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Come Clean is the the highly succesfull major-label debut and second studio album by the American rock band Puddle of Mudd. Originally released in 2001, the album's music was responsible for breaking Puddle of Mudd into the mainstream music scene. The album reached the Billboard 200 Albums chart peaking at #9. It has sold over 5,000,000 copies and was certified 3 times platinum by the RIAA.

The lead single Control' was also the theme song for WWE's Survivor Series 2001, which was critically acclaimed. The second single off the album, Blurry' turned out to be Puddle of Mudd's most successful single, reaching No. 5 on the Billboard Hot 100 and No. 8 in the UK Singles Chart, and also winning an ASCAP song of the year award. Drift & Die' was also released as a single spending six weeks at the No. 1 on the Mainstream Rock Chart. The fourth single, She Hates Me' reached the No. 1 spot on the Mainstream Rock Tracks chart and won the ASCAP award for most played rock song of the year.

In support of the album the band embarked on a European and American tour as the opening act for Godsmack and Deftones, and were also a part of the Family Values 2001 tour, alongside Linkin Park, Stone Temple Pilots, and Staind.

Available on vinyl for the very first time, Come Clean is pressed on clear vinyl, limited to 1.000 numbered copies!

VELVET is back with an EP from Madrid based artist Alvaro Medina. Founder of Jazzy, presents this EP which includes two original tracks plus two remixes, Djebali and the owners of the JNJS label.

An EP with support from Enzo Siragussa, Raresh, Arapu and a long etc that mixes minimal, hiphop and techhouse sounds.

The latest release from the Villains Inc. camp delivers an Italian-made electro gem.

And as the saying goes: Villains do it better! After the soulful "Time To Go Back EP" back in 2022, the "Generation V EP" (limited to 300 copies) marks the arrival of fresh talents joining the collective. This new wave steps in after the tragic loss of some of the label key figures, carrying the torch and keeping the Villains Inc. spirit alive.

Side A opens with "Vaccin", a hypnotic yet funky electro-bass track by Deepvision and Lefka. Despite their young age, the duo U.A.G.L.I.O. shows remarkable musical maturity and delivers a powerful debut. Expect to hear much more from this awesome team in a near future.

Next comes "FM Resistance" by Jack Bags (half of Dr. Boomer). A synthetic ride of swirling URish style sequences, darkened by moody strings. Breakdance moves guaranteed on the dancefloor!

On the flip, Index Case teams up once again with the late X-Beat (RIP) to provide a furious "Against" anthem, calling for "revolution against the government, against the police". The frantic rhythm and unsettling atmosphere push the track into gloomier territory in a powerful way.

Closing the record, Antizer0’s founder Zora Neti concludes the 12" with "Stereocash_(Pt.2)", a downtempo storm built upon eerie voices and mental sororities. A haunting yet masterful finale.

The legacy of the original V members lives on. Special mention to Simonloop aka Urbanmagic, one of the OG Villains, whose artwork on the B-side captures the grit of the music and makes the vinyl worth owning on its own.

From start to finish, Generation V EP is a masterclass. Crafted with the unmistakable Villains Inc. sound by label owner Gab.Gato, it’s pure underground quality. This record is dedicated to the memory of X-Beat and Yo Flava. Once a Villain, forever a Villain. Support the underground!

Belgian pop superstar Max Colombie, aka Oscar and the Wolf, announces new
album ‘The Shimmr’, on PIAS Recordings.
Enter Colombie’s world and you’ll discover a uniquely dazzling and shimmering
fusion of contemporary R&B and a more European electro-pop sensibility, uniting
shivery melody, shifting beats and vocals steeped in drama, sensuality and yearning.
Colombie hears, “a twilight zone where it doesn’t sound dark nor happy. It’s like the
name Oscar and the Wolf; it’s a balance between light and dark, this perfect
combination between the sun and the moon. It’s beautiful and scary at the same
time.”
Oscar and the Wolf’s official debut, the 2012 EP ‘Summer Skin’, showed his gifts
arrived virtually fully formed, but he truly came of age in 2014 with his debut album
‘Entity’. Balanced between dancefloor anthems and slow jams, ‘Entity’ went 4 times
Platinum in his native Belgium and quickly jettisoned Colombie to superstar status.
He sold out arenas in Belgium and the Netherlands, taking the penultimate
headlining slot (behind Muse) at 2016’s Lowlands festival before headlining
Belgium’s Pukkelpop festival, sharing the bill with Rihanna and LCD Soundsystem.
Released in 2017, the second Oscar and the Wolf album, ‘Infinity’, went Platinum at
home, whilst amassing a huge Middle Eastern fanbase across Turkey (where his
2018 tour sold out in minutes), Egypt, Israel and Iran. On stage, Colombie cut a
commanding and lithe performer, often garbed in shimmering outfits that interacted
with the dynamic lighting.
The new Oscar and the Wolf album, ‘The Shimmer’, distils the essence of Colombie’s
sound and vision in its title and the image of Colombie on the album cover, bathed in
starry light. The album is a benchmark of his transformation on record; whereas
‘Entity’ was recorded in a barn, “very lo-fi with no access to gear,” he recalls.
‘The Shimmer’’s bold, rich and layered dynamics were captured at ICP Studios in
Brussels, home to, “one of the best live rooms in Europe, with all this vintage gear.”
More intimate moments were added at Colombie’s house outside the city, “those
magic takes we made just after we’d written something, which are so hard to capture
again.”
By ‘we’, Colombie includes producer Jeroen De Pessemier and multi-instrumentalist
Ozan Bozdag, who had both worked on ‘Infinity’ (and Bozdag on ‘Entity’ too). “It’s a
magical trio,” Colombie says. “Everyone is allowed to be themselves, and to explore
themselves. I’m really happy with ‘The Shimmer’ because I hear a more mature
version of myself. I always want things to grow, and I’m proud that I allowed myself to
not follow people’s expectations and reproduce what had been successful before.
There are no four-to-the-floor clubby pop songs this time.”
Instead, ‘The Shimmer’ more accurately reflects Colombie’s personality. “My
emotions run from super-happy to super-melancholic in a split second,” he says. “To
me, ‘The Shimmer’ feels like the soundtrack to a blockbuster, with many types of
tracks and themes. It’s always changing."

