house . techno . electronica . ambient . neo-classical

WEEK STARTING 10 Jul

Genre pick of the week Cover of I Think I'm Alone Now by Evil Graham Lee.
At the age of 72, "Evil" Graham Lee, the legendary pedal steel pioneer and veteran of the iconic Australian band The Triffids, delivers his first ever album under his own name titled ‘I Think I’m Alone Now’. In addition to his work with The Triffids, Graham’s place in ambient history was cemented in 1990 when his evocative pedal steel became the soulful centerpiece of The KLF’s masterpiece, Chill Out (specifically on the highlight “Baltimore to Fair Play”).

"I Think I’m Alone Now" is a profound exploration of the instrument's emotional range, blending traditional country infused melodies with vast, reverb drenched ambient textures. The album spans six tracks, anchored by the Side B title track, a 15 minute textural piece that leans heavily into the ambient genre. From the delicate melancholy of "Seeking Beauty in Sadness" to the curious abstraction of "Nursery in the Beehive," Lee uses his pedal steel and an array of pedals to sculpt unique, haunting soundscapes that exist between tradition and the avant garde.

The connection is brought full circle with exclusive liner notes written by The KLF’s Bill Drummond. Reflecting on a forty year friendship that began when The Triffids served as the backing band for Drummond’s solo debut, "The Man", Drummond provides a personal and poignant context for this long awaited solo bow.

A 180g pressing housed in a full sleeve designed by Bradley Pinkerton with metallic sticker and bespoke inner sleeve featuring liner notes signed by Bill Drummond.

STAFF COMMENTS

Matt says: Love a bit of experimental pedal steel me. Much like the zither, it's evolved way past it's traditional designated purpose; furthering experimental music through the ages with a delicate, sublime touch which few other instruments can compete with. Graham Lee completes the circle left slightly incomplete on the KLF's "Chill Out"....

TRACK LISTING

serein
seeking beauty in sadness
you are my sunshine
nursery in the beehive
i think i m alone now
is there any pedal steel in heaven

Batu & Donato Dozzy

Exhale

Bridging the sound of two distinctive auteurs within modern electronic music, 'Exhale' is the natural convergence of Batu and Donato Dozzy's revered, distinctive sonic signatures. With techno in the broadest sense as a framework, the pair have created an immersive listening experience that celebrates the flashpoint of inspiration and thrives on experimentation.

As Batu, Omar McCutcheon has made a huge impression on modern club music by channeling the soundsystem-rooted principles of dubstep into inventive mutations that defy easy categorisation. Donato Dozzy has been a leading figure in European techno since the mid 00s, helping pioneer a culture of deeply immersive, subtle dance music charged with ambient atmospheres. The pair first connected in Japan in 2019, discovering a mutual appreciation for each others' work and a curiosity about how their distinct sounds might intersect.

In February 2025 Batu visited Dozzy's studio in Rome. Within that Aladdin's cave of hardware, the pair mapped out a continuous, instinctive flow of sketches that became the bedrock of 'Exhale'.

Between Dozzy's gear-focused practice and Batu's detailed software manipulations a dialogue emerged between the duo's distinct styles, making space for each other and learning along the path to a record both unique and innately connected to their respective musical legacies.

The eight fully-formed pieces that make up 'Exhale' bear the hallmarks of both creators in equal measure. True to their musical mission, there are no one-dimensional approaches taken throughout 'Exhale'. Transcendental sequences are laser-guided by kinetic drum science, and even the most bruising moments are balanced with a delicacy that leads straight to the heart of both producers' profound appeal. The album that has emerged feels like an honest, instinctive celebration of Batu and Dozzy's respective strengths, made all the sharper in unison.


