you to old and new friends who took part in this intimate gettogether” - said Viktor Sági ‘Vanis’ bass player of Jazzbois.

UGHH – Underground Hyper Hero is the moniker of Vítězslav Špalek — composer, multi-instrumentalist, and singular sonic architect hailing from Karviná, a gritty coal-mining town in industrial Silesia, now living out his days under the sundrenched skies of southern Corfu. He improvises across synthesizer, trumpet, and voice, weaving musical collages from poetic texts spanning genres and movements. His collages carry an unsettling depth and pull you somewhere you didn't plan to go. They are distant lands beyond the water — where the trumpet cuts through space and time lurches forward in a sudden rush, only to nearly freeze and turn inward, listening to the echo of a far-off voice calling out from nowhere. A flock of birds drifts over a vast landscape while a powerful, repetitive beat pulses through all matter — living and dead alike. EP 49.923827, 14.221380 takes its name from the coordinates of its creation, and marks the first released material from the artist's yet-to-be-unveiled catalog. Three original tracks are joined by an eclectic postpunk remix from Berlin-based Menqui, an ethereal minimalist take from fellow Berliner Nadia D'Aló aka DALO, and local scene staple Mike.H — a devoted digger of obscure trance.

Fresh from releasing projects on Method 808 and Future Classic, landing a huge collaboration with Chloé Caillet, and delivering an official remix for Fatboy Slim, PPJ are entering a new chapter in full force. Their expansive take on global street sounds, ranging from neoperreo to Miami bass, gets a cool re-coating.

Led by the magnetic vocalist Páula, with production from Povoa (individually supported by Four Tet, Ben UFO, and Barry Can't Swim, with recent releases on Live From Earth), the duo operates in maximalist mode: playful, sensual, and slightly unhinged.PPJ’s new era, JOKER, embraces a figure that appears everywhere from card decks to carnival culture as a symbol that mirrors their own DNA: funny, eerie, seductive, unpredictable. The EP leans further into club territory, but rather than polishing their edges, PPJ amplify them.

At the emotional core of the record sits “Coeur,” co-produced with Chloé Caillet. It begins with an MPB-tinged foundation flirting with bossa nova. It’s unmistakably Brazilian, bathed in sunset hues before being sped up and twisted into a dance-floor-ready electronic form. The groove shimmers with tension: warm percussion, elastic basslines, and Páula’s voice hovering between intimacy and tease. It feels like a remix of itself, romantic, but slightly untrustworthy.

If “Coeur” glows, “To Nem Ai” is a slow burner. A very deep and downtempo house cut, it unfolds slowly, almost luxuriously, guided by sensual vocals that feel whispered directly into the ear of the listener. A hypnotizing piano sample that feels like a late-night confession. It’s the kind of record that transforms a dancefloor into something tactile.

Elsewhere, “Me Pega” is a high-energy reinterpretation of the tech-house sounds from Santa Catarina, one of southern Brazil’s most feverish party states, twisted and accelerated for ferocious impact. Drawing direct inspiration from Sarro, a raw and vibrant Brazilian street dance, the track captures physical intensity in its purest form: sweat, bass pressure, collective release.

Its counterpart, “Tem Carnaval” channels Páula’s vivid storytelling into a thunderous ode to Rio’s carnival spirit, euphoric, chaotic, cinematic landed just in time for this year’s celebrations.

On “Sexy Doce,” rugged electroclash melodies collide with unexpected references. “It was inspired by Budots, which is dance music from the streets in the Philippines,” Povoa explains. “Then we mixed it with Páula’s Brazilian vocals. Baile funk is similarly from the streets, so there is a connection.” The result is raw yet futuristic, a cross-continental flirtation that feels both underground and explosive.

With this new EP, PPJ make music like they’re tuning into a dozen pirate frequencies at once. Pirate radio from Rio to Berlin to Manila intercepting fragments of street culture, sensuality, and chaos, and stitching them into something deliriously cohesive.
JOKER doesn’t just nod to club culture. It challenges it, twists expectation and leaves a lasting impression.

