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This is the reissue of original 1993 Rephlex double vinyl album, completely remastered from DATs by Beau Thomas, with the original artwork, and photography by Richard James. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.













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Shapes of the Roots is a two piece project by D_Roots. On Part 2 D_Roots shows the deeper side of his production skills with 4 beautiful, driving detroit electro/techno tracks, Bliss!!!

Celebrate the SpongeBob SquarePants Movie with the iconic movie soundtrack. Dive into the Bikini Bottom with tracks like "Goofy Goober Rock" and "Ocean Man," and songs from Wilco, Ween, and Avril Lavigne transporting you to the whimsical world under the sea. This soundtrack is a must-have addition to any music collection. On Yellow Vinyl

Strong Techno & Electro compilation feat. DJ SCSI, Bohm, Wildplanet and D-UFO. Electronic Civilisation part. 1 is represented from the cities of Detroit, Utrecht, Stockholm and Barcelona. Transmission Out..

Canadian Artist Marivs joins Fachwerk Records with some fresh 90 's-rooted techno tracks. Comes with a Mike Dehnert Remix.

Following up 2007s well received X-dub was the Phalaenopsis 12inch that came out later that year. A track selection that came from the same hyped mysterious MySpace track folder, but now transmitted through Frustrated Funks subsidiary, the now defunct Frantic Flowers imprint that was emerging through the early Clone channels. Signing there, without the staffs knowledge of the producers identity, further muddied the waters. Exploring a more housy dub-techno vibe and diving deeper into experimental dub territory. And with it deploying an even bigger smokescreen around Ovatows real identity. Both Phalaenopsis versions re-appear now, for the first time after almost 20 years, fully retouched and remastered, together with an unknown unreleased track (edit) called So It Goes. This is the second in a series of Ovatow work, revived for the heads that appreciate the foggy deep of the Undacurrnt.

Möge es den Menschen im bekannten Universum gefallen, dass das musikalische Ensemble mit zahlreichen Namen, das rechtlich unter dem Namen ,Kay-Bee Funk Music Group" firmiert, sein - alphabetisch gesehen - erstes Album mit dem Titel ,Access All Areas" veröffentlicht. Diese Aufnahmen, die mit der von Karate Boogaloo patentierten ,Lovely Recording Technique" entstanden sind, machen deutlich, dass jeder ein VIP ist, wenn man KB hört. ,Access" war das einzige Wort, das The Old Kar-Boo's bei diesem Projekt philosophisch leitete. Wurde ein Stück zu verworren, landete es im Papierkorb. Nur diejenigen, die von jedem und allen gesummt werden konnten, blieben erhalten. Dieses Sieb kam während des gesamten Prozesses zum Einsatz; Arrangements und Formen wurden straff gehalten, Schnickschnack auf ein Minimum reduziert. War ,Hold Your Horses" aus dem Jahr 2024 noch ein Epos, so ist ,Access All Areas" ein Haiku. Der bewährte Aufnahmeprozess der Band wurde gewissenhaft eingehalten, abgesehen von einer wunderbaren Ergänzung: den großartigen ,Sound Recordings" unter der Leitung ihres Inhabers und außergewöhnlichen Toningenieurs Alex Bennet. Alex, der den 4-Spur-Ampex 440 bei Bedarf abseits der ausgetretenen Pfade steuerte und stets dafür sorgte, dass die Stimmung stimmte, ist ein waschechter Booger. Auch wenn es sich nur wie ein Augenblick anfühlt, sagt uns die Uhr, dass fast 20 Jahre vergangen sind, seit Kay's Bees zum ersten Mal versuchten, die Songs ihrer musikalischen Helden - The Meters, Booker T & The MG's und The JB's, um nur einige zu nennen - zu spielen. Seitdem haben die Famous Flying Karate Boogaloo Brothers einen Schritt nach dem anderen gemacht und ihren eigenen Sound entwickelt - einen, der die Geschichte der instrumentalen Funk- und Soul-Musik respektvoll würdigt und die Zeit widerspiegelt, die sie damit verbracht haben, ihren unverwechselbaren Sound zu entwickeln. So sehr jedes Mitglied auch für sich allein glänzt, ist es doch ein besonderes Ereignis, wenn alle vier Planeten im Booger-System in einer Linie stehen. ,Access All Areas" ist eine solche Finsternis - ein künstlerischer Ausdruck, an dem jedes Mitglied gleichermaßen beteiligt ist und der einen Schatten wirft, der einzigartig für diesen Anlass ist. Jede Sekunde der Musik wurde unter voller Beteiligung aller Mitglieder komponiert und produziert; das Mixing übernahm Henry Jenkins, das Artwork stammte von Hudson Whitlock und Callum Riley, und Darvid Thor vollbrachte Dinge, die man gesehen haben muss, um sie zu glauben. Musik ist ein Mannschaftssport, und es gibt kein ,Ich" im Funk. Das Album erscheint bei den beiden großartigsten Plattenlabels der Galaxie: ,Colemine Records" aus Loveland, USA, und ,College of Knowledge" aus Coburg, Australien. Hören Sie sich bitte das neue Album ,Access All Areas" von Karate Boogaloo an.

