Finally recordings are out from the massive IFM madness that took place mid of May in The Hague. First are the video recordings from the Panama Racing Club Terrace and from the PRC itself, where this year it was a small secret italo stage.
www.intergalactic.fm
Following the celebrated reissue of Classics Vol. 1, Metroplex unveils Model 500 – Classics Vol. 2, a powerful new collection of essential works from Juan Atkins – pioneer of Techno and architect of some of the most forward-thinking electronic music ever recorded. Bringing together key cuts, rare mixes, and long-sought favorites from across Atkins’ groundbreaking output, this compilation highlights the full spectrum of his sonic universe: deep, rolling machine funk, shimmering electro-techno hybrids, and timeless futurist grooves that helped shape generations of electronic artists. Each track has been carefully remastered to enhance its original energy while preserving the raw spirit and space that define the Model 500 sound. From expansive, atmospheric journeys to soulful vocal transmissions and Detroit-powered rhythmic science, Classics Vol. 2 presents Juan Atkins at his most inspired–an essential document of a visionary whose influence continues to echo across dancefloors worldwide. Three decades on, these tracks have lost none of their immediacy, imagination, or futuristic pull. Restored for a new era, Classics Vol. 2 celebrates the legacy of Model 500 with pristine sound and renewed force. Pure Detroit heritage. Eternal future music.
For the 30th anniversary, Logistic Records reissue three absolute minimal techno statements by Robert Hood. These tracks define the birth of minimal techno — reduced to rhythm, pressure and repetition. No ornament. No compromise. Just structure, tension and movement. Originally released on Logistic, they remain as powerful and modern today as they were in the early 90s. Functional. Spiritual. Underground.
No introduction required for the the legendary ‘No Call From New York’ EP by the UK’s cult electro act Transparent Sound, the finally reissued for everybody that missed out previously is finally here. Transparent Sound repress this classics slap of forward thinking electro in its original format including remixes from Sync24, Mr Velcro Fastener and Larry McCormick.
Larionov lands on Tiger Weeds with ‘No Way Back’ with a direct, tension driven electro EP shaped by raw sequences, melancholic tones and steady forward motion. Throughout the release, Larionov balances stripped-back introspection with functional dancefloor energy. On remix duties, The Exaltics drags ‘Celestial Ocean’ into darker territory, applying his signature cinematic pressure to create a heavy, peak time version.
‘Undercurrents’ by Filmmaker is an interconnected body of work that drifts into moods and mind travel through the slower side that distances from prior dance/club-intended tracks, a new yet familiar exploration in search of emotional resonance, resemblance and tonal identity following the downbeat, hazy granular synthesis and low lit atmospheres developed on recent and not so recent releases.
“Orb Age” is a new electronic music release by Gavelman, released on Lifeforms.
Im Kellar ‘Amoniac’ is the fourth release of the band on Moustache records. Four tight EBM newave techno electro tracks made in a concrete bunker in Rotterdam by the infamous Im Kellar. This time with a rave feel, high energy dark and total underground.
D91 LINK SERIES is a new split-record series by Distrito 91 focused on connecting artists, sounds and visions through the classic 12” format. Each release features two artists sharing one record, one side per artist, creating a dialogue between different approaches to electro and machine-driven electronic music. The first release bring together Geistform aka Univac and Half Mute aka Groof.
L’Ensemble Infini is an intergenerational octet bringing together some of Montréal’s most active experimental musicians around around drummer Guy Thouin, a leading figure in Quebec’s counterculture (Quatuor de jazz libre du Québec, L’Infonie). With its debut album Volume ∞, the group draws on six decades of creativity to produce music that is open, dense, and fluid, where free jazz, collective improvisation, electronic textures, and kaleidoscopic collages drift together in a unified psychedelic flow.
In the early 1970s, Milan was a city defined by a restless, creative energy. Its recording studios hummed with activity day and night, populated by an elite circle of jazz-trained session musicians who split their time between tracking dates in the studio and jam sessions in the city’s clubs. Among them was Giancarlo Barigozzi, one of the most revered flautists and saxophonists of the scene, who was just then beginning to navigate the enigmatic world of library music. The Barigozzi Group – formed alongside guitarist Sergio Farina and pianist Oscar Rocchi, both fellow session musicians – became a defining ensemble of Italian library. Commissioned by publishers in Milan and Rome, they produced some of the most exquisite library LPs of all time, records that effortlessly translated the spirit of the era into sound. Of these, ‘Woman’s Colours’ stands as arguably their most iconic and celebrated achievement. Originally released in 1974 on the Fonovideo label under the artistic supervision of Fabio Fabor, the album is a cohesive, organic exploration of a single theme: a refined tribute to the female form, with every track associating a specific colour with a different part of the body. ‘Woman’s Colours’ is finally available again in its first official reissue, and for the first time in digital format. Presented by Four Flies Records.
Like someone who filters out a signal from noise, Cosey Mueller always discovers innovative variations of punk and experimental electronics and develops an unmistakable style from this in her impressive discography – which now reaches a new peak with “Embodiment of Denial”. An increasingly buoyant danceability forms the backdrop for an increased concentration on Mueller’s voice. The album’s eight tracks are full of catchy hooks, while they, far from the empty slogans parodied in “Der Politiker”, reclaim the declarative statement for the forces of good.
Ortrotasce presents ‘As I See It’, a new track free download on his bandcamp.
The elusive Shin Watanabe, gives us an insane 13 track double LP of absolute deep house mastery. When talking about deep house here, we mean along the lines of greats like Master C+J, Quest, Burrell, or Blue Jean to name a few. Late night mid-tempo dark house sleaze for the corners of the club. Total old school deep cuts in the truest of traditions.
On the 2024 Altered Circuits release ‘Tropicana Tracks’ Rotterdam-based artist Betonkust paid tribute to the former subtropical pool (now a circular entrepreneurship hub) Tropicana of his hometown. ALT025 ‘Tropicana Tracks Two’ is the follow-up: the fallen-from-grace swimming paradise again fuels a club-oriented selection, inspired by, in the artist’s words, “the electronic music from 1988 up until now”, more specifically “the Benelux-sound”.
Non Stop Rhythm with a new release by Serasso.
Active in London’s electronic underground since the late 80s, Paul Hierophant has long worked in the space between techno, ambient, and dub, preferring atmosphere, tone, and slow-burn tension to obvious dancefloor tricks. ‘The Elder Gods’ finds him further out on the fringes of electro, where the synths loom large and the delay and reverb units are given a proper workout. The result is widescreen, ominous, and immersive.
First release from the brand new label Modular Dreams run by Sound Synthesis & UTR head honcho JDSK. This label will focus more on the deeper dreamy electro side of Sound Synthesis. MD 101 features 4 high quality cutz that will surely stand the test of time.
Reptant, the reptilian overlord surfaces again on Kalahari Oyster Cult. Combining menace and kitsch the way only the Rotterdam greats do so effortlessly, he comes in smooth af on the opening cut. Mainframe-tapping machine funk, almost sounding like the Antipodean lovechild of Kraftwerk and Egyptian Lover. From there, laced with spite and insectoid detail. Noirish cybernetics delivered with genuine vigour, all across a triple-pronged strike of electro excellence. Properly aerodynamic. Not a tribute to a classic period – rather, a continuation of what the genre’s forebears built. A tried and tested formula that never loses bite, truly heralding Reptant as a standard bearer for electro in the modern era.
The Hipodrome Of Music 