Skull Snaps 1973 album on GSF is iconic because of the huge number of times tracks on it have been sampled by the Hip-Hop community.

The album, produced by genius George Kerr, and featuring the talented Ervan Walters and Sam Culley, was released with a flourish and in a classic gatefold sleeve but GSF floundered and the album flopped. It’s discovery by Rap music makers has been well documented but before that happened it was discovered by UK Soul detectives in the 70s.

As the Northern Soul scene shapeshifted on from 60’s Motown sound alikes into contemporary black music a whole new music rosta took over the dancefloors. And just as Gil Scott-Heron and Brian Jackson’s “The Bottle” got its debut British spins in the North, so did a whole slew of other acts - includung the Skull Snaps.

“My Hang Up Is You” became a single from the album and an underground anthem. One venue that became synonymous with the track was the Ritz in Manchester where the legendary Soul and Jazz -Funk All-Dayers helped shape UK dance music culture. Paul Mooney has created two 2026 remixes - one vocal and one instrumental - that pay homage to that 1970s golden era when Soul and Disco gelled into an unstoppable force. Fittingly both remixes have been dedicated to those Ritz All-Dayers.

Total audio ruckus, a rush of Blu:sh returns to Step Ball Chain. Dopamine Riot is a sick, sexy six track EP designed to tap into the crucial neurotransmitter in the brain; releasing chemical delights that drip from head to toe with this signature steeze. Prepare to go undercover, underground and for layers to unfold with each new listen. Edging a dark, rough and ready atmosphere that is always pulled back to a central groove, Blu:sh remains flirtatious and free – don’t take it so seriously! Bass for days, drums that will make your neck snap (complimentary) and your presence requested2riot on a dancefloor ASAP.

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

Más de este género

Unreleased tracks not available until release date.

Trick Dice is the 2015 collaborative album from Richmond, Virginia rapper Nickelus F and producer Shawn Kemp AKA Lil Ugly Mane, widely regarded as one of the most enduring and understated releases of its era. The album captured a specific moment in underground hip-hop—unpolished, regional, and uncompromising—earning long-term respect from listeners, artists, and tastemakers alike. Over the last decade, Trick Dice has continued to circulate through word of mouth, remaining a reference point for fans of stripped-down, writer-focused rap.

This 10-year anniversary reissue presents Trick Dice in its most complete form to date. The standard edition is expanded into a double LP vinyl release and includes eight previously unreleased tracks recorded during the original sessions. The project has been newly prepared for vinyl to ensure fidelity and balance across the expanded track list.

- Nickelus F is a respected underground hip-hop artist with a decade-plus catalog and long-term credibility among tastemakers and peers

- Trick Dice is a collaborative album with producer Shawn Kemp AKA Lil Ugly Mane, marking a milestone project. It is a cult-favorite release with sustained organic demand.

- Expanded 2×LP vinyl edition including 8 previously unreleased tracks from the original recording era

- Bonus tracks curated and finalized specifically for this reissue

- Strong appeal to collectors and underground hip-hop audiences

MUSICA SOLIDA Vol. 3 finally touches down.

Flexi is wrapping up their 40th-anniversary celebration with a bang, and trust me, the wait was worth it. This VA 12” is a heavy-duty blend of family ties and international heat.

The Breakdown

* Gratts: The Adelaide-based crate-digger returns to Flexi with "Ghost Swell." It’s a deep, atmospheric builder that keeps the soul intact.

* Slowaxx & Ai Lati: Pure "rollin" energy. This Tuscan duo delivers a rhythmic, four-handed organic groove that’s been the secret sauce in the Italian underground.

* Melchior Sultana: The Maltese Deep House maestro brings the sub-heavy vibes. Total class, total depth.

* Robotalco: Fresh off his LP, he drops an Acid House banger. This 303-laced heater is strictly for the warehouse heads.