Möge es den Menschen im bekannten Universum gefallen, dass das musikalische Ensemble mit zahlreichen Namen, das rechtlich unter dem Namen ,Kay-Bee Funk Music Group" firmiert, sein - alphabetisch gesehen - erstes Album mit dem Titel ,Access All Areas" veröffentlicht. Diese Aufnahmen, die mit der von Karate Boogaloo patentierten ,Lovely Recording Technique" entstanden sind, machen deutlich, dass jeder ein VIP ist, wenn man KB hört. ,Access" war das einzige Wort, das The Old Kar-Boo's bei diesem Projekt philosophisch leitete. Wurde ein Stück zu verworren, landete es im Papierkorb. Nur diejenigen, die von jedem und allen gesummt werden konnten, blieben erhalten. Dieses Sieb kam während des gesamten Prozesses zum Einsatz; Arrangements und Formen wurden straff gehalten, Schnickschnack auf ein Minimum reduziert. War ,Hold Your Horses" aus dem Jahr 2024 noch ein Epos, so ist ,Access All Areas" ein Haiku. Der bewährte Aufnahmeprozess der Band wurde gewissenhaft eingehalten, abgesehen von einer wunderbaren Ergänzung: den großartigen ,Sound Recordings" unter der Leitung ihres Inhabers und außergewöhnlichen Toningenieurs Alex Bennet. Alex, der den 4-Spur-Ampex 440 bei Bedarf abseits der ausgetretenen Pfade steuerte und stets dafür sorgte, dass die Stimmung stimmte, ist ein waschechter Booger. Auch wenn es sich nur wie ein Augenblick anfühlt, sagt uns die Uhr, dass fast 20 Jahre vergangen sind, seit Kay's Bees zum ersten Mal versuchten, die Songs ihrer musikalischen Helden - The Meters, Booker T & The MG's und The JB's, um nur einige zu nennen - zu spielen. Seitdem haben die Famous Flying Karate Boogaloo Brothers einen Schritt nach dem anderen gemacht und ihren eigenen Sound entwickelt - einen, der die Geschichte der instrumentalen Funk- und Soul-Musik respektvoll würdigt und die Zeit widerspiegelt, die sie damit verbracht haben, ihren unverwechselbaren Sound zu entwickeln. So sehr jedes Mitglied auch für sich allein glänzt, ist es doch ein besonderes Ereignis, wenn alle vier Planeten im Booger-System in einer Linie stehen. ,Access All Areas" ist eine solche Finsternis - ein künstlerischer Ausdruck, an dem jedes Mitglied gleichermaßen beteiligt ist und der einen Schatten wirft, der einzigartig für diesen Anlass ist. Jede Sekunde der Musik wurde unter voller Beteiligung aller Mitglieder komponiert und produziert; das Mixing übernahm Henry Jenkins, das Artwork stammte von Hudson Whitlock und Callum Riley, und Darvid Thor vollbrachte Dinge, die man gesehen haben muss, um sie zu glauben. Musik ist ein Mannschaftssport, und es gibt kein ,Ich" im Funk. Das Album erscheint bei den beiden großartigsten Plattenlabels der Galaxie: ,Colemine Records" aus Loveland, USA, und ,College of Knowledge" aus Coburg, Australien. Hören Sie sich bitte das neue Album ,Access All Areas" von Karate Boogaloo an.