Composer, singer, producer, and multi-instrumentalist Laufey continues her story by writing and recording Bewitched, her second album. Inspired by jazz greats and classical masters while possessing a point of view that could only be conveyed by a 21st-century twentysomething, Bewitched represents an expansion of Laufey’s sonic palette.

Tracks like the breezy bossa nova cut “From The Start” and the smoldering string-assisted ballad “Promise” have classic songcraft and intricate arrangements that make them feel instantly
timeless, while Laufey’s conversational lyrics give her music a relatability to the next generation of jazz, pop, and classical aficionados.

Ambarchi, Berthling and Werliin are back, a little looser and wilder than before. Their ability to lock in and focus on the smallest of details is enhanced here by a sense of increased immediacy. Great news for fans of stimulating variations of tone and mood within a potentially infinite universe of rhythm and sound! The more you listen to Ghosted III, the better your hearing becomes. Or maybe it"s just that you hear more every time you play it.

Celebrating the 25th anniversary of Saints & Sinners, All Saints' iconic 2000 album is now available for the first time on vinyl. This special limited edition 2LP Black & Red vinyl edition features the band's signature blend of R&B, pop, and soul, including hit singles like "Pure Shores" and "Black Coffee". To further celebrate, this vinyl edition will include various remixes released over the years such as The Neptunes Remix of Black Coffee, alongside the recent Tourist remix of "Pure Shores."

"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.

Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.

And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first ‘Season’s’ release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing—a tactile nod to Classic’s design-led legacy and attention to craft.

Volume 1 of the 3-part compilation series dives into Classic’s most cherished moments—spanning both foundational tracks from the label’s early years and key highlights from its post-2011 rebirth.

Record One celebrates some of the first outings of Classic's original era.

It opens with Matthew Herbert’s sought-after 1996 cut ‘Got To Be Movin’—a raw, Chicago-inspired groover that captures the sound of Classic’s roots.

Also featured is the monumental ‘Somewhere Between Distance and the Impossible’ by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases.

Flip to Side B for Blaze’s legendary ‘Lovelee Dae’, remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved.

To finish we have Gemini’s hypnotic ‘In My Head’, transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character.

Record Two picks up the story with Classic’s reawakening in 2011.

Seven Davis Jr’s ‘The One’ (Live Edit) was the track that caught Luke Solomon’s ear, paving the way for his Friends EP and long-standing connection with the label.

Red Rack’em’s infectious and eccentric ‘Wonky Bassline Disco Banger’ found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year.

Then there’s Eli Escobar’s ‘Happiness Pt. 2’—a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul.

Rounding out the release is the iconic ‘Play the Game’ by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy’s The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny’s lasting influence.

Soul Jazz Records’ new Soul Jamaica brings together a wicked selection of
reggae funk and soul tracks from the legendary Studio One stable, featuring
a stellar line-up of artists including Jackie Mittoo, The Heptones, The
Gladiators, Sim Smith, Peter Tosh and The Wailers, Cedric ‘Im’ Brooks and
many more.
For a short period of time at the end of the 1960s and early 1970s, nestled
between the end of rocksteady and the arrival of roots reggae, Studio One
released a small stream of superb soul and funk reggae tunes – covering
everyone from Sly and The Family Stone, Diana Ross and The Supremes,
Nina Simone, Gene Chandler, Tyrone Davis and more.
Most of the tracks featured on Soul Jamaica were only ever released on
Studio One’s UK-subsidiary label Bamboo in small-run pressings and are
now consequently extremely hard to find.
The cover photograph features images of Air Jamaica, the new airline
created by the Jamaican government at the end of the 1960s, showing how
in the years following independence the
country assumed its place on the world
stage, with reggae music playing a key
role in creating the island’s new
cultural identity.

