‘Love it! Electronic wonkiness at its finest’ - Richard Norris (The Grid)

TEA, CAKES AND THE (WO)MAN MACHINE

Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.

It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.

Frankly this music doesn't behave itself in any way you might expect. Plugged-in post-rave-pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.

“The Fourth Door” is an English electric meditation that feels organic and effortless. It pairs nicely with “The Perfect Light” - which suggests the dreaminess of early Kraftwerk, Krautrock and Cluster.

“Migration” and lead track “Northern Flicker” are hazily nostalgic acidic squelchers, to summon the great dance music reviewer James Hamilton!

Sophie Stone and Grace Griffin's creative and collaborative friendship goes back to the days of influential underground Sheffield venue, Club 60.
In 2021 they released an album as Surreal Appeal called “Gently Deranged", described as ‘Northern Electro at its mesmerising best’ by Now Then Magazine...

"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: ‘We’ll talk about pretty much owt if you provide the tea and cakes’. 

STAFF COMMENTS

Matt says: It's bonkers, it's batshit, it's BRILLIAANNNTT!! Mad cat electronix that should appeal to fans of both The Eccentronic Research Council and Moonlandingz. Full of contradictions, it's both jugular hitting yet psychedelic, proving instrumental electronica can be both fun and sophisticated at the same time; no beards were twiddled in the making of this record!!

TRACK LISTING

A1. Migration
A2. Northern Flicker
A3. Analogue Epilogue
A4. The Perfect Light
B1. Sonate
B2. Inflight Entertainment
B3. The Fourth Door

Brat pack crossover stars Charlie XCX loved Altern 8's rave generation anthem "Frequency" so much they not only sampled it for the remix of their smash "365" but started their live shows with the remix.

The resulting renewed interest in "Frequency" has led to four 2025 remixes of the gem which was originally released as a 10,001 numbered limited edition in 1991. That sold out instantly and is now acclaimed as one of the rave scene’s most enduring classics.

Altern 8’s Mark Archer links up with long time collaborator Shadow Child for the A1: M.A.S.C Extended Remix which delves into the tougher strata of house. A2 comes from Tenerife’s DJ Jonay who delivers a stunning old skool influenced breakbeat mix. A3 is the Aires remix. This was done especially for Altern 8’s appearance at Glastonbury and various other summer festivals where IT WENT OFF! A4 Kin’s 'Back To 91' remix is full on drum & bass.

Label artwork is a tribute to Charlie XCX graphics - the samplers got sampled and repaid the compliment. Limited edition vinyl.

STAFF COMMENTS

Matt says: Apparently with renewed interest from Charlie XCX's fanbase; UK rave legends reissue "Frequency" with some tidy fresh remixes and some "Brat"-inspired artwork. How cool?!

TRACK LISTING

A1. Frequency (M.A.S.C Remix)
A2. Frequency (DJ Jonay Remix)
B1. Frequency (Aries Remix)
B2. Frequency (Kin's Back To 92 Remix) 

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record 'Simple Things' finally realise Wally's vision for select backing tracks from his beloved 'Colors Of Silence'.

The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits.

Simply put, 'Simple Things' is another slice of simply stunning Wally Badarou genius.

TRACK LISTING

1. It Couldn't Be You
2. You Can't Hide Always
3. We'll Make It Again
4. Walk Straight Ahead
5. Painting My Life Blue
6. Just Two Lovers 

“Tunggak Semi” is the third album from Indonesian musician and producer Bambang Pranoto. Originally released in 2000, it’s an exemplary slice of what has become his signature style, a dream-like meditation on aspects of nature, combining elements of accordion, acoustic guitar, flute and percussion. The compositions cross eastern and western notation to inhabit a world of their own, a world between worlds, where harmonies reflect the beauty and joy of nature.

Bambang had a rather atypical entry into music, and studied electronics and telecommunications, before he took advantage of the wave of computer software like Cubase and Protools in the 1990s that enabled him to set about recording his own compositions and soundscapes. After playing in groups, he developed his own approach to constructing his productions. He invites musicians to record interpretations of his themes, which he then pieces together in Protools like a jigsaw puzzle. “The musicians have never even met!” he chuckled on a Skype call.

“Tunggak Semi” refers to the giant trees that appear all over Bali, and their process of renewal and regeneration. “If you cut the tree, and leave the roots, they will grow again. Everytime we cut, they grow again. It’s limitless. This philosophy means there’s always something new coming, whether an idea or music, anything.” This approach has grown out of Bambang’s studies into meditation, including Indian and Chinese scriptures, also Balinese and Indonesian religions. Music, like meditation, is a daily practice, and acceptance of the music and its ‘unfinishedness’, forms a central part of the process.

“We must not just think, but we must also feel, and we must accept that feeling,” explains Bambang, and that’s a step of opening one’s mind to possibility. It seems in keeping with two of Bambang’s musical inspirations, namely Ryuichi Sakamoto and Peter Gabriel, both known for their love of world folk music, and fusion of musical traditions. That’s mirrored in Bambang’s own collage-like approach, recording elements and piecing them together to make something unimagined. While the acoustic sound palette for “Tunggak Semi” is rooted in live recordings, Bambang is not afraid to put the digital technology to good use.

“We have to use the computer as a tool in the best way we can,” Bambang says. “Sometimes people say music is made by people, not by the computer, but it’s just another piece of equipment. What can we compose from this equipment? It’s technology music!”

Written and produced by Bambang Pranoto at interactive garden studio, Depok, Bogor between September and December 2000. 2025 version remastered by Wouter Brandenburg at Brandenburg Mastering.

STAFF COMMENTS

Matt says: Indonesian new age music, primarily driven by some mystical suling (bamboo flute) passages and gently picked guitar lines. Instantly taking you off into the exotic islands of the Pacific Ocean.

TRACK LISTING

Rain In The Noon
Parahyangan Suite
Wild Flower & The Bees
Wave Of Life
Mother Earth
In The Trade
Tunggak Semi
Remembering Of The Bubats War
Sekar Ceplok Piring

Cyphon Recordings presents the latest release from Berwick, a Sheffield by Bristol producer and DJ carving out a reputation for razor-sharp electro and forward-thinking club sounds. With a background steeped in underground electronic music, Berwick has steadily built his name through a string of uncompromising releases and energetic live and DJ sets, blending the grit of classic electro with a modern, rave-inspired touch. His new EP showcases his most refined work yet - four tracks built for the floor, designed to move bodies and shake systems.

Opening with "Fall & Melt", Berwick sets the tone with a punchy, contemporary electro cut. Its driving percussion, crisp groove, and propulsive energy make it a peak-time weapon, balancing raw dancefloor impact with seriously fat production finesse. Next up, "Powerflip" dives deeper into the shadows. Gnarly synth lines, guttural bass, and clipped vocal hits collide to create a darker, more menacing side of Berwick’s electro vision. With eyeball-rattling low-end, it’s a track that demands a big system to unleash its full force.

On "Impossible", Berwick shifts gears into an even faster lane. Elasticated bass and synths bounce around the crisp drum groove, pushing the pace with an adrenaline-fuelled rhythm that’s as urgent as it is infectious. Rounding off the EP, fellow Bristolian Sam Lester takes "Powerflip" into new territory with a remix that leans towards wonky tech house. Stripping back some of the raw menace of the original, Lester reshapes it with a 4/4 kick, layering in hypnotic textures and a slick low-end that makes it a tripped-out weapon for house and techno sets alike.

