Search:x tension

Waiting is the essence of travel. Patience is its own reward.

Two people. A Telecaster guitar with a few effect pedals. A drum machine. An audio interface is connected to a laptop. The ingredients are simple yet effective.

But any suggestion of four-track cassette machines and vintage bedsit productions is quickly dispelled by digital dubbiness and refined arrangements. A tail of reversed echos. The crystalline flourish of octave-pitched delays. Riddled hi-hats tickle and taunt. A bass drum asserts its space.

Winkler's guitar patterns have a fragmented, almost haphazard connotation. Searching in a shimmer of reverb. Until the beat, the framework, sets in to reveal structure. Intentionality. Reihse's programmed rhythms go just to the point of a groove, holding the moment of tension, knowingly delaying the gratification. Beats that have scratchy patina anda subtly playful edge; their crispness stands in contrast to the contemplative drift of the guitar. Is it a trance? Or a dance? Yes.

There are some apparent references here: a good portion of Les Disques du Crépuscule, some kraut-esque electronica, even a smidgen of Morricone / Spaghetti Western, blending into a kind of Musique Noir – yet these serve as a set of orientational coordinates, rather than quotations.

This is so far the most assured release by Periode, perhaps eschewing some of the naiveté that was wilfully cultivated in earlier output – there is no cheeky cover version this time. And no singing either. The nine pieces have the quality of a series, a variation on a mood, or a subset of moods. What emerges is an inviting swagger in the face of bleakness. There is a profound melancholy, but it is not the darker kind, and does not exclude humour.

First impressions may suggest that this is purely nocturnal music. Yet it equally evokes the harsh sunlight and baking summer heat. Or a rainy day. And transportation: the music suggests the motion of travel, even if that travel only happens within the mind. And waiting. Waiting while doing nothing much. Because that's all you can do. (Alexander Paulick)

Clear Purple Marble Vinyl

Stone Machine Electric return with ‘FACES’, a deep and immersive exploration of their signature Doom Jazz sound, where slow burning grooves, atmospheric distortion and meditative heaviness merge into a single hypnotic flow.

The Texas trio expand the boundaries of doom, stoner and psychedelic rock with six expansive tracks shaped by textured guitars, fluid basslines and ritualistic drumming, creating a sense of weight and space that pulls the listener into a raw and introspective dimension.

‘FACES’ is an album built on tension and release, repetition and movement, crafted for those who seek heavy music that pushes beyond the traditional framework and into a more spiritual and experimental territory.

LP pressed onto Clear Purple Marble vinyl.

Essential for fans of Monolord, YOB, Shrinebuilder, Om and early Earth.

Cristi Cons makes his Crosstown Rebels debut with his latest EP, ‘Give Me Love’.

The three-track exploration of rhythm, tension, and hypnotic club craft lands on 16th January 2026.
Damian Lazarus’ Crosstown Rebels imprint opens its 2026 release schedule with a special label debut from Romanian favourite Cristi Cons, as he delivers a magnetic three-tracker in the form of his ‘Give Me Love’ EP. Known for his precise, minimal-infl ected approach and unwavering command of groove, Cristi’s arrival onto the label brings a release that distils his signature tension-and-release architecture into some of its most direct club form yet.

The title track, ‘Give Me Love’, unfolds with subtle vocal refrains, shadowy atmospheres, and a rolling, elastic groove built for late-night momentum. On the B-side, ‘Can You Hear Me’ channels a sleeker, more hypnotic pulse, with dubby textures, restrained bass pressure, hooky vocals, and a snaking groove to keep dancers moving. Closing the EP, ‘You Ain’t Got Nothin’ brings vibrant synths, tight drum programming, and more captivating vocal use into a head-down trip that leans into Cons’s innate ability to craft late-night and early-hours journeys.

A longstanding architect of Romania’s influential underground, Cristi Cons has carved a reputation through his solo work, his collaborative SIT project with Vlad Caia, and their shared imprint, Amphia, which now stands as a true force within the minimal landscape. Alongside regular appearances across Europe’s key institutions and collaborations with revered names, including Raresh as part of their Verico project along with Caia, Cristi continues to evolve with each release - and ‘Give Me Love’ delivers yet another side to his diverse sound as he steps into the Crosstown Rebels fold to open the year.

LWS returns to Parris and Call Super’s can you feel the sun imprint with All Of The Chaos. 4 mutant rollers in his
now-singular style, sharp constructions meticulously designed with club drama and devious rave energy.
A year on from Palloon, and Edinburgh’s LWS has certainly left his mark. His inner metronome ticks differently, ornate
club constructions snarling with hypnotic fervour. His music has been ubiquitous across clubs and festivals over the
past twelve months as a result, and on his second EP for can you feel the sun he proves there’s still plenty left in the
tank.

Opener Many Requests goes galactic, a wide-eyed entanglement of melody and rhythm that gallops tough yet supple
through an ever-shifting landscape; an inevitable deconstruction ensues, before the salivating return sets us back on
course. Gooly shifts darker, a looping roller with sultry swagger that deviously maintains its shuffling delirium with
uncanny nous. Sharkbait on the flip cultivates a jaw-gnawing tension, vibrantly edging towards that ecstatic release
with unrelenting ease. Closer All Of The Chaos goes weirdest, a chromatic safari swivelling on its mechanised 2 step
through a carousel of unhinged sound design to its conclusion; signing off on yet another collection of future-shock
missives from LWS.

