Micro Driver III is here back again after a long hibernation period. As previous targets, the combination from several electronic music producers are shown in this series to enhance and spread the sonic spectrum of the label. The electronic music veterans from Madrid, Roberto Gemelin with his aka Groof and Luis Rozalén with his HD Substance moniker show their most electro side. They are accompanied by Spectrum Data Forces the Electro alias of the well established techno producer C-System, with his high-energy, powerfull and tight Electro and Emulador with a minimal and futuristic Düsseldorf/Detroit vibes to accomplish this compilation.
Red Deviil returns to X-IMG with their first ever vinyl release titled “Tesoros Infernales” featuring five original cuts of their uniquely sinister Techno Body Music topped off by three exquisite remixes by distinguished veterans of the underground dark electronics scene. The LP consists of forty minutes of brooding, groovy & cutting edge tracks with a bonus digital track included with the attached download code. Remixers include Filmmaker, Arnaud Rebotini & Mind | Matter.
West Hill Music is a new sub-label from Periodica Records dedicated exclusively to productions curated by Mystic Jungle and conceived at West Hill Studio in Napoli, a longstanding creative hub active for more than a decade. The project aims to reclaim and reimagine the language of mid-1980s music, drawing from both American and European New Wave through a personal filter that freely and instinctively blends elements of Italo Disco, Rock and Funk. The two tracks, moving within a dance-not-dance dimension, stand as a manifesto of this sonic synthesis and a further step in defining the aesthetic vision of the producer. On “Chasing Light”, the collaboration with Igor Sekulovic continues, with the guitarist also appearing here as co-writer of the track, weaving together tense guitars, driving disco-rock bass-lines and slapback reggae-style vocals. “Under Pressure”, on the other side, unfolds as a late-night electronic suite: minimal, aseptic and hypnotically repetitive.
Cosmo Dance is the artistic alias of Cosimo Mandorino, an Italian producer and DJ who has been active in the electronic music scene for more than twenty years, as well as the founder of the label Mirella. Produced and finalized in Napoli during a series of short stays, and developed with the contribution of Raffaele Arcella and Dario di Pace, “Cosmo-logic” unfolds within a parallel, plausible, and dystopian universe where humans and machines coexist in constant tension and perpetual conflict. A musical narrative shaped by rebellious computers, wars between binary systems, and universal unified languages, the record stands as a manifesto to the early era of Italo-Disco, while remaining deeply infused with influences from cosmic disco and stripped-down electronic funk. The tracks make extensive use of mechanical rhythms, voice modulators, vocoders, and analog effects, exploring sonic territories forged through iconic instruments such as the Korg MS-20.
Corsica’s own Valerj joins Slow Motion’s ‘A UFO’ free edit series with a cerebral rework of Oppenheimer Analysis’s “Subterranean Desire.” Built for the haze of the early hours, Valerj amplifies the spirit of the minimal wave pioneers, delving deeper into the enigmatic allure of the 1980s original. His signature percussion drives and swaggering synths pulse. Rising to a euphoric payoff, Valerj tastefully hones the tension and elevates the lyrical excellence. Showcasing his production mastery, Valerj transforms “Subterranean Desire” into a versatile, cinematic cut, equally set for a twilight drive or igniting a club floor. Vocoders sizzle, and the original’s elements are tastefully relit. Valerj not only honours the essence of the classic but propels it into the present, ensuring its legacy endures on dancefloors and in hearts alike.
Applying the solid structures of floor-focused Berlin techno to the expressive space of introspective electronica, Answer Code Request returns to Delsin with his first album in eight years. ‘Halo’ finds Patrick Gräser broadening his sound palette more than ever before, matching atmospheric synthesis with dynamic beat constructions true to his impressive legacy while breaking new ground.
Mike Storm’s tenth album landed on Ben Sims’ Symbolism imprint with the same hardware-driven aesthetics that have defined his work across Axis and Warm Up. There was no software sequencer, no recall, just the spontaneity that comes from making sound in the moment. Now material from it gets reworked, firstly by Ø [Phase], who flips ‘Exo 1606’ into something full-bodied and thumping. After the original cut ‘Blocks’ comes a Deniro remix of ‘One Colour’ that is wrought with pent-up tension that never resolves, while a send remix strips things back to a lonely groove that has wispier synths up top and a growing sense of unease.
Crystal Vortex original group members were Michael Thomas and Gino Pemberton and they recorded only two tracks ‘Money You Are My $lave’ and ‘Who’s Jacking Your House’. These tracks are presented here on the first Immersion Records release. The group split in 89.