This release cements Berwick’s position as an artist unafraid to push electro into bold and uncompromising spaces, while also opening the door to cross-genre interpretations.

STAFF COMMENTS

Matt says: Cyphon continues to be an interesting addition to the clubscape with another fabulously stimulating electronic dance doozy, this time from Bristol based Berwick.

TRACK LISTING

A1 - Fall & Melt
A2 - Powerflip
B1 - Impossible
B2 - Powerflip (Sam Lester Remix)

Blue are a UK duo that emerged in the 90s and were signed to the late great Andrew Weatherall's cult labels Sabres of Paradise and Emissions Audio Output. They made a triumphant return after an 18 year hiatus to drop a double album of archive material in 2021, and here with the newly launched Apricity Records. 'European Heart' is a sound design to slow heart and mind with whimsical chords floating out of reverb-rich hits and deeply buried dub rhythms. 'Hardlanding' has a more underwater and cavernous dub feel, then 'Down We Go' introduces a little tension with more sustained chords and textured drum breaks before 'The Balancing Point' shuts down with hang drums and icy synths creating subtle unease.

TRACK LISTING

European Heart
Hardlanding
Down We Go
The Balancing Point

The taxidermy parrot had been a constant presence, there on the mantelpiece in Mike Bourne’s childhood home for as long as anyone could remember. No one was quite sure where it had come from – an heirloom? A chance find from an antique shop? All that seemed clear was that over time it had assumed mystical significance, watching calmly over everything that ensued. Following a troubled – and by some accounts haunted – sojourn in a museum, Mike became the ultimate owner of this parrot. There once again it sat, in his room and overlooking his home studio, as he sculpted music that took on unforeseen new dimensions. He pursued these uncanny vibrations right through to the creation of Bruise Blood’s debut 'You Run Through This World Like An Open Razor'.

The consequence is an album very much driven by supernatural forces – spectral influence moving through machine form to summon grandeur and abjection both. Whilst Bourne’s work with Teeth Of The Sea might give dystopian signposts to some, the soundscapes and explorations here – channelling techno, industrial, post-punk, minimalism and beyond – function to sculpt one singular vision. Recorded and mixed by Bourne himself and mastered by Amir Shoat (Dean Blunt, Klein, John T.Gast) it’s an audial realm as redolent of the disorientating world of a Harlan Ellison short story as bathing in the relentless strobe light of a 3AM dancefloor epiphany. Perhaps Bruise Blood’s vibrant, excoriating debut is the sound of humanity moving with slow inevitability towards darker times, alchemically transmuted into cinematic serendipity and beauty. Perhaps it’s merely the inspired work of one man, driven by forces he doesn’t entirely understand.

Perhaps only the parrot - the spirit animal still standing sentinel as we embark on an uncertain new aeon – really knows.

TRACK LISTING

1. The Pressure
2. Cede
3. You're In Control
4. Mindseye
5. Until The Sun Breaks Down
6. Oh But You Can, Oh But You Will
7. You Run Through The World Like An Open Razor
8. Glass Nine

Marking the five year anniversary from its original vinyl release and following a mammoth Minecraft year, that saw the release of the global box-office-topping ‘A Minecraft Movie’ starring Jack Black and Jason Mamoa, Ghostly International are making an ultra-rare ‘Warp Speed’ vinyl variant of C418’s legendary video game soundtrack available for the first time at UK retail.

Originally self-released in 2013, 'Minecraft Volume Beta' was C418’s longest batch of music to date at nearly 140 minutes. The collection features tracks that were “silently” added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld’s unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.

TRACK LISTING

1. Ki
2. Alpha
3. Blind Spots
4. Mutation
5. Biome Fest
6. Aria Math
7. Taswell
8. Beginning 2
9. Moog City 2
10. The End
11. Kyoto
12. Chirp
13. Mellohi
14. Stal
15. Eleven
16. Far
17. Intro

Nick Cave & Warren Ellis present a suitably epic, wondrous soundtrack suite for Mars, the National Geographic Channel's 6-part series. The fictional TV series tells the story of the first astronaut crew on a mission to Mars in 2033. Directed by Everardo Gout and produced by Ron Howard & Brian Grazer, the series aired in November 2016.

TRACK LISTING

SIDE A
1. Mars Theme
2. Mars
3. Daedalus
4. Earth
5. Science
6. Space X
7. Space Station

SIDE B
1. Symphony Of The Dead
2. Planetarium
3. Towards Daedalus
4. Life On Mars

Nick Cave and Warren Ellis crafted the evocative soundtrack for the biopic Back to Black, which chronicles the rise and impact of Amy Winehouse. Their composition is a haunting yet soulful homage, blending melancholic strings and ambient soundscapes to mirror Winehouse’s turbulent journey and profound artistry. The duo’s music underscores the film’s emotional depth, capturing both the rawness of Winehouse’s struggles and the brilliance of her musical legacy

TRACK LISTING

SIDE A
1. Opening
2. At The Taxi
3. Park Bench
4. Tattoo Parlour
5. Dublin Castle
6. Snooker Hall
7. Sort Yourselves Out

SIDE B
1. Soho To Glastonbury
2. Holloway Prison
3. The End
4. Song For Amy
5. Song For Amy (Reprise)

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.

“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.

“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”

‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”

Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.

Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.

The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.

At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.

“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”

Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris. 

TRACK LISTING

A1) Gift And Wound
A2) Infinite Roller
B1) No Pills U
B2) Janus Modal
C1) 1 BEDO Bailiff
C2) Globecore Flats
C3) Blowtorch Thimble
C4) Civilians
D1) Inpatient’s Day Out
D2) Who Booed The Goose
D3) 5 Millionth Cave Painting
D4) Negation Loop
D5) Micro Lyf

For the ninth installment of the _NRV series, Romania’s Cosmjn delivers “The Music Behind EP” - four hypnotic cuts that showcase his trademark swing and subtle intensity. Cosmjn is a name most in the minimal circuit perk up just seeing on the sleeve. He runs the Radial imprint together with LIZZ, who appeared on _NRV006, in case you missed that. “Doom Alarm” sets the tone with driving percussion and a shadowy groove, while “Dirty Wob” leans into gritty bass pressure and late-night warehouse energy. On the flip, “Nancy Byoss” pushes forward with a heavy, propulsive workout built for maximum floor impact, before “The Music Behind” closes the record with a spacious, dynamic trip that stretches into the after-hours. A versatile EP, primed for the booth and the bag alike.

STAFF COMMENTS

Matt says: Nervous' techy sub-label _NRV conclude what's been a momentous year with this brilliantly constructed, late night beast. Two tracks of glitchy, highly textural electro; and two tracks of fat, voluptuous tech-house with tons of attitude. The perfect balance of grit, groove and energy, sublimated by machines into a magical nightclub ether.

TRACK LISTING

A1. Doom Alarm
A2. Dirty Wob
B1. Nancy Byoss
B2. The Music Behind 

Lovely little repress of Daft Punk's now iconic 'Random Access Memories', time to 'Get Lucky'!

Drawing inspiration of the sounds of the 70s and 80s, "Random Access Memories" serves up bouncing disco (Worldwide summer smash "Get Lucky" and "Lose Yourself To Dance"), prog jazz ("Giorgio by Moroder" and "Touch") and West Coast AOR ("Instant Crush", "Beyond" and "Fragments of Time"). The influences are similar to 2001's "Discovery", but rather than samples, the album instead features an all star roster of collaborators from all over the musical world recorded live in studio sessions.