TRACK LISTING

1. Emergence
2. Spiral
3. Drift
4. Off Axis
5. Swarm
06. Flicker
7. Exhale
8. Bloom

Błoto & Ion D

Atmosfera

The Błoto we knew until now briefly ceased to exist in September 2025, somewhere in the backstreets of Bucharest’s Floreasca district. This was not an ending, though, but a new beginning and a conscious transformation. With their core left intact, the band expanded its lineup to include a pillar of the Romanian alternative scene, Ion D. That move became the catalyst for the most groundbreaking project in their career, this album 'Atmosfera'.
 
Błoto together with Ion D is no longer just the pavement of Wrocław, but also the concrete of Bucharest, psychedelia, and a shared Emerging Eastern Europe experience of transformation, translated into synthesizer-driven sound and inspired by local folklore. Within the textures of "Atmosfera", these elements resonate with full post-capitalist force, like an auteur film by Radu Jude. This is a record that parts ways with the jazz label without regret, or rather becomes 'jazz on the ruins of jazz', replacing it with a trance-like, unclassifiable sound that Ion loosely refers to as 'Eastern-Oriental'.

The musical foundation of "Atmosfera"is a genre-blending melting pot unlike anything in Błoto’s catalogue. Raw elements of bass, techno, house, and dark dub intersect with a hip-hop pulse. This machine-driven framework is enriched by global influences ranging from trance-inflected afrobeats and ethereal ambient textures to bold references to Romanian manele and sunlit balearic sounds.

TRACK LISTING

A1.Władza / Puterea
A2.System / Sistem
A3.Swawola / Dezmă
A4.Mobbing (feat. DJ Eprom)
A5.Korupcja / Corupție
A6.Wyzysk / Exploatare
A7.Bieda / Sărăcie (feat. Plevna)

B1.Aura
B2.Komfort / Confort
B3.Ekstaza / Extaz
B4.Euforia / Euforie (feat. Plevna)
B5.Pojednanie / Reconciliere (feat. Plevna)
B6.Wolność / Libertate

Michael Brook

Cobalt Blue & Live At The Aquarium - 2026 Remaster

Inventor of the “infinite guitar,” Canadian musician Michael Brook’s 1992 4AD record 'Cobalt Blue' is a timeless and quietly stunning collection of instrumental pieces and shimmering dreamscapes, featuring contributions from ambient music pioneer Brian Eno, composer & multi-instrumentalist Roger Eno, and Grammy-winning producer Daniel Lanois.

Recorded later that year, 'Live at the Aquarium' captures Brook’s rare solo performance in London, highlighting the hypnotic sustain and atmosphere that define his work.

Beyond his albums, Brook has scored acclaimed films including Into the Wild, Brooklyn, and An Inconvenient Truth. Newly remastered by Rashad Becker and presented with artwork by Alison Fielding based on the original v23 designs — this is a long-overdue celebration of an underrated gem in the 4AD catalogue.

TRACK LISTING

1. Shona Bridge
2. Breakdown
3. Red Shift
4. Skip Wave
5. Slipstream
6. Andean
7. Slow Breakdown
8. Ultramarine
9. Urbana
10. Lakbossa
11. Ten
12. Hawaii
13. Shona Bridge
14. After Image/Urbana
15. Andean
16. Ultramarine
17. Lakbossa
18. Cascade
19. Red Shift

Clive From Accounts

Income Trax Vol 1

Fiscal man of mystery, Clive From Accounts is back! Fresh off the heels of his well received debut album on Razor N Tape, “The Very Best of Clive From Accounts” comes his new concoction, “Income Trax Vol. 1”.

The 3 track EP kicks off with “I’ve Been Waiting“, a 90s piano laden up-tempo house track with a twist of soulful sampled flute and vocals.

“Every Time” is a filtered deep disco house roller built around lush string samples, live bass and soulful vocal cuts. It’s sleek, assured and festival-ready.

“Superfine” clocks in and turns the energy up. A snappy pop-disco number powered by punchy strings, big vocal hooks and catchy synths. Operating somewhere between the dancefloor and the stationery cupboard.