Early DJ support from Call Super, Objekt, Pariah, Surusinghe, Ploy, OK WIlliams and Pangaea.

Hiver completes a trilogy of EPs on Gudu with ‘Blue Hell’, another transmission of space-age machine funk from a duo who are truly shaping their own soundworld.

If you’ve followed Hiver, you should know the deal by now: they’ve spent the last decade honing a sound that draws heavily from dance music history – namely the starry-eyed synthesizer funk of classic techno and electro – that drips in colour and emotion without ever feeling retrograde. ‘Blue Hell’ is their third EP for Gudu, and maybe their most accomplished yet.

In Hiver’s words, “this EP was shaped by a mix of late night club energy and the more introspective, melodic ideas we’ve been exploring in the past years. A big part of it also comes from the tension between how people connect today. This constant, hyper-connected flow of networks, media, and online exchanges and our own way of creating music, which is very physical and personal. We’re always bouncing ideas through messages and files, but the real magic still happens when we meet in the studio, face to face. That contrast between digital connection and human presence became a sort of hidden theme behind the EP.”

“With Blue Hell, our third chapter on Gudu, we wanted to capture a moment of clarity, something direct yet still drifting. In a way, this release completes the excursion we began with the first two records: three points that trace the contours of the sounds we’re drawn to. Each track feels like a fragment of that journey, grounded in rhythm but always leaning toward depth and escape.”

It’s been over 20 years since Kenny Dixon Jr., better known as Moodymann, released Black Mahogani—an album rich in atmosphere and emotion, offering a quintessential journey through deep house, soul, and jazz. Timeless yet modern, it’s an immersive and emotionally resonant experience that reflects the singular character of Detroit’s deep musical heritage.

Originally released in 2004, Black Mahogani is arguably one of Moodymann’s most revered and sought-after works. It completes the puzzle laid out by his rare and elusive KDJ 12” releases from the mid to late '90s. With the help of Detroit legends like the late Amp Fiddler, Roberta Sweed, and Norma Jean Bell, Dixon infused his analog soundscapes and samples with a new organic warmth—expanding the deep house genre while simultaneously paying homage to 1970s soul and cinematic soundtracks.

Dixon’s masterful control of tension—knowing exactly when to hold back and when to let go—makes Black Mahogani an enduring masterpiece. It's not just a landmark in electronic music, but a definitive statement in 21st-century Black American music.

Hot Creations Winter 2025 Vinyl Sampler featuring four of the Hottest recent releases on Hot Creations.

First up Jamie Jones marks Hot Creations’ 15th Anniversary with solo return with this year’s anthem: “Murder Mystery. His first solo release on Hot Creations since 2022’s ‘Bionic Boy’ EP, it’s a track designed to move, mesmerize, and captivate with every listen. Rolling basslines, intricate percussion, and a subtle tension pulse beneath the playful surface, making it a record built for late nights, festival main stages, and intimate spaces alike. It’s a statement of intent, and a reminder of why Jamie’s groove-driven productions continue to set the standard for house music worldwide. Next up Darius Syrossian returns to Hot Creations with ‘Bass In Ya Face’, featuring Cortez Walls is a driving, bass-fuelled floor-filler that combines weighty low-end grooves with hooky vocals.

On the flip, Joe Rolét makes his Hot Creations debut with this summer’s underground anthem. Enter: ‘No Hesitating’, the definition of a bassline mover. Stacked with rave-ready pressure and designed for full dancefloor impact, it’s a cut that has already been road-tested to devastating effect by Rolét himself alongside names such as Chris Stussy, Max Dean, and the Hot Creations head honcho himself, quickly becoming one of the most sought-after IDs of the year. Finally Manchester’s AJ Christou is back on Hot Creations with the incredibly infectious: ‘Bang Bang’, which leads with crisp percussion, slinky grooves, and a hook that’s been igniting AJ’s sets worldwide.

Rhythm Cult returns with another hypnotic cut from JESUSLOVESACID, joined by Red Pig Flower and the one and only Mathew Jonson. Deep, trippy and full of tension, Verbal moves somewhere between micro house and emotional club energy.
Jonson takes it further on the flip, twisting the groove into his unmistakable world of pulse and melody.
A proper underground record. Nothing more, nothing less.

After three decades of musical escapades as both a solo artist and 1/4 of The Four Owls, Verb T returns with his most ambitious offering to date in the shape of ‘To Love A Phantom’.

Reuniting with Canadian producer Vic Grimes on the follow up to their 2023 LP ‘The Tower Where The Phantom Lives’, the duo leave the traditional ‘rapper + producer’ stereotypes at the door on an insanely adventurous LP; Vic Grimes expertly soundtracking Verb T’s low fantasy across a double album 26-tracks steeped in suspense and intrigue.