Enigmatic UK producer Dylan Henner announces new album of deeply considered and choral-laced experimental ambient music Star Dream FM, said to be taped from a mysterious radio broadcast that plays his favourite memories from adolescence.

Though (clearly) fictional, the backdrop to new album Star Dream FM represents a tactile canvas on which the record’s true meaning is painted. It is, through Henner’s now-characteristic employment of ambient-textured synthesis, marimba, digital choir, and processed voice, a study of late adolescence and the experience of being seventeen.

Little is known about Dylan Henner, who landed on the ambient scene in 2020 with cassette releases for Phantom Limb, Belgian label Dauw, and cult tastemakers AD93. He barely promotes himself publicly, instead choosing to communicate through disarmingly poetic song titles. His debut album “The Invention of the Human” (AD93, 2020 - a recipient of BBC 6Music’s Album of the Year honours) responds to a set of philosophical questions - what exactly makes us human? What good is civilisation when there’s so much misery attached to it? How will technology affect humanity in the long run? In 2022, he released follow-up You Always Will Be on AD93, which traced the course of a single life from birth, to childhood, to adolescence, adulthood, parenthood, middle-age, old-age, and demise. He has also covered Raymond Scott, Terry Riley, Aphex Twin, Ryuichi Sakamoto, and Su Tissue among numerous further projects.

fabric presents salute features music from pioneers and contemporaries alike, including Kerri Chandler, Bodhi, Dorian Concept, Junior Sanchez, Redhead and more, alongside two originals from salute. More than a collection of tracks, it’s a cultural statement: a journey through club culture, personal identity, and global roots. To celebrate the release, salute will headline fabric’s Room 2 on 10th October, joined by a handpicked lineup (TBA), bringing their vision full circle from mix to dancefloor.

Lead single ‘double luxury’ sets the tone for the project, capturing salute’s signature blend of soulful energy, deep groove, and euphoric release. Built on spacious low-end and an undercurrent of euphoria, warped vocals twist through sleek, propulsive drums to form a house cut that channels the emotional intensity and groove at the heart of their sound. Arriving off the back of a huge summer, with standout sets at Coachella, Glastonbury, a North American tour and All Points East, ‘double luxury’ provides a fitting entry into a milestone chapter for one of the most vital voices in club culture.

salute says:

“my contribution to the fabric presents compilation series is my way of contextualising the music i've been writing over the last couple of years. i wanted to include bits of all the things that make up the salute sonic palette: loopy, sample based house music, dense and soulful chords and beautiful synths, slick and groovy drum work. it's an exercise in beautiful house and techno music, or my definition of it anyway.”

Launched in 2019, fabric presents has become one of electronic music’s most respected mix platforms, with contributions from Andrew Weatherall, Laurent Garnier, The Martinez Brothers, SHERELLE, Bonobo, Overmono, Confidence Man, The Streets, and more. Rooted in the legacy of fabric’s monthly CD mixes, the series now embraces a wider range of releases across digital, CD, and vinyl, each paired with a performance at the iconic London venue. With fabric presents: salute, they take their place in this lineage, joining the dots between underground heritage and the future of club culture.

Vienna-born salute has become more than a producer: they are a cultural innovator representing a club scene that is diverse, queer, and community-driven. Since emerging as one of the UK’s most exciting electronic voices, they have built a reputation for balancing raw emotion with dancefloor ecstasy, weaving grime, UK garage, electro, French house, jazz, gospel, R&B and hip hop into a singular, unmistakable vision.

Their music channels as much emotional resonance as physical release, tracks that turn longing into euphoria, intimacy into collective celebration. This ability has not only won over audiences worldwide but also earned praise from heavyweights including Four Tet, DJ Seinfeld, Floating Points, Skrillex, Fred again.., Annie Mac and Benji B. Their now-legendary Melbourne Boiler Room set, one of the platform’s most-watched, further cemented salute’s reputation as a defining force in the global underground.

The release of their 2024 debut album True Magic on Ninja Tune solidified salute as one of dance music’s most vital voices, its success confirming what the underground had long known. With fabric presents, they mark another milestone, bringing their curatorial vision and boundary-pushing sound to one of electronic music’s most iconic platforms.

Harry Romero and Samaran remix Radio Slave and Kameelah Waheed’s ‘All Rize’ on Rekids It follows the release of the original single in May 2025, arriving this October. NYC House legend Harry Romero and respected Paris DJ, producer, and sound designer Samaran step up to remix Radio Slave and Kameelah Waheed’s ‘All Rize’, arriving via the label 24th October 2025. Originally released in May ‘25, ‘All Rize’ was dubbed a ‘perfect moment’ tune by Mano Le Tough, with support from the likes of Bradley Zero, Call Super, Sean Johnston, and more.
“Glad to be working a lot closer with Radio Slave on his label and projects. It’s just one of those brands that put out quality. So before I even heard what I was asked to remix for Matt, my answer was yes. My idea was to put a completely different twist on the original and make a new version that was peak time. So glad I took a chance!” - Harry Romero

“I wanted to create a darker club vibe for All Rize, adding another bassline, just keeping the vocal elements that have a strong character and some percussion to keep some organic groove to it. The idea was to keepa minimal idea as the original and make it Rize for darker clubs.” – Samaran

Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Tal Fussman, Frankey & Sandrino, Mathias Kaden, Huxley, and many more.