TRACK LISTING

1. Give Life Back To Music
2. The Game Of Love
3. Giorgio By Moroder
4. Within
5. Instant Crush
6. Lose Yourself To Dance (Feat. Pharrell Williams)
7. Touch
8. Get Lucky (Feat. Pharrell Williams And Nile Rodgers)
9. Beyond
10. Motherboard
11. Fragments Of Time
12. Doin' It Right
13. Contact

Dam Swindle's new "Backyard Galaxy" EP is an ode to house music and the classic Swindle sound.

It's only been a few months since Dam Swindle released their highly acclaimed album "Open" and already the boys are back on Heist with a new release that takes you right back to the dancefloor. Where they've spent the better part of the last 3 years writing their album with all its sonic explorations and collabs, this new EP sees the duo return to their roots of club-ready house music. The "Backyard Galaxy" EP comes with 4 high-energy house tracks made in their Amsterdam studio that have been road-tested all summer.

EP opener "Feel it much?" has all the ingredients of a classic Swindle heater, with warm pads, rich organic percussion and tons of soul. There's a simple and effective vocal running throughout the track that blends nicely with the classic house elements and electronic textures that are layered throughout the track. There's an effortless flow to this track and it comes as no surprise that it has been a highlight in their sets this summer.

The EP title track "Backyard Galaxy" is an up-tempo Latin-themed jam with a hint of old school techno. The synth stabs hit you just right and the modulated vocal chops are a lovely boost for the build ups and add a touch of swing to a track that already has a tight groove. Add to that a huge breakdown and drum roll and you've got yourself a track that'll light up any dancefloor.

On the flip, we're moving into garage territory with the shuffling vibes of "Rhythm Baby". The current popularity of the genre is not missed on Dam Swindle, but when you look closely, you'll see this track is full of elements that the duo have built their legacy on. The vocal chops, transposed key samples and swing are all on point and work just as well below, as above 130 bpm if speed is your thing.

The EP closes with the NY-style house cut "What You Give", which reminds us of Dam Swindle's remix of Cinthie's Heist hit "Won't U take me" with its lush organs and moody keys. It's perhaps the most classic house track they've made in a long time and you can hear they had a great time recording this. It's playful, vibey and catchy. Just the way we like it.

Dam Swindle might have delivered one of the standout cross-over albums of 2025, but on this EP the message is clear: once a househead, always a househead.

STAFF COMMENTS

Matt says: It's Dam Swindle on their own label? You know what that means? Bona fide fist pumpers, tops off energy and fun by the bucket load. But don't let that detract from the production chops on show year - the pair have still got studio style in abundance; rolling out the terrace ticklers till your mid-paced canter builds into full grand national mode! Giddyeup!

TRACK LISTING

A1 Feel It Much?
A2 Backyard Galaxy
B1 Rhythm Baby
B2 What You Give

Daphni's classic debut 'Jiaolong' finally gets a repress after being long deleted for several years. Here's what we had to say about it all the way back in th ol' 2012:

"Debut long player from Daphni, aka Caribou on his own Jiaolong imprint. It's a stunning collection of techno, electronica and African influences."

TRACK LISTING

1.Yes, I Know
2. Cos-Ber-Zam - Ne Noya (Daphni Mix)
3. Ye Ye
4. Light
5. Pairs
6. Ahora
7. Jiao
8. Springs
9. Long

Daphni's 'Joli Mai' finally gets a repress after being long deleted for several years. Here's what r Baz had to say about it in 2017:

"It seems to be 'A thing' that Four Tet and Dan Snaith (Daphni / Caribou) release stuff very near each-other, and this is no exception. This time we get a fascinating and satisfying jaunt through funk, borderline ambient and downright tribal club tackle, peppered with the ever-present vocal snippets. Lovely."

TRACK LISTING

1. Poly
2. Face To Face 
3. Carry On 
4. Vulture 
5. Xing Tian 
6. Vikram
7. Tin 
8. The Truth 
9. Hey Drum 
10. Medellin 
11. Joli Mai
12. Life's What You Make It

The first part of this wonderful new album from Mexican pair Destino Sonido aka a new coming together of veteran Juan Soto and new school vocal talent Labibe, got us well and truly hot under the collar. Part 2 now drops in quick succession and is another summer-ready blend of disco, funk, synth wave and hooky pop. 'Ardiente' is percussive, hip-swinging magic, 'Night Creatures' brings more driving grooves with withering sci-fi melodies and 'Destino Sonido' has sleek synth bass and Donna Summer vibes, while Disco 86 ups the cosmic energy with a fine remix. 'Somos Espacio' comes as lush ambient then chugging Italo, and elsewhere Matt FX brings a nice deep house rework to close.

TRACK LISTING

Side 1
Ardiente (feat Altoparlante)
Night Creatures
Destino Sonido
Destino Sonido (Disco 86 Remix)

Side 2
Somos Espacio (Trip)
Somos Espacio
Fuego
Ardiente (feat Altoparlante - Matt FX Remix)

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

TRACK LISTING

Malpas Mines
Magic Quest Across Taull
Pont De Suert
Mountain Mist
Sant Quirc
Eril La Vall
Midnight Draft
Pantocrator S Portal Outro

Shadowy house business here from new imprint Liquid Luve Discs who enlist Leipzig producer DJ Balaton for their inaugural release. There's an inventiveness, poise and sophistication at work here with particular attention to deep grooves and playful sound design.  Deep n dubby, it sits nicely alongside microhouse productions from the early 00s such as Akufen or Matthew Herbert or even Ricardo Villalobos. I'm especially liking the rich, velvety textures and red-lit sonic hues of this understated, but highly functional four tracker. Warm up DJs - you need this in your record bag! 

STAFF COMMENTS

Matt says: Understated & sleek deep house that harks back to the golden days of microhouse. Perfect for warm-up DJs or the soundtrack to after the afters when it's down to your nearest and dearest.

TRACK LISTING

1. Flow Key
2. Reso 02
3. Back To The Mood
4. Push Yourself

Effgee returns on his own imprint Fellice with three deep house cuts: warm, soul-inspired and topped with dreamy sampled vocals. Each sleeve is hand screen-printed by the artist and the release is limited to 250 copies.

Another special feature is the label's first remix: a greeting from sunny Bari to the dancefloors by Italian deep house fratello Nico Lahs.

"Your Light" reaches back to effgee's production roots - soulful sampling, dreamy textures and groove-heavy. "Birds" shifts into a fresher club direction, while "Roland Bass" brings together the essentials of his production recipe: analogue synths, sampling, and a punchy kick at the core. "Your Light" is a deeply personal record - both musically and visually.

STAFF COMMENTS

Matt says: Feelin' this one... jut the perfect balance of elements, and tons of deep house flavour. Uplifting, understated, sexy as hell and endlessly grooving. Straight in the bag.

TRACK LISTING

A1 Your Light
A2 Birds
B1 Roland Bass
B2 Your Light (Nico Lahs Remix)

'Lepidoptera'—the scientific name for butterflies, meaning “scale-winged”—is also the title of the seventh studio album by renowned music producer, bestselling author, ecologist, and knowledge mediator Dominik Eulberg. More than just an album, Lepidoptera is an artistic manifesto: a celebration of butterfly diversity and a profound ecological statement.