Picking up where the previous album left off, ‘To love A Phantom’ sees the duo expand upon their collective love for the language of cinema; each track expertly blurring the everyday with the supernatural; spectres and spirits swirling around our protagonist as he exits the tower and extends his arc…

A deeply emotive, visceral and visual listen, the plot thickens with the help of a supporting cast of featured artists from across the UK underground, each adding their own distinctive flair to the wider narrative.

A truly unique universe of sight and sound, ‘To Love A Phantom’ is a shining example of Verb T & Vic Grimes at the height of their collective powers

After three decades of musical escapades as both a solo artist and 1/4 of The Four Owls, Verb T returns with his most ambitious offering to date in the shape of ‘To Love A Phantom’.

Reuniting with Canadian producer Vic Grimes on the follow up to their 2023 LP ‘The Tower Where The Phantom Lives’, the duo leave the traditional ‘rapper + producer’ stereotypes at the door on an insanely adventurous LP; Vic Grimes expertly soundtracking Verb T’s low fantasy across a double album 26-tracks steeped in suspense and intrigue.

Picking up where the previous album left off, ‘To love A Phantom’ sees the duo expand upon their collective love for the language of cinema; each track expertly blurring the everyday with the supernatural; spectres and spirits swirling around our protagonist as he exits the tower and extends his arc…

A deeply emotive, visceral and visual listen, the plot thickens with the help of a supporting cast of featured artists from across the UK underground, each adding their own distinctive flair to the wider narrative.

A truly unique universe of sight and sound, ‘To Love A Phantom’ is a shining example of Verb T & Vic Grimes at the height of their collective powers

After three decades of musical escapades as both a solo artist and 1/4 of The Four Owls, Verb T returns with his most ambitious offering to date in the shape of ‘To Love A Phantom’.

Reuniting with Canadian producer Vic Grimes on the follow up to their 2023 LP ‘The Tower Where The Phantom Lives’, the duo leave the traditional ‘rapper + producer’ stereotypes at the door on an insanely adventurous LP; Vic Grimes expertly soundtracking Verb T’s low fantasy across a double album 26-tracks steeped in suspense and intrigue.

Picking up where the previous album left off, ‘To love A Phantom’ sees the duo expand upon their collective love for the language of cinema; each track expertly blurring the everyday with the supernatural; spectres and spirits swirling around our protagonist as he exits the tower and extends his arc…

A deeply emotive, visceral and visual listen, the plot thickens with the help of a supporting cast of featured artists from across the UK underground, each adding their own distinctive flair to the wider narrative.

A truly unique universe of sight and sound, ‘To Love A Phantom’ is a shining example of Verb T & Vic Grimes at the height of their collective powers

Permanent Vacation proudly presents a double A-side collaboration from Gold Panda and Fort Romeau: El Espíritu / El Fantasma. Bringing together two distinct artistic voices, the release blends
Gold Panda’s emotional, melodic sensitivity with Fort Romeau’s refined, hypnotic dancefloor touch. El Espíritu radiates warmth and shimmering detail, while El Fantasma drives deeper into late-night territory with atmospheric tension. — a standout meeting of two producers at the height of their craft.

At the end of the Sixties, the production of soundtracks for small and big classics of Italian cinema is now joined by another business which has proved to be less profitable but more creative and, in best case, free from the constraints imposed by clients on duty: the composition of music libraries. Almost all of the artists for the eighth art have finalized at least one or more music libraries. Names famous and not, old and young composers, real outsiders and meteors, usually hidden behind pseudonyms: this is the case, for example, of Braen and Peymont. The first needs no introduction, it was the one adopted by the former arranger, multi- instrumentalist, singer and composer Alessandro Alessandroni. The second is closely linked to the mysterious American composer, but resident in Italy, David Hoyt Kimball. The two are authors in different measure of an interesting album with an experimental background, “Paese Sotto Inchiesta” (1971), originally published by Flirt Records.

The titles of the tracks appear in connection with the socio-cultural climate of Italy after 1968 and can be relocated as a background for journalistic-like images. The latter is a hypothesis not supported by facts, but some titles seem to be referred to the perception of a subsisting economic backwardness of the southern regions compared to the other ones; to a situation of collective tension, thanks to the global revolutions; in addition to the new concerns with an ecological background. Overall, the seventeen tracks on the album are mostly 'dirty', characterized by an even atonal setting, with long repetitions in a noisy key, more fundamental reverbs and echoes for the different keyboard instruments. In a few words, abstract sounds, some guitar notes, echoes of Gruppo Di Improvvisazione Nuova Consonanza, flute melodies and proto- ambient intuitions. Composers like Alessandro Alessandroni and David Hoyt Kimball deserve to be rediscovered.

*Following the essence of the work, for this press, MPI release a 100% recycled vinyl that reduce waste, minimize environmental impact and support the planet*

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

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

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

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

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

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

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

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

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

2026 repress !

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

Frankfurt's legendary producer Roman Flügel returns to Phonica Records with the 'Cooking The Books EP', another four track collection of his idiosyncratic leftfield Techno.