Third time's the charm! MSP03 incoming... Another floor-friendly 4/4 two-tracker winking at the early 90's Italian progressive house golden era. Groovy bass-lines, tribal influences and hypnotic atmospheres...again hitting the sweet spot between house and techno. if you liked MSP02 than 03 is definitely a treat!

The third release on Sapore Italiano dives into the hypnotic and untamable power of fire.

At the heart of the release is Fuoco, a contemporary reinterpretation of Lino Rufo’s composition, reworked by Devozioni into a warm and emotionally driven club anthem.

On remix duties, a carefully selected cast pushes the record into deeper club territory, blending Italo disco, tech house and cosmic grooves with modern production aesthetics. The result is a versatile EP that moves effortlessly between peak-time moments, sunrise sets and leftfield dancefloors.

Essential for fans of: Italo, Cosmic, Indie Dance, Modern Disco and underground house music.

Over the last two decades, Ste Roberts has quietly established himself as one of the UK's more distinctive underground electronic producers. Drawing equally from house, techno, electro, IDM and experimental electronic music, his productions blur the line between dancefloor functionality and sonic exploration. His debut release for Cyphon Recordings continues that trajectory. Four transmissions exploring machine rhythms, synthetic environments, and fractured dancefloor architecture, where melody emerges through corrosion and groove survives mutation.

Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.

From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way

Composer and multi-instrumentalist Koen Holtkamp has spent more than two decades shaping a body of work at the intersection of ambient, experimental, and electroacoustic music. Known for his role in the influential duo Mountains, as well as a solo catalog defined by texture and spatial awareness, Holtkamp has long explored how sound interacts with environment and perception. With Nightlife, he enters a new phase of that inquiry, one shaped as much by physical relocation as artistic evolution.

After leaving Brooklyn for the relatively rural setting of New York’s Hudson Valley, Holtkamp found himself immersed in nature and embracing a slower way of life, a shift that directly informed the album’s creation. Rather than rushing into a new project, he allowed the space itself to guide him, focusing on experimentation and play instead of a fixed outcome. Over time, a new instrument emerged from his modular system, built around physical modeling techniques that emulate plucked string sounds. Drawing on a deep affinity for acoustic traditions, from guitar soli to the kora and other chordophones, he began translating those influences into an electronic language, creating music that feels tangible, effusive, and even intimate, despite its synthetic nature. As the pieces took shape, Holtkamp expanded the project into a kind of imagined ensemble. Composed with specific collaborators in mind, the album features extensive contributions from drummer Greg Fox and saxophonist and flutist Matt Bauder, whose performances subtly reshape the material and draw it toward more fluid, song-like forms, alongside a guest appearance from Ben Vida on synth bass. Yet even as Nightlife occasionally resembles a band in motion, its construction resists traditional cohesion. Acoustic and electronic sources coexist to create a hyper-dimensional sense of space, with each element deliberately placed in its own distinct environment, yielding a complex yet inviting setting that feels both otherworldly and completely natural.

Much of the album was created during late-night sessions, which became a kind of personal ritual and ultimately inspired its title. Nightlife unfolds as a series of finely detailed environments, where stillness, texture, and subtle interplay take precedence over momentum. Each piece invites close listening while remaining open and unforced, reflecting both a change in pace and a deepening of focus. The result extends Holtkamp’s ongoing interest in how sound can shape, and be shaped by, the spaces we inhabit.

To close out the year, Life In Patterns presents Spektrum II, the second installment in the compilation series curated by Ferdinger. This 16-track VA, scheduled to release in early December 2024, comes as a double vinyl with four digital bonus tracks and download codes.

Spektrum II ventures into the depths of dynamic techno, combining driving beats with intricate, groove-rich patterns. The compilation seamlessly shifts from deep, dubby tones to bright, euphoric moments, embodying the labels signature sound. Its a bold exploration of diverse sonic textures, blending harmonic and dissonant elements for an immersive listening experience.