STAFF COMMENTS

Matt says: Fun and frolics from Clive who keeps beard stroking at bay by unleashing a triple threat of disco-house smile with juusst the right nuance of pop sensibility.

TRACK LISTING

A1 - I’ve Been Waiting
B1 - Every Time
B2 - Superfine

Hotshot producer D*v*d J*cks*n heroically revives the legendary Puss label, home to some of the most enticing, scandalous and straight out illegal dance music released across the last 13 years, all supposedly masterminded by K*rn*l K*v*cs of St*d** B*rnh*s fame. Three reasons for this sudden revival: One trancetastic take on a deep cut from the queen of Swedish pop, an instantly engaging UKG flip of an eternal dance hymn and, lastly, a rugged faux-Baltimorean nugget for all the Kittenz out there.

Out on limited, kiss-stamped vinyl. Seriously limited copies! 

STAFF COMMENTS

Matt says: We love a naughty dance mash-up here at Picc HQ and DJDJDJ takes cues from EEE and Moxy by deploying three precision cuts that mix some well known shit with some brand new beats. Impossible to resist!

TRACK LISTING

A. Peach
B1. Toca You
B2. Wee Ohh Wee Ohh

Gibson Brothers

Heaven / You (The Reflex Revisions)

The Reflex has been busy of late and, though already a proven master of multi-track mixes and mash-ups, he keeps on reaching new heights with each new drop. This is one of several coming in quick succession and finds him dropping the final part of his label Discolidays' collaboration with the Zagora catalogue, which features tunes by Thomas Bangalter's pops, Daniel Vangarde. Here it is the Gibson Brothers' disco belter 'Heaven' that gets beefed up with bright strings and unrelenting drums, driving you to a place of sheer joy. A more obscure sound comes on the flip with uptempo drums and sumptuous musicianship laid down by some of the best of the disco era in Paris.

TRACK LISTING

Heaven (The Reflex Revision)
You (The Reflex Revision)

Mannequin Records is elated to present Electronic Corporation "1998–2006", a compilation bringing together rare and long unavailable recordings by the German electronic projects heimelektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

For fans of: Le Syndicat Electronique, I-F, Dopplereffekt, Drexciya, Legowelt, Adult., The Hacker, DMX Krew, Gesloten Cirkel, and early Bunker Records electro.

TRACK LISTING

das leben vor augen
der motor treibt uns an
body to body
so suess
freaks are electronic
love in my eyes
music is the voice from beyond
electroviolet
alles klar
memories

Aubrey Hoermann

The Dance Flo-Funk EP

Low-key Detroit producer, Aubrey Hoermann, gained notoriety with his Odic Force label launched in 1998 (home for his own minimal techno productions until 2002).

2001's 'The Dance Flo-Funk EP' is widely considered his most iconic release - a minimal percussive journey and the perfect DJ tool. Stripped to the bone. A sound that echoes the late 90s Detroit movement.
Hugely sought after, now reissued for the first time from the original tapes and remastered with love. Limited copies! 

TRACK LISTING

A1 - Dff (6:46)
A2 - Woodblockpop (6:24)
B1 - Df (7:00)
B2 - Corecharge (6:20)

Kassel Jaeger

Sub Re

Kassel Jaeger (aka François J. Bonnet) returns to Shelter Press after 'Swamps / Things' (SP119), 'Shifted in Dreams' (SP144), and the recent reissue of the classic 'Zauberberg' (SP068), co-composed with Akira Rabelais and Stephan Mathieu.

With this major new album, entitled 'Sub Re', Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales (the historic and essential Parisian studio that Bonnet has been directing since 2018) and revitalizing it through an exposition that focuses less on the clear manifestation of sound material than on its ambiguous evocation.