For the 58th outing of the Wrecks anthology we're very happy to welcome the new Argentinian producer Gaston Cabrera to the ranks. Gaston has piqued our interest for a while now with his unique and atmospheric productions and it's a pleasure to have him join the Klasse Wrecks family. The 'Prohibido' EP doesnt waste anytime getting to the point, a snarling beast that goes straight for the jugular. Spooky techno tropes mix with the best of yesteryear electro house stylings, it's a sound that feels new and exciting yet at the same time very familiar. Both raw and musical, the 4 song record could soundtrack either a long lost John Carpenter horror or a Tron-esque retro sci-fi movie.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Dutch DJ & Producer Serti Drops New Album on Structured Records.

Structured Records, in collaboration with Pax Romana, is proud to present the new album from Dutch DJ and producer Serti, “If u are curious”, arriving worldwide on October 23, 2025, as a double vinyl release and on all digital platforms.

This album is the result of three years of experimentation and dedication, a project made from a pure love of music. Designed as a front-to-back listening experience, it moves seamlessly between high-energy tracks and more intricate, textural compositions, rewarding listeners who take it all in from start to finish.

While not a conventional club record, it features dancefloor-ready tracks built with raw intensity, driving beats, and striking melodic moments that hit hard on any system.

Serti crafted the album using a wide range of gear, including Eurorack modular systems, Sherman Filter Bank, DSI Pro 2, Korg MS-20, Digitone, and Analog Rytm.

Inspired by artists like Clark, Plaid, and Piezo, he experimented with off-grid melodies and live-played sequences, creating a dynamic record full of character and immediacy.

With this release, Serti delivers a bold statement: a record that combines technical skill, adventurous sound design, and undeniable energy, establishing him as one of the Netherlands’ most exciting new voices in electronic music.

This EP by Kitchen Crew unearths rare mid-90s gems from deep within the Swirl People archives, all of which first came on Belgium's Marguerite label. 'Want 2B With U' kicks things off with garage swing and disco signifiers, while 'All Funked Up' is full of rolling house energy and is a sound that the more attentive heads out there may well have heard at their favourite underground spots over the years. 'Reach 4 Me' leans into breaky tech-house sound that still suits through all these years on and is lifted by lush vocals. The closer wraps things up with a more deep, soulful atmosphere that is perfect for a more intimate setting. This is a well-received collection that deserves a second spot in the limelight.

Mister Joshooa consolidates his delivery on Party store this time with a proper full length EP,
with 3 originals and 2 remixes from Delano Smith and Mass Prod that will keep the dancefloor
busy for a while.
A very solid release that goes from Bass to House to Techno, all solid club tools that will keep
the club busy, five bangers that all evoke the Party Store blueprint feeling: FRESH OUTTA JAIL
Strong of his release on Planet E and his Performances in the world's temple of Techno Music
between his own Detroit and Berlin, Josh is always on point with cutting edge productions that
go straight to the point, to party.
Cosmo is a timeshifting bass tool, so abstract yet so powerful, so empty yet so present that it
will allow you to take your crowd towards the most twisted cuts of club music, perfect to merge
Bass, Minimal House and Techno.
Delano Smith and Mass Prod both deliver a more 4 to the floor/ Club friendly version of Cosmo.
Delano takes the core groove of the track and brings it up on a monstrous Detroit House Tool,
heavy on basseline and chords, it flows like water on day 3. you just wanna play this more and
more, the more you listen to it.
Mass Prod delivers a darker, lower body versions of the title track, a Minimalistic after hour tool
where aerie vocals and percussions are rolling over a primitive House groove that will keep the
dancefloor simmerin for a while.
Adult use is a perfect party track to set the vibe and to get completely weird. Dub Acid Stepper
at his best, proper after party fuel, one to make people stand from couches and blankets in the
morning!
Ketchup popsicle is a pure Detroit Banger with psych vocals and digital acid at his best with full
on trancey effects and percussions, not for the faint of heart, a track that will take you to new
levels of party time!

Max Romeo and O.B.F link up on 'Badminded People'. Some proper heavyweight sound system science.

First cut as a rub-a-dub tune in Rico O.B.F’s studio, the track took a surprise turn when Mark Iration dropped by: “Try a 4-4 kick pon yahso”. Minutes later, the stepper version was born, pure shack-out business. You know we had to slap both cuts on the record!

Rinsed on dubplate by O.B.F, Iration Steppas and Dubkasm for years, this is our salute to Max Romeo's life and everlasting legacy.

