Another massive offering from the one and only Mick Harris, continuing on in his Culvert Dubs Sessions experimentations with a new 2xLP. Once again Mick delves deep into the shadow realm of slow beat, psychedelic heavily textured, grinding dub techno. Eight tracks of absolute industrialized, delay swept, full pressure, sound system shaking murk ridden, dark water dubs. Top form work when Mick lets loose in this wild style, just the right balance of beauty, restraint and brutality. Total heavy weight music.
Anchorat is an 8 track album built from the first eight pieces of two separate releases published on Achordat. The project explores the idea of being “anchored” in a sea composed entirely of Achordat soundsfluid, shifting, and alive. The same sonic relics used to generate the original tracks have been reworked, recontextualized, and set into motion once again. Rather than remaining fixed, these elements evolve, reflecting the organic nature of Achordat’s sound palette where tones are never static, but continuously transforming. This album is not just a reconstruction, but a re anchoring: a return to familiar material that reveals new forms through change, repetition, and time.
After debuting on Delsin in 2023 as Reeko, Spanish techno icon Juan Rico now steps up as Architectural to present his second EP on the Amsterdam based label. Where Reeko is known for his adventurous, highly energized, broken techno bangers, his approach as Architectural is more fine-drawn. Over the course of four tracks, his tracks build slowly into immersive pulsations, pushing deep frequencies into captivating rhythm grooves layered with mesmerizing atmospheres.
Straight from Byron’s lab, The Actual Proof EP rides that soulful deep-house lane with live‑feeling keys, dusty drums and basslines built to lean on a big system. Jazz spirit, hood attitude and late-night club energy all locked into one heavy wax document for real groove addicts.
Sakskobing’s tenth anniversary celebrations are cut across by a dispiriting declaration: ‘Infinity Is Over’. Not one to play too many away games, local Netherlands DJ and producer-abstruser Jeroen Böhm makes the fatigable fashionable again, snubbing the extended mix, invariable techno form for rationed, baggy FM house and electro with ‘Optimistic’ and ‘The Lodge’, A-side track titles which seem to laugh in the face of hope. Meanwhile, a sweeping staredown with ambient electro is pulled off with grace on ‘Countryside’, an understandably much-needed escape after such a grave realisation.
Some 17 years after the first missive landed in record stores, Moustache Records popular multi-artist EP series, ‘You Can Trust a Man With a Moustache’, returns for its sixth instalment. Doctr gets us going with the spiralling Hi-NRG-meets-acid thrills of ‘Our Minds Belong Together’, before Theo Scuera joins the dots between rave-igniting early 90s house and the more muscular, sweat-soaked end of mid 90s progressive house on the colossal ‘Your Virus’. David Vunk and Ben La Desh join forces on B-side opener ‘Unrealized Prophet’, a veritable whirlwind of muscular techno drums, buzzing riffs and broken modem electronics, while Patricio Diaz’s ‘Welcome To My Hell’ is a bouncy and mind-mangling slab of peak-time acid nostalgia tailor-made for dark basements and flagging dancefloors. This release is a tribute to Bob the Landlord, who became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine.
Bosconi Records introduces Neon Cyberwave, the first solo EP on the label by Italian electronic visionary Miguel Herrnandez, marking a milestone in the evolution of an artist who has consistently bridged Detroit-rooted aesthetics with the experimental pulse of the European underground. Based in the Val d’Elsa region between Florence and Siena, Miguel has forged a unique sonic identity shaped by his devotion to vinyl, his deep connection to the techno capital the Motor City, and his passion for deeply rooted yet still futuristic electronic culture.
A core member of the Clear Memory crew, Hayter steps up on Hilltown Disco with a razor-sharp vinyl release steeped in acid-tinged electro-wave. This record delivers six original tracks driven by icy electro vocals, machine-funk rhythms and a distinctly intelligent, shadow-leaning mood. Dark, forward-thinking and unapologetic —this is electro for the future.
Andrew Red Hand returns to Gigolo Records with a sharp follow-up to his breakout cut “Gritty Bass”. Stripped, driving and unapologetically raw, the new release pushes deeper into Red Hand’s signature territory: heavy low-end pressure, hypnotic loops, and late-night intensity. No compromises – just pure floor functionality. Gigolo style. No filler. Only impact.
Kerrie makes a return to Sync 24’s Cultivated Electronics camp. On her new EP, ”Waves of Reverie PT1” Kerrie once again channels a distinctive electro aesthetic rooted in acid and electro traditions but filtered through her own raw, industrial-leaning production style. A staple for fans of analogue hardware-driven electro and forward-thinking electronic music.
Following on from his debut album, Miles Spilsbury returns to New Dawn with Spirit Level. A new project in collaboration with close friend Gorse Panshawe (Slugabed – who also produced Miles Spilsbury’s first album Light Manoeuvres). Recorded over one weekend in a weaving shed in Frome, in the English countryside. Surrounded by reels of yarn, they explored with saxophones, flutes, dusty old keyboards & drum machines. The resulting record conjures the murk and moss of Forestland and grounds with grooves from the Bongo setting on a Casio keyboard. Jake Long added mallet drums from his London studio to round off the album.
Released in 1979, Tete Mbambisa’s ‘Did You Tell Your Mother’ delivers the ultimate blend of African groove with American modal grace, making it one of the all-time classic albums of South African jazz. With Mbambisa presenting original compositions at the piano alongside Basil ”Mannenberg” Coetzee on tenor sax and flute, the acoustic quartet featured here is rounded out by Zulu Bidi from the band Batsumi on bass locking in with Dollar Brand drummer Monty Weber. This 2026 reissue presents a flat transfer of the master tapes with album artwork restored using illustrator Hargreaves Ntukwana’s original ink drawing.
This compilation brings together eight tracks by Yassine Nana and his group, recorded between 1984 and 1989, during a key moment in Mauritania’s musical history. A central figure of one of the country’s most respected musical families, Yassine stands at the crossroads of a long-standing tradition and a period of deep transformation in form, sound and production. Recorded in Mauritania as well as during stays in Paris and Rabat, these songs integrate drum machines, synthesizers and electric guitars into Saharan musical structures. Influenced by reggae, soul and new wave, the group develops a sound that reflects the circulation of music and technology in the 1980s, while remaining firmly rooted in Mauritanian languages, themes and melodic systems. Love, travel, exile and music itself run through lyrics sung in Hassaniya and classical Arabic. Originally released on cassette and long confined to local circulation, these recordings offer a rare perspective on African popular music of the period, seen from Nouakchott. A body of work that documents a Mauritanian modernity, both popular and exploratory, now brought back into circulation by Les Disques Bongo Joe and Sofa Records.
ARMOR, a new alias by Pascal Pinkert (Ambassade / Dollkraut). A few years ago he visited Turkey and Lebanon to collaborate with artists such as trip-hop legend Zeid Hamdan and Egyptian singer Maii. While many of these recordings found their way into Dollkraut releases, revisiting the material sparked the need for a new outlet. With ARMOR, Pinkert dives deeper into the space between folk traditions and electronic experimentation. Hypnotic drones merge with Middle Eastern percussion, while subtle rhythmic structures fuse with immersive soundscapes.
Mannequin Records 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 here capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.
The Hipodrome Of Music 