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut.

The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself.

Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002.

The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear.

The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music.

PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace.

Institut für Feinmotorik (*1997), artist-group originating from Black Forest working in various fields. In musical context known for transforming turntables into instruments by removing the records and instead applying rubber bands, paper scraps, household materials – resulting in a vivid laboratory for the productive misuse of everyday objects. This approach is documented in record releases and performed live.

On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.

Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.

It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."

This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.

On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.

Two is the second album by British electronic group Utah Saints, and was released in 2000. It's the result of a eight-year layoff that was this close to retirement (in techno terms). In 1992, Utah Saints' self-titled debut was one of the year's most exciting dance releases. Jez Willis and Tim Garbutt's anthems boomed out with the exuberance of copyright liberation, but their unreleased second album was permanently bricked up by record label ffrr for copyright violation.

But in 2000 they finally got to release this beauty! Two features guest apparances by Michael Stipe (R.E.M.), Chuck D (Public Enemy) and Edwin Starr. On Two, you can hear samples ranging from Metallica, Average White Band, The Pretenders, The Stooges and Joyce Sims, so you can only imagine which samples were used on that unreleased album!

Two is available as a limited numbered edition of 1000 copies on clear/turquoise marble vinyl, and is packaged in a gatefold sleeve.

2026 Repress

Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.


The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.

MFN Recordings presents the label’s debut release in the form of a special double-vinyl retrospective from one of the more singular and under-appreciated characters to emerge from the late 90’s West Coast house scene: Rithma.

Rithma’s music never sat comfortably in one box. House, techno, funk, breaks, psychedelia, and jazz-informed musicianship all found their way into his productions, often with a mischievous, wonky, and slightly surreal edge. This retrospective goes way back, bringing together ten sought-after tracks from the formative years between 1998 and 2010, all lovingly remastered by Martin Iveson aka Atjazz. Initially appearing on small, influential, and now defunct labels, the tracks here have since become increasingly difficult to find on their original vinyl pressings.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic.

Lead single and album opener “Low Times” sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of “After All”, the haunting ambience and buried heartbeat throb of “Soft Collapse”, and the noirish atmospherics of “Blackout Dust”, which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on “Bombed Suburbs”, where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove.

Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track “Almost a Structure”, obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. Following Fiedler’s recent work scoring Sound of Falling, recognised at Cannes in 2025, Oblique finds Ghost Dubs shedding his influences and making it clear he has arrived at a sound entirely his own — essential deep listening and a bewitching dose of future shock.

Emerging from the dark depths of Berlin, Scorn is a new mystic independent label dedicated to those seeking what lies beyond what the eye can see.

Launching with SCORN01 - marking both the label’s first release and the vinyl solo debut of a.sl.

Bridging experimental sound design with abstract dance music, the EP delivers highly textured tracks that balance deep minimal techno, abstract breaks, and occasional glitch. Built as a versatile DJ tool, it is strictly tailored for dark room situations and heavy sound systems.

LIMITED PRESS ACT FAST

Ever-evolving Amsterdam duo ANOTR continue their forward momentum with the release of their highly anticipated third studio album, ‘Withness’, out via their own imprint No Art. Rooted firmly in dance music, ‘Withness’ sees the pair refine their sound into their most dance-floor focused and cohesive project to date.

Born during their global tour, ‘Withness’ was shaped in real time: written, tested and refined on dancefloors across the world. Following the expansive, genre-blurring approach of their 2025 LP ‘On A Trip’, the duo felt a pull back toward the club - not as a limitation, but as a unifying space. “We really wanted to have a wide variety of songs that we can play out and create moments,” they explain. “Every track needed to make sense wherever people come together to dance.”

That intention sits at the heart of ‘Withness’. A title that reimagines the idea of “witnessing” into something more active and collective. ‘Withness’ is an album about experiencing life with others. It’s about the moments you share, the people who shape them, and the energy that becomes real only when you’re fully present. The album captures the collective high of friendship. Whether in a packed club, at a festival, or in a living room with friends, the album is designed to soundtrack moments of connection.