'Sub Re', in Latin, can mean “under the thing, under the substance, under the matter.” It’s precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album. Under the matter thus signals the concrete aspect of music, but not the concrete that is transfigured, becoming vapor and form, the substrate of an idea. Rather, it signals the concrete beneath the concrete, in the immanence of sounds, in their becoming, as a driving force, like a tide, like a vault of imperious and powerful matter. To achieve this, Bonnet draws on a multitude of sound sources (acoustic, electronic, natural or artificial, created on purpose or found by chance) and a plurality of contexts and occasions to give them form.

The movement, a shell, a bell, a spell, for example, was heard for the first time during a concert organized in Venice in connection with Latifa Echakhch’s contribution to the Swiss Pavilion at the 2022 Art Biennale, while the last movement on the record, signalmirror, concluded a piece presented at the first Sound Biennale in Sion (Switzerland) in 2023. These elements, formed and detached from their original context of appearance, of the places and people who made them possible and listened to them, contribute to a complex layering of climates and sonic worlds and help create a contrasting album, where density and tenuity coexist in a succession of moving waves, sometimes laden with memories, sometimes filled with regrets, always set in motion by their own morphology.

'Sub Re' also refers to a chapter in Victor Hugo’s Toilers of the Sea, a key passage in which the main character, faced with a colossal task, finds himself alone in the middle of the sea, beneath a gigantic shipwreck caught in the jaws of an isolated reef, surrounded by water, currents, and winds, alone to face the impossible. It is indeed beneath the surface that actions arise, decisions are made, and intuition guides us.

TRACK LISTING

1. Sub Re (Part I) 
2. Sub Re (Part II)

Kelela

New Avatar

“My origin story as a songwriter and artist set the context for the catharsis I experienced while making 'New Avatar'. I wrote my very first songs in a punk house. The indie scene I was part of provided me with an outlet for genre-defying experiments that illuminated intersections I was hearing in my head. We didn’t spend tons of time on songs cuz the kids in that scene didn’t care about nailing it. It was (lowkey) about messing up, giving 0 fucks and dismantling the need to be perfect in the first place. It took the pressure off and allowed my first vision of myself to blossom. I used a similar approach with this body of work - moving through with a lot of intention while capturing the freedom and spontaneity that inspired my inception as an artist.

What you’re getting with this album is another facet of my world expressed with a new level of conviction, sometimes in the form of love+devotion and other times in the form of rage.” - Kelela

STAFF COMMENTS

Barry says: A rich, deep distillation of modern R&b, crackling future beats and melodic soulful electronica. Though Kelela's pieces move quickly through influences, it never feels disjointed and results in an album that is as surprising as it is rousing, and shows that her compositions will stand up to multiple listens.

TRACK LISTING

1. Idea 1
2. Point Blank
3. Goin Down
4. Outta Time (feat. A. K. Paul)
5. Against Me
6. Crystalize
7. Retaliation Lullaby
8. Linknb
9. Don't Piss Me Off
10. New Life Forms (feat. Fousheé)
11. The Bridge (feat. PinkPantheress)
12. If We Meet Again

Having built a reputation through an impressive run of standout releases on labels such as Life and Death, United Identities, HOME//GRXWN. and Berg Audio, coupled with an ever-growing presence behind the scenes, Dutch DJ/producer M-HIGH arrives on Up The Stuss for his label debut with ‘What’s Going On’ - a four-track collection that shifts shape as it moves.

A friendship dating back years, with Chris having been a key early supporter of M-HIGH’s productions, regularly digging through fresh sketches and unreleased ideas while both artists carved their own individual paths, that connection now comes full circle here with a heavily anticipated first outing on the label that has long felt inevitable - it was simply a case of when.

Never holding still in one form for too long, he plays with tension and release across the individual tracks, balancing airy, vocal-led moments with weightier, more grounded rhythms, allowing each idea room to unfold without losing momentum. There’s a constant sense of motion that runs through the record from the first minute to the last, yet it’s an EP that showcases distinct sides to his growing sound across each production. Melodic passages drift in and out of focus, giving way to tougher, more angular sections before circling back again.