Soundsystem music built on soundsystems

Yellow, the vibrant color of our holiday house on La Palma provided the first spark of inspiration for this album. Some months later, a volcanic eruption turned the house and the entire village into an alien-like Malpaís landscape. The album is a tribute to La Palma - Isla Bonita. 
Yellow sets the mood of the album, like hitting the sweet spot on the mixer, not too hot and not too clean but in between. Tracks running hot like lava through an analogue mixer, morphing into new sonic landscapes. 

The album has been developed and performed live over 5 Dub&Dal gatherings. What better way to build soundsystem music than on actual soundsystems? The result is a live-recorded, continuous piece of music that captures the energy and vibe of a crowd dancing in front of a massive DIY stack. 

Eruption follows on a similar trajectory as the previously released Lemma(s). It takes the listener on a trippy, percussive journey through different musical styles and tempos, expressed and informed by polyrhythms and collaborations with live musicians. Collaborators from around the world and from diverse musical backgrounds have brought their own artistry, shaping the album into what it is today.

DDE Signature Tracks is a record label based in Bogotá, Colombia, curated by the team behind Discos del Espacio Record Shop.

For our third release, we proudly present Stand Your Ground — a refined EP by Colombian producer Bralan Arias, who delivers four deep yet dynamic original tracks that carry emotional depth while remaining fully suitable for the dancefloor. Emerging as one of the most talked-about names in Colombia’s house music scene, Arias draws inspiration from jazz and collaborates closely with Bogotá-based musicians, infusing his productions with organic textures and harmonic richness. His sound bridges atmospheric depth with infectious groove, creating tracks that resonate in both intimate and late-night settings.

On the flip side, Emilio Mustafá reinterprets a track called On My Own with a distinctive UK garage twist. His remix injects syncopated percussion, shuffled grooves, and infectious energy, offering a playful counterpoint to the original’s depth and making it an essential weapon for adventurous selectors.

Out soon on 12” vinyl.

Introducing Beautiful, a 4-track, club-focused EP by Copenhagen’s Hekt on Numbers. It hints at his mass appeal while featuring club-ready vocal collaborations from close friends Henriette (on ‘Beautiful’ and ‘You Won’t Believe’) and Catharina (on ‘Anytime Anywhere’), who together record as Smerz.

Working entirely without samples, Hekt is a sculptor wielding digital synthesis and sticky hooks, with each element carefully constructed from the ground up and the process just as important as the finished result. “It’s about trying to be honest with what I like at every level,” he says. “To maximise the points where I'm forced to check in with my feelings on each aspect of the songwriting, sound design, mixing, and any other aesthetic choice. Creating digital approximations tilts towards an uncanny space where everything is crystal-clear but also kind of warped.”

On opening track “Beautiful”, the descending bass and acid lines are inspired by tracks Hekt and friends used to test subwoofers in the cars they rode around during their teenage years. “You Won’t Believe” started off as a MIDI piano sketch that accelerated towards the epic emotional impact of EDM stadium-fillers like Avicii and Eric Prydz. In a playful nod to internet culture, Hekt recalls that “I had this idea for adding a vocal that played on YouTube thumbnails and self-promotion. I called Henriette when she was in France and asked her to phrase it as epic as possible, and she sent two ideas over for ‘Beautiful’ and ‘You Won’t Believe’.”

On ‘Anytime Anywhere’, Hekt reimagines his sound at 110 BPM. What began as studio experiments morphed from Neptunes or Timbaland-style productions into a crunchy pressure overload closer to Gescom via Lazer Dim 700, with Hekt also adding his own vocals.

Milian Mori shares his deep interest in combining mathematics, geometry, and data with emotion, dance, and fulfillment: technology meets nature, binary meets fluids, algorithm meets spirituality, dualism meets triality, machine meets human, randomness meets self-similarity.

His second album, »Triality«, consists of 16 tracks and is being released via raster as a double LP vinyl, CD, and digitally. Composed to be experienced seamlessly, the 53-minute-long album can be listened to from beginning to end like an audiobook, with no pauses between tracks, creating a continuous sonic experience.

Triality explores the ›unspeakable third in the second‹—a quality that is present everywhere but remains immeasurable. This concept strongly influenced Milian Mori during the composition of the album. In his live performances, he attempts to visualize this unique relationship through the strobe light, which exaggerates the interplay between light and darkness, creating a non-binary space between 0 and 1. The album can be experienced like a film without images—a film that speaks of a vision yet to unfold.

In late-1970s Japan, a new and unique “genre” called techno kayō emerged, blending catchy pop melodies with the futuristic sounds of synthesizers and drum machines. Rooted in the older kayōkyoku style, it was influenced by European electronic acts like Kraftwerk, but had a distinctly Japanese flair. Artists such as Yellow Magic Orchestra pioneered this retro-futuristic sound, creating music that felt both nostalgic and ahead of its time.