“The memories you make with people, they’re the witness of those moments. Withness is about being in it together.” - ANOTR

Sonically, the album marks a clear evolution. Drawing from their early club roots while building on the songwriting confidence developed on their previous records, classic drum machines and 909 samples sit alongside warm, 80s-tinged textures, layered vocals and modern production techniques, creating a sound that feels both nostalgic and forward-thinking.

A key part of the process was spontaneity. The duo embraced a free-flowing, collaborative studio environment, often working with a rotating cast of contributors. Their now-signature “open mic” approach encouraged anyone in the room to experiment with melodies, lyrics and vocal ideas. This energy translates directly into the album’s standout moments. From the euphoric pull of ‘Withness’ to the groove-led ‘Do It With Ya’, the uplifting ‘Paradise’, each track is built to live beyond a single setting.

The LP comes at a timely moment, as their single ‘Talk To You ft. 54 Ultra’ has become the biggest global breakout dance single this year. Sitting firmly in Spotify’s Global Top 200, it has surpassed 175 million streams, and is currently No. 21 in the UK Singles Chart. Spotify have tipped it in their much-coveted global ‘Sound Of The Summer 2026’ list and other highlights include peaking at No. 7 in Shazam’s Global Chart, No.1 on Beatport Top 100 and gaining over 600M UGC views so far.

repress 2026

not many artists are able to develop a distinct sonic identity releasing just 5 solo records. through his selective output in the course of 5 years on nina kraviz's Trip, vladimir dubyshkin gained not only an army of loyal fans analysing his live sets for new music, he also inspired many who followed and continued to develop his unique sound.

his tracks, many of which became underground hits like "lady of the night", "ticket to childhood" or "russian porn magazine", always stand out and are immediately recognisable. be it weird syncopated euro dance reminiscent bangers with crazy vocal snaps or haunting hypnotic beauties on a techno side. his music always has that genius dubyshkin groove, a pinch of irony and the ability to make just anyone dance, from a small underground club to a huge festival dancefloor. this universal appeal ensures his tracks resonate across sound systems of all sizes, embedding themselves in the listener's consciousness long after the music stops.

on "ivanovo night luxe", his first double ep on Trip, vladimir sounds as amazingly unhinged as ever embarking on a surreal journey, from the eerie echoes of a haunted funfair ride to the core of a peak-time set.

"ivanovo night luxe" continues to captivate and intrigue, solidifying dubyshkin's standing as an artist of unwavering integrity and reminding us that sometimes 'less is more'.

“Paradigm of Tomorrow” is the representation (or sound) of concepts related to an innovative future and the radical changes brought about by technology in society that is, a way of thinking that redefines the present and opens up new possibilities. Published by Biometric-Audio (DE) Mastered by Paul Mac (UK) Lacquer cutting by Simon Exchange (UK) Release Management: Daniele Angelo (IT) Distribution: Triple Vision (NL) Artwork: Yuki Raw (DZ) A3 – She Spoke in a Detached Way Voice recorded by Hamza (Zahham) in Algiers (DZ) Mixed by Basic in collaboration with Punchlines Room (IT) Recorded at Neoromatik Studio (DE)

Axis Expressionist Series

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works. Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listeners, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life".Soundtracks for people in their evolutionary process.

This release 'Drifter' is about 'Hype'.



Hype

An animal that prowls on the vulnerable - it excites those who might be looking the other way or with their eyes and minds wide shut.

What is life without hype?

As a transitional tool, hype can be most effective especially when impulse reactions are at play. Something of a psychological currency, there is a lot to gain by giving people what they want - the rush that comes with taking part in a process of making something bigger, more successful and more preferred. Even if there is nothing there.

What's wrong with getting exciting about something?

There are only a few rare masterclass cases that have lasted a lifetime.

As Andy Warhol proclaimed that "everyone will be World famous for 15 minutes" rings darkly true in an era when each one of us can be the talent scout, artist, critic, audience.......and then a revisionist, hoping to bring hype back again by reminding people how great the first round felt.

We are all free to use our attention and time anyway we please. This is the freedom we have, right?

In most cases, we wake up and at some point, the question of justification becomes a debate between those who found unconditional solace and those who re-discovered the subject of substance and "kicked the tires".