Roman sets the tone of this release with the quirkily foreboding title track 'Cooking The Books', all zippy, skittering percussion and deep pulsing basslines. The sneaky off-kilter melody of 'Sensitive Contacts' continues the dark and sparse feel of the release, while on the flip 'Shameless' provides the EP's dancefloor climax while retaining its bleak, ominous theme. Finally, the clouds disperse and the tension melts away with gorgeous introspective ender 'Flowers'.

Kontakt Records presents KNT-47 “Chromatic Noise”, a deep exploration of dub techno and dub-infused house from Canadian producer Matt Thibideau. Across three extended cuts, Thibideau sculpts spacious, analogue-leaning grooves where every element has room to breathe. Subtle saturation, soft tape hiss and finely tuned low-end weight create that unmistakable sense of depth, while shimmering chords and carefully placed delays drift in and out of the stereo field. The result is music that feels both hypnotic and alive, built for long blends, late sessions and sound systems that reward detail. “Chromatic Noise” sits comfortably in the Kontakt Records tradition: timeless dub aesthetics, modern production values and a focus on atmosphere over obvious peaks. It’s the kind of 12" that works just as well as a DJ tool as it does for attentive home listening – patient, understated and endlessly playable. Tiny shifts in texture, filter movement and echo tails keep the tension moving forward without ever breaking the spell.

2026 Repress

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”

As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

Texas-based Ben Hixon is a high-quality house head and for the one on his home label of Dolfin he hooks up with Stonie Blue, while Atlanta mainstay Stefan Ringer also steps up to feature on one cut. 'DX15' opens with a hooky synth motif that's stretched and bent over wooden drum knocks. It's minimal but warm and full of subtle tension. 'The Dancers (feat Stefan Ringer)' has more of a shuffle and sway to it to get those hips going and 'W3dnesday' then sinks back into loopy, elastic rhythm territory with woozy late-night chords draped over the top. 'What You Want (feat Sotnie Blue)' is a more jacked-up cut with hurried kicks and an irresistible urgency.

Lewis Fautzi and The Advent join forces on "Gravity Won't Hold Me", a four-track Sci-Fi techno journey that breaks through the limits of sound and space.

Fusing mechanical energy, futuristic tension, and cosmic textures, the EP unfolds with relentless precision and force, a statement of pure propulsion beyond gravity itself.

A year after her rebirth on the 2.0 EP, Maedon returns to her Rant & Rave imprint with the intentions of her previous release now distilled and focused into bold new forms. Whereas before the artist was transitioning from her earlier work towards new directions, Matter & Form arrives as an extended concept piece featuring four variations on a bracing, developed sound, an equally impressive remix from Lady Starlight, and a contrasting mix of the opening track. Where 2.0 charted emergence, 'Entelechy I-IV' unites to actualize this potential into a single-minded purpose behind fundamental principles.

Immediately launching into territory her last release only hinted at, 'Entelechy I' is a showcase for her now-mature approach. Her rhythmic dexterity and groove focus remains, with drum programs subtly evolving phrase by phrase, but they now form the basis for layered, complex compositions in a decidedly contemporary vein. 'Entelechy II' shifts focus towards the arrangement while keeping its drums steadily driving, drawing attention to details in its densely designed sounds through deliberate, gradual processing. Relaxing the tempo slightly, 'Entelechy III' fills in the extra space with more dark atmospherics and finely detailed soundscapes, finding a heavy medium between dark ambience and hammering techno. Another deeper effort, 'Entelechy IV' counterbalances insistent, finely-tooled percussive bleeps and equally persistent bass figures against another sweeping bass pulse, at times breaking down into carefully-controlled atonal aggression. Lady Starlight's remix is skeletal in comparison, deploying its parts sequentially over ticker hi hats and a massive kick while using small shifts to incrementally build tension. 'Entelechy I (Bent Mix)' is more accurately described as hellbent, stripping out the original's harmonic elements to grind the heavy rhythmic workout against an unrelenting acid line.

10” EP, 50 COPIES LIMITED EDITION, (25 BLACK, 25 TRANSPARENT)

Dubblack closes its 2025 vinyl series with DBB010, a rare 10” edition limited to only 50 copies — 25 black, 25 transparent.

The release introduces eoobe, the Amsterdam-based duo of Elina Tapio and Marco Segato, known for their immersive sound design and instinctive approach to rhythm. Across two downtempo analog compositions, they explore the intersection of ritual and circuitry, sound as both matter and movement.

Recorded live with analog synths, stomp boxes and drum machines, DBB010 unfolds through tactile tension and subtle repetition. On the B-side, Louis Bataille (Low Bat, Trystero, AnDerMole, Jean-Luc) joins with his voice, adding a spectral presence that drifts through the mix like a forgotten transmission.

Marking the final chapter of the 2025 vinyl series, DBB010 distills the raw and introspective spirit of Dubblack, deep, reduced, and emotionally resonant.