Dubby, owner of the legendary record shop Ondas in Tokyo, was one of the first to make Japanese music available to the outside world. He has teamed up with Antal, co-founder of the Amsterdam-based, Rush Hour Records, to release the first in a series of compilations.

Artwork from Johann Kauth (Stenze Quo)

TECHNO KAYO

Metallic Print Sleeve

Johnny Sais Quoi releases his debut release on Music From Memory - a 7-track LP entitled ‘Love On Ice.’ Channelling the spirit of Italo-pop and New Wave, ‘Love On Ice’ was crafted in the whirlwind of spontaneity and energy that changing circumstances often bring. Born from transition and exploring themes of leaving, arriving, coming together, and breaking up, ‘Love On Ice’ serves as an outlet to process, escape, and celebrate the challenges of a new life.

Johnny crafts exquisite dancefloor-focused pop—familiar yet unique, imbued with his own touch, a distinctive sensibility, and a knack for infectious hooks. The opener, ‘No Guilty Pleasures,’ sets the tone immediately as Johnny works his magic with a palette of synths, drum machines, picked guitar, and processed vocals. The title track, ‘Love On Ice,’ delivers a classic Italo-infused dancefloor bomb, featuring a driving synth bass line overlaid by hypnotic arpeggios. There is much here for the dancer, but ‘Love On Ice’ also ventures beyond the dance floor; the closing tracks ‘Ref 23’ and ‘Let's Find A Home’ are prime examples, both showcasing Johnny’s depth and range with their melancholic, mellow atmosphere.

Marco Bon steps onto wax for the first time with a debut 12" that unfolds as a four-part manifesto in sound - at once euphoric and minimalistic, meticulously sculpted through a fiercely independent, DIY approach.


This record is the culmination of more than three decades spent on the fringes and in the heart of club culture — nights of listening, learning, and absorbing the unspoken codes of the dance floor. Each track distills those years into something lived-in yet forward-looking, timeless yet unmistakably personal.

Unearthed from the Crammed Discs vaults after nearly four decades (Originally recorded in 1987), a hidden gem finally sees the light. Maurice Poto Doudongo’s The Lost Album arrives on vinyl for the first time—limited to 500 copies, with printed inner sleeve featuring release notes and photographs.

Back in the hazy margins of late-’80s Brussels, where boundary-blurring sounds were seeping through the cracks of pop music, a young autodidact named Maurice Poto Doudongo was crafting music that didn’t quite belong to any scene. Born in Kinshasa and growing up in Belgium, Maurice was a sonic nomad—raised on Franco, Miriam Makeba, and Tabu Ley Rochereau, transfixed by James Brown and Prince, and shaped by the fertile collision between African music and experimental electronics occurring all around him.

Leaving school at 16 to concentrate on music full-time, he began recording on borrowed 4-tracks, using cardboard boxes for percussion, and absorbing whatever sounds the airwaves served him: “Music has no frontier,” he says. “You take what you like. Prince, Fela, Papa Wemba—there is no contradiction. It’s all part of the sound.”

The result? A record that’s equal parts analog drum machine funk, homegrown Afro-pop futurism, and new wave R&B-informed synth poetry. Marc Hollander, founder of Crammed Discs, met Maurice through his friend and associate, musician/producer Vincent Kenis and quickly recognized the spark. The two began working in earnest, preparing tracks intended for a full-length release that, for reasons lost to time and memory, never materialized—until now.

Marc remembers: “The album was never completely finished. “Bolingo” was the only track that came out on a Crammed compilation at that time… and the rest sat on the shelf for decades until we started opening the Crammed vaults.”

Maurice recalls the session as being, “like an unstoppable current”. Listening now, the Lost Album feels both of its time and well beyond it. While tracks like “Momo” sound not a million miles away from the slinky and sophisticated Balearic pop ambience of Wally Badarou’s Echoes album, "Passport Train" shakes itself loose of any genre boundaries, veering into free-form Afro-electronica and tough electronic rhythm. Others pulse with a sweet and soulful groove that suggests dance floors dreamed of but never reached.

In decades hence, Maurice never left music, and the music never left him. Now working mainly as an arranger, he describes his job as being like that of a musical psychologist: “Someone comes to me with their sound, and before anything I have to understand their mind and heart,” he explains. That same intuitive fluency can be heard across this entire album—music that listens before it speaks, that absorbs before it asserts.

This reissue is more than a remastering. It’s a second breath. Sourced from cassette roughs and 24-track demos, carefully restored with Maurice’s blessing, and released as a complete album on vinyl for the very first time, The Lost Album isn’t lost anymore.

It just took nearly 40 years to find its way to you. - Editions de Lux

Terence Fixmer Reissues Two Cult Techno Anthems on Red 10 inch Vinyl

Techno pioneer Terence Fixmer re-releases two of his most iconic tracks - Electrostatic and Electric Vision - now remastered for a more contemporary and powerful sound, and pressed on a limited edition 10 inch red vinyl.