Subtle nods to classic house touches, from organs to retro-leaning motifs, are reframed through a more off-center lens and direction, while flashes of electro influence and low-slung grooves keep things unpredictable for the later hours. It’s a record that feels built for both peak dancefloor use and also the in-between moments, when the energy shifts, the room resets, and the direction isn’t quite locked yet.

STAFF COMMENTS

Matt says: More vital fist-pumpers from the on-trend Up The Stuss. They fuckin' love an M1 organ and a massive breakdown these cats don't they! Sounds great though...

TRACK LISTING

Side 1
1. What's Going On
2. Never Lonely

Side 2
1. Guess You Know...
2. Wizard of Floyd

MADMADMAD

Overload EP

MADMADMAD’s EP 'Overload' is a thrillingly chaotic, genre-warping ride —think Mr Oizo on acid— that fuses fuzzy basslines, jagged guitars, and analog synth delirium into a dancefloor-ready collage of sound.

From the Kraftwerk-tinged pulse of 'Overload' to the acid-soaked, breakneck energy of 'The Way' channeling The Chemical Brothers or Gesaffelstein, the record constantly shape-shifts while maintaining a raw, propulsive core.

Tracks like 'Mezcal' drift into hypnotic, minimal grooves reminiscent of Aphex Twin, while 'Tout le Monde' and 'Turn It Up' inject playful, off-kilter funk inspired by Tom Zé, Prince, ESG, and Beck.

The title track closes on a high with a gritty, disco-infused groove nodding to early Daft Punk.

Across the EP, MADMADMAD embrace disorientation as an artistic statement, drawing inspiration from Dadaism to mirror the overwhelming, information-saturated chaos of modern life.

Listening to MADMADMAD can be delightfully disorienting, and that quality extends to the band’s collagist, CRT-infused and homemade visual art that accompanies their music. “History goes in cycles, and we feel there’s a correlation with what happened a century ago, when everything was so chaotic and people had a hard time making sense of what was going on in the world,” Benji explains while describing how the band takes cues from the 20th century’s Dadaist movement. “It feels like we’re at that moment again—where it’s quite hard to make sense of everything with so much information every day. There was quite a lot of confusion back then after the first world war and a global pandemic, and the response of the arts was to reflect the nonsensical place the world was at. We feel heavily influenced by that.”


TRACK LISTING

1. Overload
2. The Way
3. Mezcal
4. Tout le Monde
5. Turn it Up
6. Big Fizz

Mammal Hands

Circadia

One of the most influential UK instrumental acts today, Mammal Hands are at the forefront of a new wave of boundary-defying UK artists.

Their music blends jazz, contemporary classical, electronica folk, and minimalism into something instantly recognisable: atmospheric, rhythmically charged and emotionally immersive.

With ‘Circadia’, their ACT debut, Mammal Hands open a bold new chapter: deepening their rhythmic language, expanding their sonic palette and reaffirming their place among the UK’s most boundary-defying instrumental artists. Drawing on jazz, contemporary classical, electronica, folk and minimalism, the trio push their immersive, atmospheric sound further than ever before.

The arrival of drummer Rob Turner (founding member of GoGo Penguin) brings heightened rhythmic focus, expanded electronic textures and a fresh kinetic energy. The result is music that feels both unmistakably their own and thrillingly renewed.

Across the record, the trio balance intricate, hypnotic grooves with cinematic expansiveness, emotional depth and an openness that invites listeners into a vivid, evolving landscape.