The scottish singer-songwriter and multi-instrumentalist James Yorkston and the english guitarist with a fluid fingerpicking touch, David A. Jaycock, already played together in the first formation of the experimental folk ensemble Big Eyes Family Players. Their encounter with Swedish saxophonist Lina Langendorf gives rise to a little gem of pure acoustic candour, perfectly balanced between chamber avant-garde and neo-folk. As on an endless autumn evening in front of a lake in Finland or Estonia, the trio's nordic soul creates atmospheres that recall hidden nostalgia. In a process of rarefied sound matter, elegiac paintings spring up, moments that flow slowly and silently in a tension that is always suspended and unresolved. Soft, crepuscular passages, at times sharp and cold guitar, but also the velvety breath of the nickelharpa, combine with a saxophone that still blows dramas of distant Norwegian fjords, but can also become more Mediterranean and arabesque. The music becomes like a warm warmth around the fire, reflecting a hidden twilight zone of the soul, in a quiet, gentle whisper between poetic abstraction and arpeggiated themes of more recognisable narrative melody, typical of a certain Northern folklore.
Co-Release with We are busy bodies.

To celebrate the 50th anniversary of Profondo Rosso, Dario Argento’s masterpiece with its iconic Goblin soundtrack, comes a once-in-a-lifetime collector’s box set.

This box set, limited to 450 copies, includes:

GOBLIN - PROFONDO ROSSO / 2LP SET
Special double vinyl reissue with gatefold cover and brand new artwork including the original soundtrack, plus a bonus disc that contains a collection of tracks with the actual music used in the movie.

CALIBRO 35 - CANZONCINE PER BAMBINI / 12” LP
Exclusive 6-track LP featuring brand-new compositions by cinematic jazz-funk masters Calibro 35, blending their trademark sound with nursery rhymes sung by a real children’s choir.
The project is inspired by one of the film’s key scenes — a sort of MacGuffin around which the music playfully revolves — transforming that cinematic idea into a standalone concept full of irony, tension, and imagination.

FABIO CAPUZZO - NEL ROSSO PIÙ PROFONDO
LP-sized book, in English, containing one of the most detailed and thorough analysis on both “Profondo Rosso” movie and soundtrack ever written, courtesy of Fabio Capuzzo,one of the greatest Italian experts on the matter.

LENTICULAR IMAGE, revealing the film’s key scene, turning this edition into a true display piece.

A celebratory release of extraordinary cultural and collector’s value, blending cinema, music, and memorabilia into a total experience. An unmissable tribute to Profondo Rosso, fifty years on.

Kontakt Records presents KNT-47 “Chromatic Noise”, a deep exploration of dub techno and dub-infused house from Canadian producer Matt Thibideau. Across three extended cuts, Thibideau sculpts spacious, analogue-leaning grooves where every element has room to breathe. Subtle saturation, soft tape hiss and finely tuned low-end weight create that unmistakable sense of depth, while shimmering chords and carefully placed delays drift in and out of the stereo field. The result is music that feels both hypnotic and alive, built for long blends, late sessions and sound systems that reward detail. “Chromatic Noise” sits comfortably in the Kontakt Records tradition: timeless dub aesthetics, modern production values and a focus on atmosphere over obvious peaks. It’s the kind of 12" that works just as well as a DJ tool as it does for attentive home listening – patient, understated and endlessly playable. Tiny shifts in texture, filter movement and echo tails keep the tension moving forward without ever breaking the spell.

Kontakt Records presents KNT-47 “Chromatic Noise”, a deep exploration of dub techno and dub-infused house from Canadian producer Matt Thibideau. Across three extended cuts, Thibideau sculpts spacious, analogue-leaning grooves where every element has room to breathe. Subtle saturation, soft tape hiss and finely tuned low-end weight create that unmistakable sense of depth, while shimmering chords and carefully placed delays drift in and out of the stereo field. The result is music that feels both hypnotic and alive, built for long blends, late sessions and sound systems that reward detail. “Chromatic Noise” sits comfortably in the Kontakt Records tradition: timeless dub aesthetics, modern production values and a focus on atmosphere over obvious peaks. It’s the kind of 12" that works just as well as a DJ tool as it does for attentive home listening – patient, understated and endlessly playable. Tiny shifts in texture, filter movement and echo tails keep the tension moving forward without ever breaking the spell.

DJ Minx, Boogie Vice & N-You-Up, The People in Fog, and Jabes remix Radio Slave & Kameelah Waheed’s ‘All Rize’ on Rekids

Radio Slave presents the second remix EP for ‘All Rize’, releasing 19th December 2025, a follow-up to his May collaboration with Kameelah Waheed, enlisting DJ Minx, Boogie Vice & N-You-Up, DJ Sodeyama’s The People in Fog alias, and Jabes to reimagine the track. It follows the first remix package, featuring Harry Romero and Samaran in October, which won support from Laurent Garnier, Chloé Caillet, Saoirse, Honey Dijon, and many more.

Detroit’s First Lady of Wax, DJ Minx, follows her appearance at Rekids’ Panorama Bar takeover in August and steps up first. Her remix is a raw, club-ready workout built around a relentless groove and Kameelah Waheed’s commanding vocal mantra, as bleeps and whistles dance across the mix. Linking Cape Town and Southern France, Boogie Vice & N-You-Up follow their 2025 EP on REK’D and deliver a deep cut that slowly builds tension, its organic percussion and warm bassline leading toward a strobe-lit, tripped-out drop.