Should I care if others like or dislike something?

For some, the hype of something never ends. It hardens and becomes part of a foundation like a cement podium. Something to be stood on to speak over all dissenting voices.

After a 4 year break, Travel Light Records returns with a four track EP titled "This Is A New Life" by Madezh. Blending house, techno and minimal elements, this release delivers a colorful sound driven by lush synths, heavy basslines and vocal elements.

Following the instant success and subsequent repress of its inaugural release, Stones Taro’s self-release experiment "Foglore" returns with its second installment, further expanding the captivating universe built in Part 1. Rooted in the same core concept—a seamless blend of dubby, fog-laden sound design and a timeless aura reminiscent of ancient folklore—this four-track EP solidifies the very definition of "Foglore." On the A-side, "Weather Wheel" sets an energetic tone as masterfully mixed, chopped breakbeats seamlessly dissolve into hazy, atmospheric pad sounds. It is followed by "Moss Pulse," a track whose precise sound design acts as a natural hub bridging the worlds of Dub Techno and Dubstep. On the flip, "Whorls Of Smoke" delivers a fresh, hypnotic dance cut driven by an intricate interplay between a half-step groove and tam strikes. Closing the EP, "Acid Fog Ritual" combines sticky acid basslines with a deliberate, low-tempo beat to generate a deeply immersive psychdelia. Expanding on its predecessor while boldly redefining its own boundaries, Foglore#2 stands as a brilliant testament to Stones Taro’s evolving sonic vision.

200 Copies Limited Edition - The newest Suture is a true techno-banger !!

New Rosati on deck! The Italian producer returns with a deep excursion for the late-night hours. Shifting focus toward a warmer, more atmospheric sound, this release delivers rolling baselines, lush chord stabs, and infectious house-infused techno grooves. Pure sonic hypnosis!

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Confronting 2026, hope can seem in short supply, as the most divisive and toxic voices worldwide are amplified amidst an ever-rising temperature of conflict and alienation, yet hope is abundant in ‘Losey’, the latest release on Rocket Recordings from the mercurial duo Gnoomes. Just as this couple have taken a bold step into the unknown by leaving Russia and moving to Slovenia, so their music has thrown off all shackles to flourish in a defiant show of vibrant and revivifying colour. “The life of an immigrant is a strange thing.” says the bands Sasha Piankov “But luckily, that glow music brings us has never faded, even though the emotional landscape has definitely shifted.” Yet whilst the music that Sasha and his creative and life partner Masha Piankova came up with is testimony to a liberating triumph against oppression and adversity, it also goes beyond. What has emerged is a kaleidoscopic collision of styles which sends the ‘skygazing’ realm of their previous work spinning into electronic orbit. Whilst the opener ‘Foreign Agent’ explicitly tackles the pressures of the Russian state, it also throws a Stereolab-style motorik meditation through an in-the-red psychedelic prism. Elsewhere we can behold Bulgakov and Chris and Cosey as bedfellows amidst the mesmeric, 303-fried EBM of ‘Satan’s Ball’.
“Rave as therapy. Pop as resistance. Love as endurance. ADHD as a production technique.” These are the primary ingredients of Losey, by the reckoning of the band themselves. This is an album that exists purely on its own distinct frequency, driven by defiance and positivity. Losey is a soundtrack to set fire to the old order, the better to dance in the glow.

marta is a Paris-based live electronic duo pushing the boundaries of techno through a fully performed live setup combining processed violin, acoustic and electronic drums. Blending the intensity of club music with the spontaneity of live performance, the duo has developed a distinctive, physical sound that stands apart in today's electronic landscape. Following the acclaimed singles LINE and RAW, their EP PUSH confirms their artistic vision while supporting a rapidly growing international trajectory, with more than 120 shows scheduled through the end of 2026, strong editorial support and an expanding global audience.

LAKEJ returns to Eclectic Limited with Scan and Survey, his first solo EP for the label. Across the release, hypnotic rhythms, deep techno textures and finely tuned electronic atmospheres come together in a focused study of movement, space and sound. Following his previous appearance on Eclectic Limited, LAKEJ takes the project into a more personal direction, delivering a precise and immersive set built for both the dancefloor and deeper listening.