Released via !K7 Records, 'Lepidoptera' blends his signature sound with an urgent ecological message. It marks the pinnacle of a music career spanning over three decades.

Eulberg’s fascination with butterflies began in early childhood and has since become a lifelong passion. Drawing from years of experience as a producer and DJ, Eulberg presents his most technically ambitious work yet.

At the heart of 'Lepidoptera' are twelve native butterfly species, handpicked by Eulberg from the 3,700 known species in his homeland. Each track is inspired by one species, shaping the album's structure and grounding its creative focus.

The result is a richly textured and immersive journey that moves fluidly between pulsating, danceable rhythms, ambient soundscapes, and orchestral flourishes.

STAFF COMMENTS

Barry says: Yet another stunning set of nature-themed IDM tidbits and roaring, dancefloor breakdowns from Dominik Eulberg. Eulberg's work has always been imbued with a sort of ethereal otherworldliness that I think probably comes from the influence of trance and braindance that clearly runs through his work. Another impeccable epic from one of my favourite producers around.

TRACK LISTING

1. Kleines Nachtpfauenauge
2. Großer Schillerfalter
3. Brauner Bär
4. Roter Apollo
5. Grünes Blatt
6. Schwalbenschwanz
7. Stachelbeerspanner
8. Trauermantel
9. Mittlerer Weinschwärmer
10. Wundklee-Bläuling
11. Totenkopfschwärmer
12. Tagpfauenauge

It was the arrival of a Studer A80 master recorder at the front door of Sam Shepherd-otherwise known as Floating Points-that caused him to begin building the studio that led to the creation of his debut album, Elaenia. After a slight miscalculation meant that he could not physically get the thing inside his home, what happened next can only be described as a beautiful example of the butterfly effect. Breaking away from making electronic music on his laptop, the DJ, producer and composer spent the next five years engineering Elaenia, all the while deejaying in cities across the globe and working towards his PhD in neuroscience. An incredibly special album that draws inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, Elaenia-named after the bird of the same name-is the epitome of the forward-thinking Floating Points vision in 2015.

TRACK LISTING

Side A
1. Nespole Track
2. Silhouettes (I, II & III)
3. Elaenia
Side B
4. Argenté
5. Thin Air
6. For Marmish
7. Peroration Six
8. Precursor

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

STAFF COMMENTS

Matt says: Sumptuous blankets of celestial and serene ambience so rich and so heavy you'll feel crushed by their immense beauty. Like sipping liquid gold straight out of an angel's teat!

TRACK LISTING

Nascer
Pássaros
O Caminho Da Estrela
Planalto
Renascer
Asa
Corrente
O Caminho Do Regresso
Fantasma

"Quadrilocular EP", Morgan Geist's first 12" record, originally released in 1994 on Metamorphic Recordings is remastered from the original tapes and features artwork inspired by the 1994 edition. A melodic Midwest techno classic, Geist composed, recorded and mixed the project on a minimal, tape-based setup in his college dorm room in Ohio. Nonetheless, the sophisticated programming and meticulous mixing techniques that would characterize his later discography were already evident.

A million miles away from the languid and disco-inspired Metro Area project (alongside Darshan Jesrani), these are urgent & primitive techno cuts; caught up the excitement and early development of the genre (remember this was 1994 - these tracks still sound pretty futuristic today!); with lashings of acid, wobbly funk and pounding drum machines. As per the original release, Dan Curtin's super deep, is-it-techno? is-it-house? remix is included. Available for the first time in yonks - don't sleep!

TRACK LISTING

A1. Room 120-2
A2. Vectors Of Interpretation
B1. Spillway
B2. Room 120-2 (Dan Curtin's Re-work)

Aged to perfection at 31 years young, '76:14' is described as "unfathomably beautiful out-of-time masterpiece“ in The Guardian's ‘1,000 Albums to Hear Before You Die’ list. Certainly, on release it was clear that it was something special, and not just because it was named after its total running time (though in fact it is shorter) and each track is also titled after its respective length.

Tom Middleton and Mark Pritchard, the duo behind Global Communication and other aliases, stated in the sleeve notes that this was intended to avoid the implication that there was any specific meaning or subject mater to their compositions, leaving the listener free to interpret it according to their own imagination. And as the record is a certified classic of 1990s ambient and electronic experimentalism (clearly influenced by greats like Vangelis and Brian Eno), sweetly melodic, soothing and largely beatless, it is almost impossible to listen to it without eliciting extreme relaxation and flights of mental fancy.

As the Guardian put it, it’s a great example of a musical timeline that ran parallel to Britpop, “where Orbital, not Oasis, were the most important band at Glastonbury and a couple of chaps in thrall to Detroit techno, made an album while looking out over a field of cows in Somerset.”

TRACK LISTING

1. 4:02
2. 14:31
3. 9:25
4. 9:39
5. 7:39
6. 8:07
7. 5:23
8. 0:54
9. 4:14
10. 12:18

Part 3 in the Instruments of Rapture saga expands with "Corporate Cosmology" - three starlit excursions for boardroom-weary, night-shift dreamers. “You Could Be Hiding” touches down first: a strutting, uptempo disco heartbreaker with a bassline and strings wired to the stars. The flip swings low with the pitched-down swagger of “Do It 2 The Max” (a true slo-mo disco standard!), before carrying us home with the breezy, mid-tempo soul of “Light Vacation". Excavated from the vaults of The Revenge! 

STAFF COMMENTS

Matt says: Three more classics from the Instruments Of Rapture vault excavating for our listening and dancing pleasure. Particularly of note here is "Do It 2 The Max", which pretty much solidified the slo-mo house blueprint when it first came out in 2009. Proper history!

TRACK LISTING

A. You Could Be Hiding
B1. Do It 2 The Max
B2. Light Vacation

Step onto the dancefloor and relive the golden age of club culture with the revival of Jon Pleased Wimmin’s iconic anthem “P.A.S.S.I.O.N,” brought back by Full Circle in a brand-new package of remixes. Following the success of the Tin Tin Out Mix reissue in 2023, this release features fresh reinterpretations from some of today’s most exciting names, including the legendary Demi Riquísimo and a brand new remix from Jon himself with Paul Morrell, a triple platinum selling remixer, for the likes of Ava-Max, Kelly Clarkson, All Saints & Troye Sivan.

Jon Cooper, universally known as Jon Pleased Wimmin, became a defining figure of the UK scene thanks to his flamboyant presence and finely tuned knack for getting the party started.

From his beginnings as a face on London’s late-80s dancefloors, Jon made the leap from clubgoer to DJ in 1991 with his Cabaret act The Pleased Wimmin, catching the eye of Danny Rampling and securing sets at the legendary Milk Bar. His unmistakable style, fearlessness behind the decks, and sheer love of music led to him touring the world, being voted 6th in DJ Magazines' Top 100 DJ poll and reaching Top 30 with the original release of P.A.S.S.I.O.N. He is still playing out weekly across Europe & the U.K.

With Full Circle’s revival, P.A.S.S.I.O.N bridges past and present, paying tribute to Jon’s legacy while propelling the track into a new dimension. Alongside Demi’s deep, groove-heavy rework, the package also includes a brand-new Jon Pleased Wimmin & Paul Morrell Remix, road tested by Jon this summer at Pikes & 528 Ibiza, which injects fresh energy and an edge while staying true to the spirit of the original.