On the flip of the second ‘All Rize’ remix EP, Japan’s DJ Sodeyama, under his The People in Fog alias, drifts into more hypnotic territory. Lush pads wash over a low-slung beat and bassline, trading the club for the walk to the after-hours by carrying Waheed’s vocal into something surreal and dreamlike. Completing this left-of-centre B-side, Timedance and Kindergarten’s Jabes twists the original into a warped, textural trip with scratching layers and distorted vocal fragments that pierce through a dense atmosphere. If Sodeyama’s version is the dream, Jabes’ is the chaotic counterpart that follows.

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

In March 2025, "On the Love Beach" completed a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.

In 2025, marking the 30th anniversary of their memorable debut album, "On the Love Beach," the band's first three albums will be reissued on CD and vinyl!
All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

This is Nagisa Nite's second album and only live recording, released in 1998. Featuring an acoustic arrangement featuring acoustic guitar and djembe,
the band's imaginary concept is "A Tyrannosaurus Rex from Osaka." This is a realistic documentary of a solo performance held in a dilapidated wooden
apartment building in Tokyo during a scorching heat wave in July 1997, a space that was barely a free space. The band performed in the scorching heat
of July, with the venue lacking air conditioning, forcing them to play with the windows open. This resulted in "ambient music" that occasionally blended with
the sounds of the outside world and the barking of dogs. The band's determination to never perform in a place like that again led them to believe that this
unique and intriguing experience was what made this album so unique.

The environment forced the band members and the audience to remain unwavering, creating an undeniable tension in the small venue, creating a literally
"hot" groove despite the entire performance being acoustic. This experiential live album, the polar opposite of the '71 Nippon Genya Festival, is impossible
to recreate, even for the band members themselves, including the immersive recording.

The 1998 album was only available on CD, but this time, the album is available on vinyl for the first time on a 2LP!
Remastered using the original master DAT tape, it recreates the "hot" and "ambient music" atmosphere even more realistically. T
akeda's cover of Midori Mako's "Yasashii Nipponjin" is also a must-listen!

Alvorada is Montanha’s first long play: an ambient-leaning work, nocturnal in mood yet touched by electricity, tracing a journey from waking activity into dream logic. Recorded mostly in the late hours of the evening with windows open to the city, letting its air and sounds influence the music, it sometimes reached the early moments of sunrise. The title, meaning “dawn,” reflects both the liminal hours of its making and the band’s own renewal. These tracks are closer to drawings than songs: narratives written between instruments, moments of tension and release, fragments of memory and dream. The tracklist follows this nocturnal voyage with the patience of Eno, the disquiet of Uematsu, and the madness of Miles Davis’ Decoy, oscillating between streets and sleep, routine and reverie.

Montanha was formed in 2010 by André Azevedo, Nuno Oliveira, João Sarnadas, and Tito Silva, bonding over architecture school all-nighters on videogame soundtracks (Age of Empires, Super Mario). They began as a psychedelic rock combo and in 2013 released their self-titled EP which introduced a raw, improvised energy. But the album that was meant to follow was abandoned as the band entered hiatus. The four members turned their creative drive towards co-founding Favela Discos, where experimentation with media and form reshaped their ideas of music, and developed their taste, their way of playing, and a more personal sound that was more open and disconnected from a defined genre.

By 2017, Montanha had returned to the studio with new experience, no longer a rock band in the traditional sense but a project devoted to improvisation and electronic soundscapes. An ever gentrifying city forced them to abandon acoustic drums, and they embraced electronic beats instead, and became mobile; one guitar dissolved into full synths, leaving the other to converse with bass. Improvisation remained their compass. In improvisation there are no mistakes, only missed opportunities. Montanha found their opportunity in the routine of the studio to break routines of pop and experimental. The result is a body of nearly fifty hours of recordings, sculpted into an album.

Alvorada is not only Montanha’s first LP but also the dawn of their new phase. Improvised yet carefully sculpted, the record expands the territory of the song into nonlinear narratives, letting the language of night, dream, and city seep into its form.

Brand new album from global superstar duo LANY, 10 new tracks and follow-up to their latest release A Beautiful Blur in 2023. Maroon Color 1LP Vinyl with printed inner sleeve and 12x24 poster. LANY have quietly cracked the mainstream on their own terms as one of the most ubiquitous, unpredictable, and undeniable alternative rock bands of this era. Tallying billions of streams, selling out legendary arenas, and earning widespread critical acclaim, the platinum-certified Los Angeles group consistently deliver rafter-reaching anthems anchored by airtight songcraft and the outsized personality of enigmatic frontman and songwriter Paul Jason Klein. LANY will be releasing their brand new album ''Soft'' in October 2025. Thematically and visually ''Soft'' exists in tension - an intentional contrast of the hard and soft. Tangible, literal, physical hardness juxtaposed with metaphorical, relational (and, at times too, physical) softness. Sonically, the album explores these same tensions - much of the softness and vulnerability of lyric that has defined LANY's acclaimed career, now with a harder, braver edge to the production.