Berlin-based duo CYRK bring their hardware-driven homage to New-Beat ‘The Future’ to Wrong Era. This is a blistering 4-track release with all their enticing hallmarks. It includes a remix from Belgium’s Shero. The record blends their unmistakable take on electroclash and proto-house. The title track, ‘The Future,’ kicks off the EP. Vocal chops and sizzling hats launch forward, laying a foundation for the crunch of a dissonant riff. A foreboding, eerie vocal commands the track with the contagious chant ‘keep moving’. Electro fizz keeps the energy high and nods to the underground corners of the 90s. Shero, featuring Ki Jeal who provides the vocals in the break, leans into this particular decade for her remix of the track. She reimagines ‘The Future’ with breaks-led instrumentation and tastefully softens the lead. A slowed tempo break allows her spoken words to further the ethos of the original. ‘De-program’ leans into CYRK’s acidic new-beat facets with their signature sonic muscle. Percussion and a bassline that hits the chest give ‘De-program’s proto essence an undeniably infectious feel. The aptly named ‘Collision’ brings the record to a close. Sauntering shakers and body music swagger dominates. Masterfully placed acid and dissonant stabs soar with elegance over tough, overdriven synth bursts. With this release, CYRK reaffirm their abundant skills and perceptive ear, broadening New-Beat’s horizons. ‘The Future’ is a bold, forward-thinking statement: immersive, dynamic, and primed to ignite dance floors while transporting listeners to their relentless flow state.
Two rare recordings from the archives of legendary producer Richard Hewson. Rising Star (Cosmix) began life in 1984 as a vocal single performed by Debbie Sharp. Hewson reworked the original track into a percussive cosmic disco interpretation, aptly titled the “Cosmix”, experimenting with his newly acquired Bel Delay effects unit, which became central to his studio explorations at the time. Deep Song dates back even further, to the late-70s Richard Hewson Orchestra period – the creative blueprint that would later evolve into Hewson’s cult studio project, The RAH Band. Written, produced and assembled by Hewson in his home studio before additional strings and vocals were layered in, the track was inspired by his deep admiration for Miles Davis, particularly the landmark album Kind of Blue. Deep Song was originally released as a B-side under a mysterious alias in 1979.
40 years after its creation, Moß Garten – Sekvensstyrd 1981–1986 arrives as a compelling double vinyl LP, diving deep into the early Swedish DIY electronic scene. Inspired by pioneers such as Kraftwerk, Cabaret Voltaire, John Foxx, and The Human League, Mikael Isaksson developed a distinct sound situated between minimal electronics, industrial, synth wave, and experimental sound art. At its core was the sequencer: pulsing, programmed structures forming the backbone of dense, often hypnotic compositions. Working initially with his cousin Jan or friend Thomas and later evolving into a largely one-man project, recordings were made on cassette tapes and in improvised studios—often under time pressure, frequently recorded and mixed within just a few hours. These very limitations gave the tracks their raw and immediate character. Using an arsenal of analog synthesizers, early sequencers, and drum machines, the project created music that feels at once cold, mechanical, and deeply emotional. Sekvenssytrd 1981–1986 is more than a collection of archival recordings – it is a vivid document of a time when electronic music was conceived as a radical and deeply personal form of expression.
‘In a Secret Room’ is a retrospective that reopens the sonic and visual archive of KKD (Kriminal Killers Division composed by Loris Barbi, Alessandro Molinari, Guido Molinari, Giancarlo Vitali), bringing back to light a trajectory that long remained underground within the history of Italian new wave. The tracks, recorded between 1979 and 1986, reflect a constantly evolving process shaped by experimentation, improvisation, and a drive toward new languages. The project takes shape inside a former hotel in Italy’s Po Valley, transformed into a studio, rehearsal space, and visual lab. Here, among analog synthesizers, homemade electronics, and multitrack recorders, Kriminal Killer Division experimented with and pushed their available technology to its limits, developing a hybrid language: sounds captured from radio and the street, synthetic voices, guitars, and electronic sequences intertwine in compositions that move between art rock, minimal wave, and more industrial directions. This collection aims precisely to reactivate that imaginary. ‘In a Secret Room’ offers access to a hidden space where interference, noise, and intuition take form without mediation. Not a nostalgic operation, but a re-emergence: a living archive that continues to generate meaning in the present.
STL’s music has always been free and imperfect – sketches rather than songs. He operates in a smoky and smoggy world somewhere between house, lo-fi, dub and ambient and his tracks always arrive fully formed, as if they are looping infinitely in some parallel dimension. ‘Take Me To Your Leader’ is another magnificent collection of all that, with sublime extended psychedelic workouts that range from the wonky, malfunctioning sounds of ‘M-Brainiac’ which is like the machines have taken over then realised they can’t cope, to the more cuddly and soft-edged but still ramshackle rhythms of ‘Fat Sunday’ which are as heady as can be. Brilliantly dusty and analogue as ever.