This isn’t just a reissue; it’s a chance to own a piece of dance music history, reimagined for today’s floors. Grab your copy, feel the groove, and let these remixes guide you back into the feeling of where it all began.

TRACK LISTING

A1. Demi Riquísimo Remix
A2.Jon Pleased Wimmin & Paul Morrell Remix
B1. Tin Tin Out Mix
B2. James Pepper & KLP Edit

Following the monumental release of the JS Zeiter album, Lempuyang is back with a VIP remix 12" packed with stellar reworks. Legendary minimalist and tech house man Dean Decosta kicks off with a Reconfiguration of 'Arrival' that rides on fathom-deep drums with gently churning percussion and endless reverb. Rod Modell's Darker mix has more intent but remains silky smooth and deft then the JS Zeiter Reshape brings some more techno energy with a frictionless groove topped with dusty hi hats. Mike Schommer shuts down with a gently broken beat dub of 'Pradox' for early morning sessions.

STAFF COMMENTS

Matt says: We find James in the midst of another purple patch. Totally at one with his machines and conjuring up meticulously detailed, seemingly endless, high voltage soundscapes. Dive into their unparalleled depths!

TRACK LISTING

"Arrival" (Dean Decosta Reconfiguration)
"Desire Line Rod Modell Darker Mix" (Rod Modell Darker Mix)
"Interplay" (JS Zeiter Reshape)
"Paradox" (Mike Schommer Remix)

Ata Kak created a peculiar slice of Ghanaian music history with his debut album “Obaa Sima”. While it barely made a ripple at the time of its release in 1994, the cassette found a new life online in 2006. A not-sounderground cult obsession grew after it appeared on the blog Awesome Tapes From Africa as its very first post, a sort of manifesto for the project. His addictive amalgam of left-field electronic music and Twi-language hiplife reached surprising levels of awareness among music fans of many stripes. The mystery behind the musician’s identity grew. Eventually Yaw Atta-Owusu came out of the shadows, from his quiet home in Kumasi, to tour the world playing high-energy, sweat-soaked performances at major festivals like Glastonbury, Sónar and Pop Montreal.

Now, for the first time since 1994, Ata Kak releases new music. Honed in studios around Kumasi over the last several years, the songs feature the rapper-singer’s acrobatic rap, signature scatting, dramatic drums and even traditional Akan harp. The compositions are more ambitious than his earlier work, with more complex arrangements and layered harmonies. Ata Kak’s new songs are also the natural expression of a restless artist—he is a prolific poet and author of a half-dozen books, as well as an active gardener and busy painter. Born in Ghana in 1960, Ata Kak wasn’t always involved in music. But his travels and openness to the world lead him into the music industry. While living in Germany, he was invited to play drums in a reggae band and subsequently played in highlife bands in Ontario after moving to the Toronto area. He recorded “Obaa Sima” there at his home studio and released it in Ghana in 1994. He didn’t participate in music much in the intervening years until “Obaa Sima” was reissued in 2015. He started performing his song live with the help of a brilliant cast of Londonbased musicians and has toured three continents and played to thousands of fans in venues of all kinds.

TRACK LISTING

1. Batakari (4:58)
2. DJ (3:54)
3. Medoba (4:47)
4. Osoowa (4:41)
5. Yasi Town (4:34)
6. Kae (3:27)

There is no bigger surprise internet music success story than that of Ata Kak. The Ghanaian rapper-singer released a tape quietly in 1994 only to be rediscovered online in 2006 as the pre-streaming blog-fueled online music collector movement was in full swing. The wildly addictive confluence of lo-fi house with earnestly-rendered, full-throated Burger Highlife captured the hearts of music heads around the globe in the mid-2000s. With the help of his London-based band Ata Kak played shows worldwide and graced enormous stages performing to thousands of fans. The seven songs on Obaa Sima have delighted and confounded listeners since it appeared as the inaugural post on the Awesome Tapes From Africa blog. A well-documented years-long search for the singer concluded with a reissue in 2015. Despite painstaking work by ATFA’s longtime mastering engineer collaborator Jessica Thompson, the audio source was not of superior fidelity. The original DAT tape was moldy and disintegrating. Now, after years of searching for the highest quality source cassette, Ata Kak is making available the Obaa Sima Anniversary Remaster. We can finally hear the now-legendary left-field dance floor classic in glistening-clear audio for the first time. The original Obaa Sima reissue has shipped more than 10,000 LPs and the cassette has been downloaded from the original blog post hundreds of thousands of times. Ata Kak played intensely-energetic shows at clubs and festivals all over on the strength of this classic recording. The deluxe edition of the new remaster includes a splatter-colored LP and a DVD documentary with previously unreleased footage.

TRACK LISTING

1. Obaa Sima (5:38)
2. Moma Yendodo (5:33)
3. Adagya (4:54)
4. Medofo (2:45)
5. Daa Nyinaa (6:08)
6. Yemmpa Aba (4:32)
7. Bome Nnwom (5:28)

Manchester's finest techno veteran returns to the hallowed halls of Tresor after her debut on the label caused a mighty rukus. Perfectly showcasing her gnarly sound of fried circuit boards, overdriven drum machines and raw, primal energy; "Echoes Of The Live Wire" encapsulates her decades-long study of Proper Techno, aided and abetted of course, by her time spent behind the counter at Easter Bloc. 

Alongside releases on her own label, Dark Machine Funk; remixes for labels like Blueprint, and a hectic touring schedule; her two releases for Tresor have, in my opinion been some of her finest work to date. With sound design that sticks two fingers up to the Abelton preset also-rans; aggressive, panel beating drums, and production that oozes that lucidity and FUNK like the Detroit greats - all the while maintaining that up-all-nite, wreckin' ball energy that the Berlin crowd know and love. Honestly one of the best to currently do it. Don't sleep! 

STAFF COMMENTS

Matt says: Kerrie's iconic Tresor tenure continues with a release that'll stop you dead in your tracks. We might be a tad biased, but I honestly think Kerrie's more than earned her stripes alongside the Real Techno elite. Taming her wild, flailing, serpentine productions takes some deft skills and attention, but the results are nothing short of breath-taking.

TRACK LISTING

1. A1 System Awakens 04:43
2. A2 Live Wire (Zirp Zirp) 05:38
3. B1 Echoes Of 04:48
4. B2 Together In A Rural Place 04:49
5. B3 Moment To Memory 04:44

6. DX1 Recircuit (Digital Bonus) 04:43
7. DX2 Reclaim (Digital Bonus) 05:10

“The true follow up, 35 years later, to The KLF’s ‘Chill Out’”.
JD Twitch (Optimo).

"This record and film are just lovely. You need this in your life. Moo-Moo!” Balearic Mike (Down To The Sea & Back)

"The album is a perfect companion to the KLF classic, utilising the British countryside as the setting, occasionally reminding you that Mother Nature is not to be messed with.” Strictly Kev (DJ Food)

"A beautiful ambient journey into the landscape, taking the listener from reality to dream state and back again. A mystical realm full of mysterious chanting, rattling trains and sounds from the very depths of the earth."
Lally MacBeth & Matthew Shaw (Stone Club)

Recorded in a remote cabin on the Devon coast, STILL OUT is an album-length collaboration between musician-filmmakers – and childhood friends – Will Cookson and Tom Haverly. A reflection on friendship, landscape and the passing of time, it inspired a road trip from North Yorkshire to North Devon they took together in the summer of 2024, and forms the soundtrack to a film of the same name which had its premiere screening as part of Stroud Film Festival in March 2025.