Agathe Plaisance, a self-taught visual artist and musician, creates a universe where the softness of folk origins gradually metamorphoses, giving way to sonic explorations that push the door open to other worlds. Her light-and-dark electronic pop plunges us into her inner world, with deeply intimate lyrics about illness, addiction, the relationship with oneself and with others. The Lynchian atmosphere created by the synth layers surround an ethereal voice, echoing the work of artists such as Cat Power and Mazzy Star. Through a live performance of continuous tension, the woman in the making explores herself and seeks to transcend her pain in order to reinvent herself. With this new album, Agathe Plaisance delivers an intense and introspective work, born from a period of deep depression. She explores with honesty her anger, losses, fears, and addictions, while also casting a clear-eyed gaze on those of others. Despite the darkness that runs through the record, glimpses of hope, love, and light begin to surface, offering a path toward healing. Deep Rest is more than just a title - it's a metaphor, a play of shadow and light at the heart of the project. The artist transforms pain into a tool for reinvention. Her folk beginnings gradually give way to more electronic and experimental sounds - a shift that mirrors her personal rebirth.

Astropolis Records — the label born from the legendary electronic French festival — celebrates a decade of electronic devotion with a generous and deeply emotional anniversary compilation - a bit late, but never short on flair.

This double vinyl gathers the many faces of the Astropolis galaxy: in-house artists, long-time companions of the festival, and rising voices from a perpetually vibrant French scene. Across 18 artists, listeners are invited on a sonic journey where rave legacy, electronic dreamscapes, and collective fervor intertwine — true to the DNA of a festival that’s never known boundaries.



The record opens with grace and wonder courtesy of Rone, whose electronic touch channels both the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador bathes in luminous melancholy, offering a moment of calm before the storm. In the same contemplative vein, we’re proud to unveil one of the first productions from Célélé alongside Théo Muller: Drum and Drift, a subtle blend of dubby vibrations and sunlit textures.


Astropolis has always thrived on happy collisions — and this compilation is proof of it. The unlikely meeting between Mézigue and Swooh sends house spiraling into a g-tech vortex on Broken Roll To Venice, a playful burst of groove, hybrid energy, and cheeky mischief. The same spirit of alchemy fuels Belaria & Madben, whose Into The Void burns bright as a 90s rave-meets-EBM anthem wrapped in hypnotic trance. Zaatar & Trunkline bring raw intensity to Come Into The Light, a sweaty, visceral banger at the crossroads of techno, dark disco, and EBM.


French techno pillars Scan X & Electric Rescue deliver a masterclass in elegant machine soul on Lost In Time. When Manu Le Malin teams up with Kmyle, the result is as sharp as it is cinematic: Little Big Man pulses with dramatic tension, balancing raw emotion and restrained fury. Elsewhere, Oniris & Benjamin Rippert reconnect with the melodic techno spirit of the label’s early days on Sonate, guided by a craftsman’s sense of harmony.
For the machine lovers, Legowelt & Cuften resurrect the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude. And for the diehard dancefloor devotees, KiNK finally releases a cult track from his live sets: Give Me, a breakbeat-meets-vintage-house stormer tailor-made for those late-night sweats.

This anniversary compilation reaffirms the label’s openness to new generations and hybrid sounds, while paying tribute to the techno roots that shaped its foundation. Like the festival itself, it embodies sincerity and collective energy — a small manifesto linking generations, aesthetics, and territories, celebrating roots without nostalgia and the future without bending to trends.

Filtrack’s Anxiety…My Old Friend is four cuts built from tight percussion, coiled basslines and a sense of unresolved pressure. Rather than smoothing the nerves, the tracks sharpen them and push physical tension and forward momentum on the dancefloor.

The A-side exhales a clenched drive, tension and power that keeps pressing forward. Flip to the B-side and Filtrack holds anxiety at its core with cuts that are raw, dancy and deep. The whole EP turns apprehension into techno, inviting you to sit with the discomfort, then dance through it.

The ever-prolific Mihai Popoviciu returns with a stunning three-tracker on Sublease Music, delivering another masterclass in groove-oriented deep house. Known for his unmistakable precision and subtle emotional touch, the Romanian producer continues to bridge the space between warm underground energy and refined studio craftsmanship.
Over the past two decades, Popoviciu has become one of Eastern Europe’s most respected exports in electronic music, releasing on labels such as Bondage, Poker Flat, and Hudd Traxx, and earning international acclaim for his deep yet functional approach to house. On Sublease, he strips things back to their essential form: hypnotic basslines, crisp percussion, and fluid arrangements that move the dance floor without ever shouting for attention.
Each track radiates Popoviciu’s signature flow, a careful balance between drive and depth, tension and release. Sublease Music, the sister label of Poker Flat, continues its mission to present pure, modern house music from some of the most consistent artists in the scene. This release fits perfectly into that lineage, deep, timeless, and irresistibly groovy. From intimate after-hours sessions to peak-time sets in discerning clubs, these cuts prove once again that Mihai Popoviciu doesn’t follow trends, he defines the standard.