Originally released on Gigolo Records in the late 90s and early 2000s, both tracks quickly became underground anthems. Played by legendary DJs such as Dave Clarke, Sven Vath, and many others, they were also named Tracks of the Year by renowned techno publications like Groove magazine.

With these two groundbreaking cuts, Terence Fixmer helped open a bold new chapter in the history of techno - giving birth to Techno Body Music (TBM), a genre blending the raw, industrial force of EBM with the driving energy of techno. Electrostatic, in particular, is considered a foundational track of this hybrid style.

Now regarded as true techno classics, Electrostatic and Electric Vision have stood the test of time and are still played regularly by DJs worldwide, continuing to energize dancefloors decades after their release.


This is the first official repress in over 20 years, and the first time these two cult tracks appear together on one record - sharper, louder, and more essential than ever.

Remastered by Endrik Schroeder

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

For Martin Gretschmann, the ever-evolving Berlin artist known as both Acid Pauli and Console, music has always been a deeply personal journey.
His new imprint, All Is Acid, is the destination, a creative home for his uncompromising and experimental sound. Breaking from the cycle of trends, the label is a return to the essential, offering just a few curated releases a year. Each is intended as a timeless artifact for deep listening, primarily showcasing Acid Pauli's own intricate and intimate productions.
The label debuts with a newly remastered version of his classic 2010 EP "Den Mahlstrom rauf." But the release is given a powerful new dimension by a standout remix from Italian artist Adiel. Their collaboration was sparked by pure serendipity: a fan video of Acid Pauli playing her music in Milan reached Adiel, who responded with a short film for Vogue. In it, she revealed that "Den Mahlstrom rauf" was a formative influence and one of the very first records she ever bought.
Inviting her to remix the track that helped shape her sound was a full-circle moment, artistically and emotionally. Her bold, reverent reinterpretation honors the original's spirit while imprinting it with her own unique signature. With this release, All Is Acid launches not just with music, but with a story of connection, community and a shared artistic lineage

Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout.

‘Le Piante di Elena’ is a dreamlike homage to a primordial world — untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form. Devianza appears to be evolving into a higher, more spiritual dimension, where spirituality itself becomes the guiding force behind his musical production.

The single side opens with ‘Betullae’, a hypnotic ride between deep and leftfield, characteristic of Devianza’s sound, but this time enriched with an Indian tonal and modal flavour. Forest landscapes are traced by piano motifs that evoke interstellar journeys among endless birch trees.

‘Sunflower Sunset’ continues the hypnotic drift with a melodic crescendo that conjures the image of a sunflower field bathed in the warm glow of a summer sunset without wind. Here, where everything stands still yet everything is, this eight-minute piece becomes proof of the rarefaction of time — an instant that, though fleeting, feels infinite.

For fans of: Donato Dozzy, Voices From The Lake, Luigi Tozzi, Claudio PRC.
Related labels: Spazio Disponibile, Hypnus, Semantica, Silent Season.

KR3.018 KR3 proudly welcomes Jin Synth & Marco Maldarella to its roster. To mark the conclusion of the label's fifth anniversary cycle, launched in September 2024, KR3 together with these two talented artists, presents "The Neural Abyss" a split EP that embodies both an ending and a new beginning through the theme of "Death/Rebirth".

This 4-track project, showcases the distinct yet complementary visions of Jin & Marco, each taking one side of the 12" vinyl. Together, their work invites listeners on a profound exploration of hypnotic, deep brainwave states. Let's celebrate the final chapter with this exciting collaboration! KR3 | 5YRS Down-Road

On H008 Len Faki goes back to his crate for a unique journey through synth-led landscapes, carefully selected and bolstered up for the dancefloor.
Starting with 2000 And One - Edge Of No Return from the mid 2000s, when it was just a standout synth-line - no beats. The Hardspace Mix takes this masterclass in building tension, adds a driving beat and searing percussion while keeping the iconic synth-play intact -layered with big, booming bass for that full-bodied, dancefloor-ready energy.
The flip boasts two of longtime Figure-collaborator Viers' productions. Re-L, released almost 10 years ago, it delivered that unmistakable pulse of deep, dubby, shimmering synths. Hardspace picks up these potent elements and injects them with a new low-end, dramatic rises and tight rhythms, creating a high-energy yet hypnotic flow.
Equally energetic but much more brooding in atmosphere is the Hardspace version of Free Your Mind. An elusive original, this mix builds on dense percussion, subdued vocals and droning horns while carrying some seriously spaced-out acid synth textures. One for the wee hours and those special memorable moments in a set.

Part 3 of 3 opens with an absolute weapon of a track from Medlar, ‘Hardly Workin’ is a peak time track of the highest order fusing straight up House with a UK baseline to rattle any system. Next up is Texan Father Sheed (full EP from him coming very soon) with a jack track to get the body moving.

Over on the B-side Kenny Blacksmith takes us in a deeper direction with ‘Church’ full of lush pads and warming baselines. To close out the record Dim City takes it up a notch with an end of the night rave anthem.