Like the film, STILL OUT is also an oblique homage to The KLF’s iconic 1990 album Chill Out, which the Gloucestershire-based pair revisited after it turned up unexpectedly a few years back in Tom’s dad’s record collection. Inspired to create their own recording using a similarly free-spirited process, Will and Tom relocated to the Devon coast in late summer 2023, splicing together a 40-minute mix from their personal archive of recordings and found sounds in a remote cabin with no electricity or mobile reception.

"It came together using cut-and-paste techniques, with ongoing shifts and tweaks,” says Will. “The final result was an audio collage that felt like something [legendary hip hop producers] The Bomb Squad might make - if ambient music was the only material in their sample library."

Using ‘ambient’ as a starting-point rather than an end in itself, they took inspiration from across the musical spectrum – classic-period Brian Eno, Philip Glass, Bill Evans, plus outliers such as 80s singer-songwriter Virginia Astley and the late DJ-producer Andrew Weatherall. The connections, though, are anything but obvious as the audio shifts seamlessly from field recordings and spoken-word interludes to mood pieces and snatches of vintage pop.

Edited and assembled using freely available open source programs, the source material was often radically altered using tools such as “PaulStretch”, a digital sound-morphing algorithm that allows users to stretch audio files to extreme lengths.

"When we found ourselves in a creative slump or unsure how to navigate a tricky part, we'd say, ‘Let's put some syrup on it and slow it down,’” says Tom. “That always helped us get back on track during late-night recording sessions at the cabin."

Part-soundtrack, part-meditative experiment, STILL OUT is intended as a reflection on the mental and emotional shift that occurs when stepping away from the routine of daily life – an album that forms a celebration of our ever-changing relationship to the world around us and the mystery of what it means to pass through time and space.

STAFF COMMENTS

Barry says: Dewy, bucolic ambient music that's reminiscent of any number of post-club staples but with a uniquely shimmering tenderness and richly immersive production. There are moments of surprise too, and humour but the end result is something that comforts and soothes.

TRACK LISTING

Side 1:
Swaledale To Blakeney Straits

Side 2:
Laugharne Estuary To Welcombe Mouth

'Petrichor' is a seamless journey through Klangkarussell’s sonic world—from the euphoric to the introspective, the cinematic to the intimate. Blending organic warmth with electronic precision, it’s a body of work that captures the duo’s full creative range and emotional depth. 

TRACK LISTING

1. Truth Begins Feat. Blazey
2. Afterglow Feat. GIVVEN
3. Cross The Border Feat. Bloom Twins
4. Holy Father Feat. Oliva
5. Believe It
6. Ride
7. Not Just About The Sex Feat. Redward Martin
8. Roads Of Gold Feat. Redward Martin
9. Petrichor Feat. GIVVEN
10. Sun Went Down, Sky Went Dark Feat. GIVVEN & Senes
11. The Tide Feat. Elmar
12. Let Me Come To Life
13. Aduna Feat. Marieme

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. 

TRACK LISTING

A1 Business & Pleasure 5:50
A2 Last Call 6:57
A3 Slinky Strut 4:37
A4 First Class 6:59
B1 Stank 49 6:26
B2 Dangerous Man 4:15
B3 Stinkbug 5:00
B4 Win Or Lose 4:04

Kali Malone and Drew McDowall present 'Magnetism', their first collaborative album born from a decade-long friendship and ignited by a single day of creative synergy. When Malone stepped into McDowall’s Brooklyn home studio, a shared vision immediately took root and set the course for a remarkable collaboration between these two singular artists.

On 'Magnetism', Malone’s poignant and evocative melodies manifest through McDowall’s signature timbral synthesis, creating a unified voice that soars freely and radiates with vitality. Technically, the duo employs an exquisite blend of Karplus-Strong synthesis, distortion and just intonation. Kali and Drew embrace these tools with refined grace while moving fluidly within their musical framework. Charged by the magnetic pull of repetition, saturation, and resonance, Magnetism pulses as a living music that captivates the senses and lingers long in the mind after the final notes fade.

TRACK LISTING

1. Nothing Here Is Lost
2. The Secret Of Magnetism 
3. Withdrawn Into The Source
4. The Sound In My Mind
5. A Sound That Is Alive 

'Unfolding' is Jessica Moss’ most meditative and plaintive solo album, and perhaps the first in the Montréal violinist/composer’s decade-spanning discography that might properly be called ambient.

The ex-Silver Mt Zion and Black Ox Orkestar member draws from post-classical, drone, minimalism, industrial/metal, power electronics, Klezmer and other folkways. This is not abstract ambient music; layers of violin melody, electroacoustic processing, intermittent voice, and percussion from The Necks drummer Tony Buck, bring forth deeply emotive genre-defying compositions guided by a spirit of searching and summoning that unfold in a prevailing atmosphere of incantation and mournful restraint.

The inseparability of the personal and political has wrung ever tighter for Moss over the past two years. As a core member of the Montréal chapter of Musicians For Palestine, she’s co-organized and played several benefit shows, and released the solo album For UNRWA in spring 2024 (garnering over 800 supporters and raising thousands of dollars). Later that year, her long-term long-distance relationship melted down over politics. Working closely with producer Radwan Ghazi Moumneh (Jerusalem In My Heart), Moss notes “Unfolding was made slowly, over the last 12 months, the second full year of genocide in Palestine, in direct response to our collective witnessing, our collective grief, as a portal to collective mourning, as a searchlight through our internal weather systems, seeking one another out in the dark.” Moss was already moving towards heightened fragility and deep listening, her music becoming increasingly durational and ceremonial. Despite the plummeting financial viability of touring, her devotion to holding space, conjuring entanglement, and connecting with intimate live audiences became her creative lodestar, her solo praxis shaped by committing to and communing in these rooms. Recent political and personal upheavals have only intensified these ritualistic, reparative musical processes.

Unfolding is dedicated to “a free Palestine in our lifetime.” Thanks for listening.

TRACK LISTING

1. Washing Machine
2. One, Now
3. No One
4. No Where
5. No One Is Free
6. Until All Are Free

A resonant journey through myth, trance and time.

With ‘Echo’, MY BABY dive deeper into the hypnotic soundscapes that characterise their signature roots-driven delta trance.

This album is an exploration of echoes - both literal and figurative - based on ancient myths, female archetypes and the endless echoes of time.

Inspired by the heroine’s journey, ‘Echo’ weaves pulsating rhythms, swirling guitars and ethereal vocals into a story that feels both timeless and urgent.

From the dub-soaked grooves of New Zealand to the psychedelic dancefloors of The Netherlands, the album bridges the past and the future, combining the raw power of blues and funk with the transcendence of electronic dance music.

Each track pulses like a ritual, transporting a listener into a dream state where echoes of forgotten stories merge with the energy of the present.

TRACK LISTING

Ain't No Turnin' Back
Siren Song
R U 4 Real
Trying Again
Agree 2 Disagree
We Agree
Less Is More
Smiley Virus
Queens Lament
Lightning

Demi Riquísimo welcomes esteemed Amsterdam based producer & DJ Retromigration to Semi Delicious for the label’s 24th edition. The 'Half Fried’ EP is a perfect union of the sounds synonymous with both the label and artist. Littered with playful nods to the roots of house and techno that’ are sleekly assembled with all the modern trimmings. Deepness in 2025 at it’s finest with finely tuned dynamics ready to rattle bassbins throughout the autumn and beyond.