The ever-prolific Mihai Popoviciu returns with a stunning three-tracker on Sublease Music, delivering another masterclass in groove-oriented deep house. Known for his unmistakable precision and subtle emotional touch, the Romanian producer continues to bridge the space between warm underground energy and refined studio craftsmanship.
Over the past two decades, Popoviciu has become one of Eastern Europe’s most respected exports in electronic music, releasing on labels such as Bondage, Poker Flat, and Hudd Traxx, and earning international acclaim for his deep yet functional approach to house. On Sublease, he strips things back to their essential form: hypnotic basslines, crisp percussion, and fluid arrangements that move the dance floor without ever shouting for attention.
Each track radiates Popoviciu’s signature flow, a careful balance between drive and depth, tension and release. Sublease Music, the sister label of Poker Flat, continues its mission to present pure, modern house music from some of the most consistent artists in the scene. This release fits perfectly into that lineage, deep, timeless, and irresistibly groovy. From intimate after-hours sessions to peak-time sets in discerning clubs, these cuts prove once again that Mihai Popoviciu doesn’t follow trends, he defines the standard.

Rooted in Tbilisi’s ever-evolving electronic scene, Levan Grdzelidze continues to shape his distinctive sound as a producer, DJ, and co-founder of Glispy Records. After a first appearance on our sister label Chat Noir Tools, he returns to the family with a new release on Griffé, a record that reflects both his precision and emotional depth as an artist.



Across four tracks, Levan explores the tension between movement and stillness, blending tech-house grooves, hypnotic techno pulses, and subtle downtempo moods. The result is a collection that feels timeless rather than trend-driven, equally suited for the dance floor or more introspective listening moments.



This release holds a special significance for Levan as it is dedicated to someone very dear to him, adding an intimate layer to its sound and spirit.

Bringing together two distinct yet complementary forces in electronic music, Zohar and Nymfo join for their first collaborative release on Dekmantel.

Zohar’s sound is defined by razor-sharp precision and pulsating percussive energy storm-like sonics that disorient and excite in equal measure. With a background shaped by years of commanding dancefloors, she has carved a diverse and eclectic path, where rattling low-end and rhythmic tension form the foundation. Known for her technical refinement and mixing wizardry, Zohar intuitively seeks unexpected connections, always pushing her listeners into new territory. Following several contributions to Dekmantel compilations, this marks her first full-length release on the label.

Nymfo has been an essential figure in drum & bass since the late ’90s. Starting out in Eindhoven’s rave and jungle scene, he quickly became known for his fierce DJ sets and later, his productions. His catalogue spans acclaimed labels such as Metalheadz, 1985 Music, Commercial Suicide, Hospital Records, Critical, Dispatch, Shogun Audio, and many more. With two albums and a steady output of singles and EPs, Nymfo has consistently balanced raw dancefloor energy with a deep, refined production ethos.

Their paths crossed countless times in the scene, yet it wasn’t until Dekmantel invited them for a special Dekmantel Connects performance an ambitious setup with eight CDJs and four mixers that they shared the decks for the first time. The synergy of that moment carried into the studio, where their collaboration took shape. This release now returns them to the Dekmantel family, presenting their joint vision: a dialogue between low-end weight, rhythmic intricacy, and forward-thinking club sonics.

Yellow vinyl. With "Una Lama D'Argento", TENEBRO take their most extreme and visionary step yet: an entire album conceived as a tribute to Dario Argento, the undisputed master of horror, giallo, and thriller cinema. Eleven tracks that are not just songs, but episodes of a single nightmare, a journey through the dark and obsessive atmospheres of the films that shaped cinema history: Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebre (1982), Phenomena (1985), and Opera (1987). TENEBRO translate Argento's universe into sound: riffs sharp as blades, guttural vocals emerging from the darkness, relentless drumming, and atmospheres shifting between pure violence and suffocating tension. Iconic scenes such as the mirror revealing the killer in Deep Red, the brutal mutilation in Tenebre, or the larva-filled bathtub finale in Phenomena are transformed into brutal, immersive sonic attacks, capturing the full horror and tension of the films. As with every album, TENEBRO continue to evolve, introducing new symphonies, styles, and melodies, while remaining distinctly separate from the wider underground scene. Their music explores new horizons without ever betraying the pulsating heart that has always defined their sound: extreme, theatrical, and viscerally horror-driven.

Third opus from Acid Meets familly, Diffidatik Records !

First tune from Sylo vs Minds Controllers is a story-teller, broken and then banger, with an Acid bass full of tension surrounded by dub feelings..
.
Second track from Neurotribe is a night caller, sunset style, dark and trance, industrial and acid, A contonuum-vitae, not shouting but growing more and more dancefloor... as the sun goes down, it goes darker !

The flip opens with LOKO and a french speaker calling for Unity in Free Party, as a culture, as a way of life and most of all LOVE & NOISE !

Last track goes PEACE ! Brixton23 and a sweet techno lullaby... A little jewel of tenderness... Even if... the Kick turns a bit more Hard after a little while :) éhéh

All in one this is the best of the 3 Acid Meets release... coming with a super printed sleeve !

Gotta get it !!!!

The record comes with the printed text of B1 tune from LOKO.

Tracks list
A1 - Sylo vs Minds Controllers - Overshoot
A2 - Neurotribe - Ethernit
B1 - Loko - Ca Revendique
B2 - Brixton23 - Acid Spring
Add all tracks to a playlist
Other releases by Neurotribe