TRACK LISTING

Window To Your World
Helios
Alia’s Abandon
Paper Boats
Fallow Tide
Forgotten Friend
A Thread In The Dark
Four Flowers
Submerge

Mandy, Indiana

I've Seen A Way - 2026 Repress

Recorded in caves, crypts, and shopping centers, Mandy, Indiana's debut album 'I've Seen A Way' is everywhere at once: Their first recordings emerged around 2019, with a smattering of early singles released not long after, culminating in 2021’s critically acclaimed '… EP' which saw the band draw early cosigns including a remix from Daniel Avery and support slots from Squid, and Gilla Band. The latter’s Daniel Fox mixed several of the tracks on the album alongside Robin Stewart (Giant Swan) and the album was mastered by Heba Kedry (Ryuichi Sakamoto, Bjork). Like Thomas Bangalter locked in This Heat's Cold Storage fridge studio with Special Interest for a weekend, keeping their setup minimal for maximum effect. Buried found sound samples, sprawling percussive experiments are arranged via oblique references to film soundtrack strategies and experimental video games.. "We take inspiration from films where the language of cinema is disrupted," explains Fair, who takes Julia Ducournau's narrative detournements as a key influence. "We want to alter textures, create clashes, and craft those moments when what you're expecting to happen never comes – by subverting expectations you keep an audience on its toes." Though 'I’ve Seen A Way' was painstakingly crafted, where Mandy, Indiana thrives is the unexpected - and the resulting album sounds like nothing that has come before it.

TRACK LISTING

1. Love Theme 4K VHS
2. Drag Crashed
3. Pinking Shears
4. Injury Detail
5. Mosaick
6. The Driving Rain 18
7. 2 Stripe
8. Iron Maiden
9. Peach Fuzz
10. Crystal Aura Redux
11. Sensitivity Training

MAQUINA.

BODY TRANSMISSION

MAQUINA. embody all the sweaty togetherness and euphoria a collective music experience has to offer. The buzzy Lisbon trio have been getting punks to dance and club kids to pogo – “making the bubbles connect a little bit” – with such fervour they routinely pack out venues and inspire multiple waves of crowdsurfing at any given live show, with over 250 gigs and numerous festival appearances across Europe already under their belt. Still on a high after their first tour of Brazil and KEXP performance as part of Trans Musicales 2025, the three-piece ring in a new chapter with their second LP 'BODY TRANSMISSION': a headbanging trip through high-energy noise-rock, motorik metal, and industrial punk that doesn’t stop moving.

TRACK LISTING

1. Dança (with Dame Area)
2. 4-To-The-Floor
3. Collapsing
4. Agony
5. Bizarro
6. Valve
7. Simulation
8. Step On Me
9. Out Of Fear
10. Pressure/Pleasure

Mofak

Funk Face

"'Funk Face' is a 9-track journey drawing from the raw energy of 80s funk. The concept? A duel between my two personas: the pure madness of P-Funk versus a smoother, late-night vibe.

"It’s a balance between two worlds, designed to follow you anywhere. Whether you’re cruising under the sun or settling into a late-night groove, the album adapts to your mood without ever losing the thread. Blending the influence of Rick James with nods to 90s sitcoms, it’s a cocktail of high-octane BPMs and sensual breathers.

"There’s no room for melancholy here. Just press play, smile, and feel the vibration. 'Funk Face' is, by definition, the ultimate happy face." - Mofak


TRACK LISTING

1. GOT THE LOVE
2. HOUSE PARTY
3. FUNK UP
4. NO TIME
5 CRIME
6. CALL ME
7. SOON
8. SLYDE
9. NIGHT RIDE (outro)

Ovatow made quite a stir when he first started dropping deep dubs on his mysterious MySpace page (the main social media at the time). The tracks on the little crappy audio player got hunted down by a flock of DJ's and label heads. From behind a curtain of anonymity he soon started releasing his material on various labels, becoming cult classics in the dub-techno world. It was 2007 when X-dub first appeared on the Dutch imprint SD Records, followed up by his classic release on Frantic Flowers and a string of other projects while keeping his identity secret to everyone. Years later, the rumors proved true... the artist behind these mysterious projects was non other than the Frantic Flowers / Frustrated Funk label head himself. Just testing the waters around him, receiving release offers from close friends and colleagues while he kept his anonymity up. A fun little joke for himself, though the tracks are still relevant and sought after classics today. Both "X-dub" versions re-appear now, for the first time after almost 20 years, fully retouched and remastered, together with an unknown unreleased jam called "Autistic Navigational Spectrum". This is the first in a series of Ovatow work, revived for the heads that appreciate the foggy deep of the Undacurrnt.