TRACK LISTING

A1. Half Fried
A2. NE
B1. Where Is The Acid
B2. Halt & Stop

Halina Rice is a London-based electronic music artist known for her groundbreaking approach to music production and live performance.Rice has established herself as a leading figure in the contemporary electronic scene, blending complex soundscapes with immersive visual elements.

Her previous releases have been praised for their innovative use of technology and emotional depth, earning her a dedicated following around the world.

UNREALITY is the latest installment in the NEW WOLRDS series where each track is considered as the creation of a unique environment using textured synths, warped sound design and underpinned by a beat-driven dance sensibility.

Rice has toured the album extensively across the UK and Europe with sold out headline shows as well as festival appearances on the lineup with artists such as Jon Hopkins, Max Cooper and Rival Consoles.

Press coverage for the album includes Mundane Mag, Narc Magazine and previous support for the artist project includes feture length articles in Electronic Sound Magazine, DJ Mag, Mixmag, Decoded, Earmilk and Headphone Commute.

"Rice is part of a frontier movement of like-minded artists who twist, transform and manipulate the hallmarks of electronic dance music and visual accompaniments into exciting new shapes"

TRACK LISTING

1. PINPOINT
2. ENDLESS
3. HYPNOSIS
4. GLITCH
5. ALTERED STATES
6. ANALAOGUE DRIFT
7. SNARES
8. OUTLIERS
9. FREE
10. TIME

'Away' marks the first release for Jaime Rosso on Domino. Inspired by Jaime’s time moving from rural Kent to South London, the EP explores the tension between movement and stillness, community and solitude, urban intensity and coastal calm. It was recorded across both locations, using his characterful hardware synthesisers and sample-heavy approach as a way of processing his surroundings. House, soul and dub form the foundations, morphed into something wholly singular through Jaime's own psychedelic production style.

TRACK LISTING

1. Away
2. Frames
3. Narrow View
4. Closure

Slow Motion Records founder Franz Scala announces the infectious, ground-moving LP 'Cafe Futuro', a follow-up to his highly acclaimed debut ‘Mondo Della Notte’. Homage to the influential Neukolln bar and meeting point for Italo and cosmic disco heads, 'Cafe Futuro' builds upon a bold and innovative sound, showcasing fellow creators and genre-defining artists, solidifying the Italo aficionado's sound, synonymous with the pioneering greats.

Technicoloured synthlines, heavy machinary drums, juddering bass; all the elements necessary to create an amyl-soaked fever dream of red-lit, neon-hued, late nite excess. 

STAFF COMMENTS

Matt says: Hey pop pickers! Franz plays THIS SATURDAY (8th November) for Red Laser at The White Hotel. There's just a few tickets left if this is your vibe! ;)

TRACK LISTING

A1 / New Look (feat. Furotica)
A2 / Echoes Of Love
B1 / Telephone Boy
B2 / Light Year Run
C1 / Saxon Rebel (feat. Local Suicide)
C2 / Crush Test (feat. Charlie)
D1 / BIT99
D2 / Fantasy Bazar
D3 / Fase Lunare (feat. Acid Gymnastics)

Berlin-Hamburg duo Session Victim bring their celebrated "Sidequests" trilogy to a close with "Chapter Three" on Delusions Of Grandeur, wrapping up the series in signature style - full of warmth, groove and left-of-center touches that remind us why their music has remained so enduring over nearly two decades.

Once again blurring the lines between live instrumentation, crate-digging textures and deep house aesthetics, the record feels like both a culmination and a new beginning.

Opening the A-side, "Too Soft To Be Loud" with Viken Arman finds German house pioneer Ian Pooley reworking the original into a sleek, floor-focused roller. Shuffling drums, glowing synth pads, and that distinctive Pooley touch elevate the track into prime late-night territory, striking a balance between hypnotic subtlety and groove-driven energy.

Following on, "Know Less" with Viken Arman again, showcases the magic of Session Victim’s continued collaboration with the French producer. A heady, slow-burning cut that layers dreamy strings, glitchy keys, and a syncopated bassline, the track unfolds patiently, rewarding deep listeners with moments of spacious beauty and understated intensity.

Flipping over, "Broken Coast" (still with Viken Arman!) heads into cinematic territory, combining driving drums, delicate Rhodes fragments, and immersive atmospherics. There’s a mysterious, almost soundtrack-like quality here, capturing the ominous mood of an after dark stroll around NYC’s Central Park in the 70’s, while maintaining the unmistakable swing of Session Victim’s grooves.

Closing out the trilogy in style – "Rain Or Shine" introduces a new collaboration with rising producer Eo, weaving together intricate downtempo rhythms and jazzy vocal chops. Balancing lightness and depth, the track grooves along effortlessly giving off a sun-soaked energy. An uplifting finale to the Sidequests journey.

With Chapter Three, Session Victim deliver yet another set of genre-defying pieces that honor their deep musical roots while pointing toward fresh possibilities. Their chemistry with long-time collaborators, coupled with the ever-trusted Delusions Of Grandeur platform, ensures the "Sidequests" trilogy will stand as a modern classic in their discography.

STAFF COMMENTS

Matt says: The DOG revival continues in earnest with label stalwarts Session Victim joined by German house royalty Ian Pooly for some typically buoyant house jaunts. Perfect for the mid-session, with a busy and bustling dancefloor, eyes-wide-shut and not a care in the world. When's the weekend again?!

TRACK LISTING

A1. Too Soft To Be Loud /w Viken Arman (Ian Pooley Remix)
A2. Know Less /w Viken Arman
B1. Broken Coast /w Viken Arman
B2. Rain Or Shine /w Eo

The Spacebunny tracks were originally released on Surreal Recordings back in 1996, the original mix being licensed to Danny Tenaglia's Twisted Secrets (vol2), since then it has become a party classic with original copies changing hands for over £100 on discogs.

The Mingers "Fancy A Shag" track was released in 2002 on Deeper London (a subsidiary of Surreal Recordings) with a limited press of only 200 copies. The track is floor filler and was often one that would kick things off in the early stages of the night, featuring big tribally beats, a fat funky bass and emotive strings.

TRACK LISTING

A1. Spacebunny - Housey Doingz Remix
A2. Spacebunny - Original
B1. The Mingers - Fancy A Shag

Tesfa Williams' 'La Clique EP' is a masterclass in house music's evolution - a sprawling, intricate journey that seamlessly connects the genre's past, present, and future. Drawing from a well of deep musical knowledge, the Londoner continues to push things forward, offering a stunning five-track release that moves effortlessly through deep, afro, bassline, UKF, and everything in between. He's also brought a few friends along for the ride: Zansika, Obi, and Tendai, each adding their own unique touches to this sonic exploration.

Opening track 'Beat & Break' is a perfect introduction to what the La Clique EP has in store, Tesfa leans heavily on a classic house sound and keeps the momentum with 'Don't Stop' featuring Obi Franky. 'Brain' is a rich and bass heavy swinger while 'Gonna Get Through' featuring Zansika hits all the right notes for an anthem in the making. Last but not least there is 'Shake It Up' featuring Tendai, a pairing that is a good as it gets when Tesfa's signature Uk house goes full into swing.

Each track stands as a distinct creation, unique in its flavour and style, but all delivering the same high level of quality we've come to expect from Tesfa Williams.