A duo concert featuring universal artist and activist Moor Mother and Archie Shepp was planned for October 19, 2023, at the Enjoy Jazz Festival. However, a spinal disc operation on the then 86-year-old saxophone legend led to the cancellation of this eagerly awaited world premiere – and to a spontaneous demonstration of respect.
To honor the great Archie Shepp, one of the most influential intellectuals in jazz, an Enjoy Jazz all-star cast spontaneously recorded a tribute song during the festival – organized by festival director Rainer Kern. The line-up consisted of Nicole Mitchell, the most important flutist in the history of jazz, as well as the Enjoy Jazz “Artists in Residence” for 2023 and 2024, Moor Mother (spoken word) and Nduduzo Makhathini (piano).
In her lyrics, the poetess creates a powerful linguistic monument to Archie Shepp, whom she greatly admires, by playing with the titles of the saxophonist's legendary recordings (instead of with him himself). The title “One For Archie” is an allusion to Shepp's 1964 Impulse debut, “Four For Trane,” which, according to “Jazzwise”, is one of the “100 Jazz Albums That Shook The World.” In her moving text, Moor Mother also celebrates Shepp's political and social commitment.
The way Moor Mother rhythmically and aesthetically picks up on Shepp's unique playing style, which oscillates between rugged clarity and deep humanity, begins to improvise on it, and thereby creates new connections, is impressive proof of her masterful artistry. Her recitation is peppered with haunting dramatic climaxes that give listeners goosebumps due to their authenticity.
The B-side features “They've Got A Plan,” a song that is like a beacon. An intense and powerful invocation of “Agenda 2063,” a master plan of the African Union to transform the continent socially, economically, and politically.
Both tracks are available on vinyl for the first time.

Ben Pest and ARA-U unite for the next release on No Static / Automatic. Kaos Sympatic EP started life with the pair recording jams of various vintage studio kit, including an EMS VCS3, Roland VP330 and an Orgon Systems prototype known only as the “Silver Box”, which developed into full tracks over subsequent sessions. Ben Pest has been busy releasing high grade club tracks including collabs with Radioactive Man and Kursa for Asking For Trouble and Love Love Records last year, and with solo EPs dropping on Cultivated Electronics and Posh End music. Here he links with NS/A boss ARA-U, turning out some of their headiest material to date.

The EP kicks off with ‘Err Hello’, it’s wholly discordant, lairy, and unapologetically weird. ‘‘Get A Grip’ drifts in with hallucinatory wafts of sound over a warped riff, building into a granular, distorted headfuck of a hoover-bass moment. This one will make the subs rattle on the right side of distortion. On the B Side title track ‘Kaos Sympatic’ gets stuck in with a big broken beat and guttural sub that transforms into a techno drop to drive this track home. Finishing up, ‘Slapback’ serves up a cut of high energy electro funk, coming off like classic ERP on heat. Limited edition purple vinyl.

The kick drums leave scars and the high end cuts through the heart. Precise geometry. This is P.E.A.R.L.'s techno in the year 2025. A club record. A confrontation.

Following on from 2024's "Distant Landscapes EP" alongside Tensal, Amorphic returns (solo this time) to James Ruskin's Blueprint Records with a new ten-track album released digitally and as two four-track vinyl EPs released simultaneously.

Amorphic is a pseudonym of Scottish artist Vince Watson to explore more raw and hypnotic signatures. Launched in 2022, Amorphic has featured on labels such as Token, Symbolism and Modularz as well as the two labels Vince runs himself: Amorphic and Morph.

With almost 30 years in the industry, Vince has released over 1000 tracks, which has allowed him to work and gig with some of the very best in that time including Laurent Garnier, Richie Hawtin, Carl Craig and inthis year, Vince will release an LP with Carl Cox on his label Awesome Soundwave. As a touring musician has been able to play at some of the world's best clubs as both Amorphic and Vince Watson, including a residency at Tresor Berlin, DC10 Ibiza with Carl Cox, Berghain and Womb Tokyo as well as being a current resident of 909 Festival in Amsterdam.



earth had been watched by the keepers of the secrets for millennia.
the human experiment had evolved into chaos.
the subjects had destroyed themselves and the planet they were gifted.
a few were taken, leaving a dying planet behind.
the rest of human history was deleted.
the gods sought a new order.
the year zero...

“Where Animals Play” is the second General Dynamics album, arriving two years after their successful debut LP “Weaponize Your Dreams”. This second manifestation is the logical and brutal continuation of their distinct sound; menacing vocals splayed across an array of precision sampling, destructive percussion and finessed synth work. The duo (consisting of members SARIN + QUAL) embodies, assimilates and re-interprets the ethos & defiance of industrial & cyberpunk culture, taking their approach to new, harsh extremes. Their most recent hallucinatory output is a broad rejection of the current & dominant global trajectory; one that seeks to enslave and destroy humankind via an unhinged amalgamation of fascism, deregulated capitalism & the exploitative use of emerging technology.