* DJ Soch: the "Italian Stallion" puts his classic old-school vein aside and reveals a darker, more minimal side: sharp drums, soulful vocal touches, and an essential, hypnotic groove shape a timeless track.

Forty years of curation distilled into one essential plate. It’s raw, it’s solid, and it’s built for the crates. Don’t sleep.

SMIILE RECORDS launches its new vinyl-focused sub-imprint SMIILEWAX with a three-track EP from Jen Cardini, released March 27th, 2026. Marking Cardini’s first solo project since the 90s, ‘petit monstre’ delivers percussive, club-ready cuts built for modern dance floors. The EP moves from stripped, rhythm-led groove to raw acid pressure and a drum-focused homage to the New York underground. A bold, floor-tested statement from one of dance music’s most quietly influential selectors and curators.

Losh is a series of parties held at the magical Chapala lake in Ajijic and Guadalajara, Mexico, aimed at preserving the essence of underground sound and its culture. The event has hosted performances by artists such as Satoshi Tomiie, Shonky, Priku, Arapu, Markus Nikolai and more. Now, Losh is exploring new horizons with the launch of its own vinyl label. The music for this second release features tracks by Tomodachi Club owner and Real Gang founder Miller, Head Honcho of Vatos Locos Héctor, Perlon legend Dandy Jack and one of Losh Team member James Both.

Originally from Florence, Italy, Elio made an impression in the Seattle underground through his deejaying at DAZED parties alongside his evolution as a producer. On his first vinyl EP, two original productions channel an early 2000s melodic minimalism with a touch for evocative composition paired with memorable grooves. A remix of each completes the record.

The title track “Still Love” opens the EP with a series of contemplative notes. As the bass stirs, the track expands, adding energy alongside the breakbeat. The synth unfurls in a melodic crescendo before pads add emotive accents.

Kurilo steps into the lab to reconstruct “Still Love” into an afterhours potion. The Ukrainian producer showcases the psychedelic and sumptuous grooves that established him as one of the finest purveyors of hypnotic tech house at Trance Pandemic. The influence of cinematic acid house washes over the driving groove.

“Vegas Jam” opens side-b and again emphasizes Elio's sense for musical composition and progression. Adding swing and jazz techniques to the synth melody, variations of the piano hook improvise blissfully above the rolling bass.

A warm yet powerful kick sets the tone for the final track of the EP. China's electro and techno wiz B.AI remixes “Vegas Jam” into a mind melting sensory stimulus. The remix gathers intensity and drive, an irresistible late night brain worm.

2026 RSD Release - GREEN Vinyl

Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!

An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.

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Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.

Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.

Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.

One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.

Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.

Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.

In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.

Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.

Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.

Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.

As one of the foundational artists of Flipsight, it is only fitting that ColorJaxx gives the first major 2 x 12" gatefold statement on the label. The debut album 'In Between' of the Belgian producer gives a full overview of his trademark deep grooves with a re-invention of his club sound.

The first record is your invitation to the beach. The A-side kicks off with the ambient "Playamer", setting a scene of salt air and warm breeze. The shoreline waves combine with an electric piano groove to "Out The Door". This is where a slick trumpet gets the parole and cuts through the atmosphere, signalling to the dancefloor. "Never Enough" serves as a spiritual successor of his first EP on the label "Tales of never": shimmering guitar samples, a warm, everlasting groove, and that unmistakable "ColorJaxx" swing that we fell in love with initially.

The B-side is where Jordy catches the first hints of Spring with "Just Around" by blending uplifting trumpets and sax melodies with a fresh forward-moving baseline. "Higher" elevates the mood further with smooth rhodes keys and a jazzy piano lead. As the evening chill sets in, the first disc concludes with the literal end of the day: "The Beach Is Closed".