STAFF COMMENTS

Matt says: London's Tesfa Williams nods to DJ Sneak on this new Local Talk EP. Rough chops, sample-heavy, raw HOUSE music in its purist form. Very nice.

TRACK LISTING

A1. Beat & Break
A2. Don't Stop Feat. Obi Franky
A3. Brain
B1. Gonna Get Through Feat. Zansika
B2. Shake It Up Feat. Tendai

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.

TRACK LISTING

A1. Herbert - Got To Be Movin'
A2. Chris Nazuka - Somewhere Between Distance And The Impossible
B1. Blaze - Lovelee Dae (Beloved Vocal Rmx)
B2. Gemini - In My Head (Freaks Move This Way Vocal Dubby)
C1. Seven Davis Jr. - The One (Live Edit)
C2. Red Rack'em - Wonky Bassline Disco Banger
D1. Eli Escobar - Happiness Pt. 2
D2. Kenny Hawkes & Louise Carver - Play The Game (Space Children Love Mix) 

Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.

Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.

Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.

Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.

On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.

The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.

Record Two captures Classic’s renewed energy in the 2010s.

Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.

Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.

On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.

Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.

TRACK LISTING

A1. Isolée - Beau Mot Plage (Freeform Reform Parts I & II) 
A2. Greenskeepers - Bang In Your Face? 
B1. Iz & Diz - Mouth (Pepe Bradock Mix For Friends) 
B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) [Version 1.2] 
C1. Folamour - Devoted To U 
C2. Crazy P - One True Light 
D1. Girls Of The Internet - When U Go 
D2. Sophie Lloyd - Calling Out 

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

TRACK LISTING

A1. Home & Garden Ft. Collette - Sexuality...He's 2 Young (JT's Porno Beat Down Remix) 
A2. Brett Johnson - Jiffy Pop 
B1. Tiefschwarz - Acid Soul 
B2. Roy Davis Jr. - About Love (Solid Groove Remix) 
C1. JT Donaldson Ft. Liv.e - Stay Inside 
C2. Dam Swindle - Hey Mister 
D1. Luke Solomon & Amp Fiddler - Come On Over 
D2. Honey Dijon Ft. Dave Giles II, Cor.Ece & Mike Dunn - Work 

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the first of the sample EPs of rare, cherished and formerly unreleased gems. Deep Joy of Brainiak (and Mo Wax) fame had their stunning “Fall” track remixed by lord Sabre, Andrew Weatherall himself; an often-missed indie-chug delight from the early 90’s. The Thrashing Doves and their scene stamping classic Je$u$ on the Payroll, needs very little introduction, but this Unreleased Instrumental Version, like it states, has never been on vinyl before. Flip over for another hip hop/club hybrid of a track with KC Flightt’s “Lets get Jazzy”, and its iconic sound which was remixed by the legendary Blaze; then finishing up with sunrise/sunset jamm, “Blinky Blue Eyed Sunrise”, by The Metaluna Mutant. A must for any lover of the white isle and it’s heritage.

TRACK LISTING

A1. Deep Joy – Fall (Andrew Weatherall Let There Be Drums Mix)
A2. Thrashing Doves – Je$u$ On The Payroll (Unreleased Instrumental Version)
B1. Kc Flightt – Let’s Get Jazzy (Dope Dub Mix)
B2. The Metaluna Mutant – Blinky Blue Eyed Sunrise (Original Mix)

Compiled by Dubby & Antal, "Techno Kayō Volume One" is a dancefloor-friendly selection focusing on Japanese proto-techno, electro-pop, and synthpop from the 1980s. Pressed at 45RPM. Comes with OBI and insert with liner notes.

Note: This release is only available on physical format (vinyl & CD) / no downloads will be available.

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)

STAFF COMMENTS

Matt says: Not only have Rush Hour assembled two of the finest to curate this comp (Dubby & Antel), they've pressed these Eastern synth disco excursions at 45rpm for maximum fidelity and headroom AND they're only making it available to us loyal vinyl consumers. What a treat!

TRACK LISTING

The Peters - HAPPY TIME
TPO Feat. Linda - Rock The Hour
Kuniko Yamada - Tetsugaku Shiyo (Viens Philosopher)
Kazuo Ohtani - Last Battle
Kyoko Koizumi - Microwave
Targets - City Train
Hikashu - Melonno Nakano Hitsuji

Vega Records is proud to present the Vega Records 5 Pack Unreleased VI, the sixth edition of a 5 piece vinyl filled with tracks that haven’t been released or have upcoming releases in the next few months.

The 5 pack Unreleased VI introduces 4 new songs from the upcoming 2026 Elements Of Life Album with a brilliant song entitled “Soar” by Lisa Fischer, written and produced by Two Soul Fusion Josh Milan & Louie Vega as well on vinyl the garage disco smash “Bad For Me” originally sung by jazz legend Dee Dee Bridgewater back in the 70’s with lead vocals by Dawn Tallman and music performed by the Elements Of Life band. A tribute to the talented Gary Bartz with a cover of John Coltrane’s genius “Giant Steps” bringing the jazz gem to the dance floors. And lastly from Elements Of Life, their rendition of the Deodato Loft classic “Whistle Bump” featuring legendary David Bowie guitarist Carlos Alomar!

Josh Milan, creator of the group Honeysweet introduces three tracks from his forthcoming Honeysweet III on Vega Records. We foresee a favorite with “What Kind Of Man” bringing a Brazilian jazz feel which was made for the dancers. The remaining two Honeysweet tracks “New Life” and “Because Of You” are truly emotional pieces of music that hit your core.

New projects and aliases on the horizon with Funky Cadets featuring Brooklyn’s own Willy Soul on spoken word duties, it’s deep house at its best and the NY iconic artist Keith Thompson who sang on the Vaughn Mason classic “Break For Love” who delivers a powerful message on the well written lyrics of “Take It”.

Lastly, never released on vinyl the gospel club smash “Father In Heaven (Right Now)” by multi Grammy winner and gospel royalty Bebe Winans with a Two Soul Fusion produced Synth solo / Vocal Dub.

It’s a blazing wall of sound on the 5 pack unreleased with artists and musicians Lisa Fischer, Josh Milan, Keith Thompson, Honeysweet, Dawn Tallman, Elements Of Life, Willy Soul, Carlos Alomar, Ivan Renta, Luisito Quintero, Axel Tosca, Sherrod Barnes, Lea Lorien, Ramona Dunlap, Louie Vega and Bebe Winans!!!

Get your vinyl soon, it’s limited edition!

TRACK LISTING

A. Elements Of Life Ft. Lisa Fischer - Soar 
B1. Funki Cadets Ft. Willy Soul - Feelin' Good Tonight (Shapes Mix) 
B2. Louie Vega - We Are Grateful 
C1. Funki Cadets Ft. Keith Thompson - Take It (Shapes Mix) 
C2. Elements Of Life - Giant Steps (Gary Bartz Vibrations Mix) 
D. Bebe Winans - Father In Heaven (Two Soul Fusion Vocal Dub) 
E. Honeysweet - What Kind Of Man 
F. Elements Of Life Ft. Dawn Tallman - Bad For Me 
G1. Elements Of Life Ft. Dawn Tallman - Bad For Me (Frisco Disco Dub) 
G2. Funki Cadets Ft. Willy Soul - Feelin' Good Tonight (Shapes Instrumental) 
H. Elements Of Life - Whistle Bump 
I. Honeysweet - Because Of You 
J. Honeysweet - New Life