STAFF COMMENTS

Matt says: High grade dub-techno from a previous star of the underground Myspace scene (no, we didn't know it existed either!). Now pressed onto vinyl in super hi-fi fashion, these long lost cuts have never sounded so deep.

TRACK LISTING

1. X dub I
2. X dub II
3. Autistic Navigational Spectrum

Pasadena

Vodichka Nice - Incl. Scruscru & Tony Lavrutz Remix

Deeppa Records kicks off a new 7" series here that aims to pair emerging artists with established names from the label's artistic circle. The opening release introduces Tolyatti producer Pasadena with 'Vodichka Nice', a laid-back, groove-led gem that recalls 'Stepoing Into Tomorrow' era Donald Byrd with its seductive drums, squelchy slow-bass and soft-focus melodic wonder. It's already becoming a fave on the scene and on the reverse, respected producers Scruscru and Tony Lavrutz reshape the original with a remix that leans into deeper club territory, though keeps the bright melodies and inviting horizontal feel. Two sides, two moods, two essential cuts.

TRACK LISTING

Vodichka Nice
Vodichka Nice (Scruscru & Tony Lavrutz Re-Digged Mix)

Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!

When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.

A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.

A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.

STAFF COMMENTS

Matt says: Concocting a sonic world all of his own creation Rudi J brings forth the sound of 'swampy deep zone-hall' for our aural delectation. If you liked that DJ Firehouse from last week, yer gonna dig this. It's a winner from me Bob!

TRACK LISTING

i guess i'm not in tune after all
ftc
falling cards
it's just a phase
j's waltz
slanging talk
expect dis
i'm pretty sure now

Sam Shure debuts on Rekids with the ‘Belinda’ EP. The Berlin-based DJ and producer is joined by I AM YOU label boss Deer Jade for one of its three tracks.

‘Belinda’ EP opens with the title track, where a robust, organic rhythm playfully underpins the fidgety, bit crushed sounds and stabs above, all while the titular vocal is evenly dotted throughout the arrangement. Shure then teams up with Innervisions, Diynamic and Kompakt artist Deer Jade for the aptly named ‘String Theory’, a strong and steady groove shot through with uplifting strings and synth work. Closing the offering, Sam Shure returns solo with ‘No Time To Play’, squelchy sequences winding through rich melodies that steadily build the pressure for a strobe-lit dancefloor adventure.



STAFF COMMENTS

Matt says: Rekids' techo-train chuffs on and one through the night and into the next day's after parties. New signing Sam Shure keeping the flames alive long after the kicking out time.

TRACK LISTING

Side 1
Belinda

Side 2
String Theory feat. Deer Jade 
o Time To Play

Souldynamic celebrates the 10th year anniversary of their all time classic “Equatoriale” with two special re-edited and re-mastered versions, including an instrumental mix and released on vinyl format only on Excedo Records.

“Equatoriale” became Souldynamic's biggest track after the release of the legendary video showing Lil Louis playing it at Concrete in Paris with the acapella of Chuck Roberts - "My House". If you haven't seen it, we strongly urge to watch the video on youtube. I'm getting goosebumps just talking about it! So so very good... And the perfect example of house music's 'full-circle' inclinations, pairing up a (then) modern track with an acapela from the genre's embryonic days. It seems like a simple thing to do, but in doing so Lil Louis blew up this Souldyanmic track and stoked the house music fires that had perhaps started to grow dormant across the scene in the months post-COVID.