Time to grab the second wax out of your gatefold: leave the sand behind for the strobe light as this is where the maestro gets in club mode. "Back Then" serves as the bridge into "Discotheques," a heavy-hitting wink to the old-school Belgian club scene that shaped the underground of the early 2000's. This vibe created "Moving On," a sophisticated French-like house tune with Chris Farmer where the vocalist enters into a constant conversation with rhythmic elements, creating a versatile track that fits in any part of a DJ set.

The finale is reserved for heavy hitters: "This This" and "Disco Trouble" are pure, pumpy club rollers. Peak-time bangers designed for maximum impact, before the album dissolves into the hazy, cinematic outro of "Blurred Lines."

**Vinyl Only**

For their first step into the wax game, Genau Experience land with a strictly vinyl statement straight out of Udine. (Italy)Active since 2018, Genau Exp. have been quietly cultivating parties and pushing underground culture in their corner of the map. Now it translates into grooves. No rush, no noise: just the right moment to press this record.

Leading the charge is resident and long-time digger Stefano Conte. A vinyl collector with a deep-rooted connection to house, techno and electro, Stefano’s sound carries echoes of the ‘80s, ‘90s and early 2000s | raw drum work, hypnotic sequences, stripped tension and subtlemachine funk. These four original cuts, written between 2025 and 2026, feel focused and functional. Club-minded but not obvious. Built for heads who listen.

On remix duties, taking the reins on The Landing, we find Shkedul – selector and producer who hardly needs an introduction. He draws us deeper into his signature style: decisive basslines, dark rhythms, and evolving sound design that flows and morphs across the full length of the track.

A versatile weapon with enough character to work across different floors and moods.

"What if, alongside the mainstream history of music, with careers and discographies spanning ten or fifty years from album to album, there was an underground, minority history, that of artists and projects with only one record? A flash, a burst of brilliance, a gem, but no follow-up, no repetitions, no decline.
"This will most likely be the case for this album by Amarante-Cerisier, a duo formed by Mauricio Amarante (RadikalSatan, Équipage, travelling companion of Canan Domurcakli and Austin Townsend) and Marine Debilly Cerisier (dancer, performer, writer, co-founder of alternative cultural venues in Marseille and Brussels), with these eight poetic songs in French having more in common with the visionary essence of certain songs from the early 1970s (Brigitte Fontaine-Areski, for example) than with the post-modernism of the ‘nouvelle chanson française’ of the1990s and 2000s.
"But – and this is undoubtedly no coincidence – this is also the case for two unique albums, which had no immediate follow-ups but which, 50 and 20 years after their release, inspired Mauricio and Marine's album and discreetly found their way into it:
"At the very end of the 1960s, Tchékov Minosa (Marine's grandfather) embarked on a journey to the East with his partner Brigitte de Saint-Preux, during which they were married ten times, in ten different traditions (in Kurdistan, among the Kuchi people of northern Afghanistan, among the Kalash people of north-eastern Pakistan, in Rajasthan,etc.). This three-year journey was documented in numerous articles in the European press, in documentaries, in a book... and on a double LP of traditional music recordings released in 1973 by Le Chant du Monde. And sampled today by Mauricio Amarante at the end of the track ‘Parfois’.
"In the early 2000s, Austin Townsend, a tall, bony figure, washed up on the banks of the Garonne River near Bordeaux, arriving from New Zealand. With a voice that was sometimes very Bob Dylan-esque, at other times buried in the gravelly depths of the low frequencies, he strung together contemporary blues songs on his only album, Introvenus (Potagers natures, 2007), beautifully accompanied in subtle tones on banjo and double bass by Mauricio and Cesar Amarante (alias Radikal Satan). Beyond this unique record, Mauricio played extensively with Austin in concert. And when his friend died in the spring of 2024, he received his guitar, used the instrument for some of the tracks on the upcoming Okraïna record, and decided to dedicate the album to him.
"In our conception of music, fleeting appearances, unexpected reunions, and timeless records outside the dictates of current musical trends thrill us more than overly well-planned career paths."