YL Hooi returns with 'Running Around (83)', the project's first release since 2019's Untitled. Valya Ying-Li Hooi and Tarquin Manek finally commit a long road-tested live favourite to tape, welding together engine room doom, disembodied vocals, cryptic lyricism and a smouldering dub-techno bassline, recast and overdriven.

The hand-stamped white label 12" honours its roots with three heavyweight remixes. After corrupted audio files erased YL Hooi's recent live collaboration with Mad Professor, the Ariwa boss gives their encounter lasting form with a percussion-dripped halftime stepper featuring veteran Black Steel and new blood Karmelody.

The flipside immediately detours with Ulla's full-scale tear down and rebuild, layering woodwind, keys and subtle percussion into an improbably elegant convergence of ambient, minimal jazz and modern classical. John T. Gast's Midas touch then drags it into bardo dancehall territory, a rugged soundsystem destroyer that's scuzzy, screwed and wired with punk instinct.

It’s not just since James Bond and the introduction of World Overshoot Day that we’ve known: The world isn’t enough. We need an Extrawelt! Arne Schaffhausen and Wayan Raabe have been tinkering with this celestial body for over two decades, and it seems to be slowly nearing completion. You certainly can’t accuse Extrawelt of lacking ideas. They are, so to speak, the legitimate descendants of the legendary planet designer Slartibartfast from Douglas Adams’ “The Hitchhiker’s Guide to the Galaxy”. No doubt, the downright insanely creative bossa nova-techno bastard “Honey Hunter” will be mentioned in the same breath as Slartibartfast’s award-winning Norwegian coastlines by future civilizations. The other three tracks aren’t half bad either. Take our word for it.
Nicht erst seit James Bond und der Einführung des world overshoot days wissen wir: Die Welt ist nicht genug. Wir brauchen eine Extrawelt! Die Herren Arne Schaffhausen und Wayan Raabe werkeln seit über zwei Jahrzehnten an diesem Himmelskörper und er scheint so langsam bezugsfertig zu sein. Man kann Extrawelt nun wahrlich keine Ideenarmut vorwerfen. Sie sind quasi die legitimen Nachkommen des legendären Planetendesigners Slartibartfast aus Douglas Adam’s “Per Anhalter durch die Galaxis”. Der geradezu irrwitzig kreative Bossanovatechno-Bastard “Honey Hunter” wird von künftigen Zivilisationen in einem Atemzug mit Slartibartfast’s preisgekönten norwegischen Küstenlinien genannt werden. Auch die anderen drei Tracks sind nicht von schlechten Eltern. Glaubt’s und werdet selig.
Downloads

Adam Ten and Yamagucci team up on Rekids with ‘Keep Workin’’. Label head Radio Slave steps up with a remix.

Frequent collaborators Adam Ten & Yamagucci drop 'Keep Workin’' on Rekids, with a remix from label boss Radio Slave. The single is an irresistible club tool with immeasurable bass weight. Bold, rubbery drums and grinding low-end combine in bouncy fashion while a vocal fragment loops up top to create perfect dance floor tension. Brighter chords eventually rise through the mix, providing emotional release that will get hands in the air and take things to the next level.

On the remix, Radio Slave strips the original ‘Keep Workin’’ back to dusty, shuffling drums with jazzy flourishes. The track has a live, lived-in feel, complete with vulnerable piano keys that haunt the spaces above its weighty groove and transfix any crowd with eerie beauty.

Adam Ten is a long-time House innovator, Maccabi House co-founder and Upon You Records and Higher Ground artist, with over twenty Top 10 Beatport releases and millions of streams to his name. He blends the grit of Techno with escapist melodies in versatile, curious sets and productions that have earned him bookings worldwide. Yamagucci has made an equal impact on the world stage through his field recordings and organic percussion, adding a unique twist to his tracks on labels like Disco Halal, as well as Diynamic and Crosstown Rebels, labels that Adam Ten and Yamagucci have also collaborated on together.

Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.

Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.

One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.

The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.

With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.

Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.

Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.

Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.

His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.

A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.

Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.

‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.