The 12" record also includes two more fresh new tracks which make this record perfect for the summer heat. A true piece of house history every house head needs in their collection. Mega artwork too! 


STAFF COMMENTS

Matt says: Yes, it's THAT track, off THAT Lil Louis vid! On vinyl, with sick artwork and two more bonus tracks. 'Our house music!' etc etc

TRACK LISTING

equatoriale 2026 edit
equatoriale 2026 instrumental
cidade da luz
para voce

Curated by Brian d'Souza (aka Auntie Flo), "Plants Can Dance" is a new compilation bringing together a global community of artists, exploring the creative possibilities of biosonification - transforming signals from plants, ecosystems and the natural world into sound. The project marks the culmination of several years of d'Souza’s work across music, ecology and technology.

The album arrives at a time when more artists are turning toward nature as both subject and collaborator, such as Brian Eno’s Earth Percent, which formally recognises Nature as an artist. "Plants Can Dance" sits within a wider cultural shift, which is redefining the relationship between sound and the living world.

The project builds on several years of work by d'Souza, whose "Plants Can Dance" events have taken place across the UK, Europe, India and Africa, appearing in institutions including the V&A, Tate and the Design Museum. What began as a series of intimate gatherings has since evolved into a global platform, reflecting a growing appetite for work that reconnects music with the natural world.

The compilation features contributions from leading practitioners including Modern Biology (Tarun Nayar) in collaboration with saxophonist Zekarias Musele Thompson, OMMA (Olga Maximovam founder of Playtronica), Jason Singh, Dr Helen Anahita Wilson, Justin Wiggan in collaboration with celebrated Norwegian jazz musician Arve Henriksen, Lamine Touré, Bit Marten and Balam, alongside new work from d'Souza himself. Using a range of tools - from commercially available devices to bespoke modular systems - artists translate electrical activity, environmental data and organic processes into musical material.

The processes behind each piece differ - from interpreting plant biodata to translating wind patterns into compositional structures - and the results are as varied as they are compelling. The record spans ambient, jazz, electronica and modern classical, yet all pieces are unified by a shared intent: to reimagine music as a space of collaboration between human and more-than-human worlds.

At the core of "Plants Can Dance" is a question about how we define music, and how we choose to listen. Traditional musical forms, with their fixed tempos and predictable structures, give way here to something more fluid and less easily controlled. The listener is invited to surrender expectation and engage with sound as an evolving environment rather than a linear narrative. In this context, the compositions function as what d'Souza describes as “acoustic ecologies” - sonic systems shaped by biological, environmental and elemental forces unfolding in real time.

Accompanying the release is a printed zine offering reflections from each artist, and deeper insight into the ideas and debates surrounding this practice. Rather than presenting definitive answers, "Plants Can Dance" positions itself as an artistic exploration grounded in curiosity, experimentation and critical thought.

Ultimately, "Plants Can Dance" is less concerned with proving whether plants “make music” than with changing how we listen. By inviting audiences to engage with sound shaped by non-humans, it opens up new ways of perceiving the environments we inhabit - not as passive backdrops, but as active, dynamic participants in a shared ecological network. In doing so, it offers a quietly radical proposition: that by listening differently, we might begin to relate to the natural world differently too.

TRACK LISTING

Side 1
1. Brian d'Souza - Hector's Sunflower (Edit)
2. Jason Singh - Tsubaki
3. Modern Biology & Zekarias Musele Thompson - Growing Roots
4. Justin Wiggan & Arve Henriksen - A Spectral Wind
5. Helen Anahita Wilson - Porcupine and the Outdoor Girls (Dr Who Mix)

Side 2
1. OMMA - voices
2. Lamine - Bougainvillea
3. Bit Marten - Sansevieria
4. Balam - Ixora Coccinea
5. Brian d'Souza & Lamine - Monstera Vs SnakePlant


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