Shin Watanabe returns to Hot Street with Album 1987, an album of nostalgic, analogue-rich and sample-heavy cuts that variously draw inspiration from early Larry Heard productions, formative Japanese deep house cuts, and the deeper end of late 80s New Jersey garage-house jams. Propper Classic House Music.
Das Beste Aus Hagen Redux is an icy transmission from the early circuitry of European minimalism. A² revives the pulse of proto-electro with surgical precision—pure voltage, no excess. Cold synth lines snake through monochrome rhythms, delivering drama without decadence. It’s music for neon-lit silence and synthetic nostalgia, built from tape hiss, static tension, and analog dreams. Minimal synth stripped to the bone—resistant, elegant, and eternal.
After the storm of their self-titled debut, Geneva duo Bound By Endogamy return to Pinkman with an album that trades brute force for precision. The rage remains, but it’s sharpened, disciplined, and driven by melancholy rather than rupture. Their minimal synth and industrial instincts rise to the surface, carving out room for melody without softening their confrontational edge. Angular basslines coil beneath Kleio Thomaïdes’ voice, at times detached and at times devastating, while Shlomo Balexert’s drum programming and synth work build a taut metallic tension. The result is both intimate and mechanical: love songs for disenchanted souls, post-punk electronics stripped to the bare wire. Bound By Endogamy have always blurred the line between performance and survival, and here they do it with minimal gestures and maximum impact.
Emerging from the sun-drenched haze of their previous releases, the Belgo-Italian duo, soFa elsewhere and Nicolas Boochie, descend into the shadows with ‘Trabajando El Flex’, their third record to date. This is their gloomiest strike yet – a mutant wave manifesto built on a raw DIY ethos. Imagine pulsing basslines and ghostly vocals soundtracking your deepest, most illicit desires. Channeling the spirit of a major influence which is Coil, this album could have been called “Music to Play in the Dark(rooms).” It’s a lethal fusion where New Beat, EBM, Dub, Italo, and New Wave lock into a singular, hypnotic atmosphere. Their world is a wild ride from Bear-Santa Claus Fantasms to Burning Churches and Amphetamine rooms, reflected in both their playful – not-to-be-taken-seriously – lyrics and a genre-shattering sound. Their debut was a lost reel; their second, a dream, Trabajando El Flex is the raw, slow-burning, and beautifully unclean night that consumes both. It’s a flawless fit for the after-hours ruin of the Pinkman universe.
It’s that time of the year when Anthony Rother comes yet again with a new album, EXIT UTOPIA, as always available as ‘name your price’ on his bandcamp.
Leonardo Marletta’s astounding ‘Percussioni ed effetti’ was originally released by Cenacolo in 1983 and is the one and only album of the Italian composer. Other than a handful of compositions which appear on other Library albums from the era, very little about him remains known, adding an air of tragedy for what might have been, as the first sounds of the album ring through the air.
The word Datasal paints inner pictures for most people growing up in Sweden during the 1990’s. The datasal (a classroom for computers) was an ordinary classroom with few changes to fit the school’s 10 newly leased computers. The room represented the change of times in Sweden during this period: the fixed institutions and the awaiting digital flood wave. The music of Datasal sounds captures the feeling of printing a downloaded picture of your favorite hockey player or music artist or the expectations building up as you wait for the modem to log in to interact with the thousands of users of the internet in 1995. The tracks this release manifests the excitement but also the bit of fright you felt connecting to the world in the mid 90’s – a time when the internet still was fun. The sound is built around repetitive sequencer loops and programmed beats where electric bass, electric guitar and flute improvise around a theme, creating a sound that is best described as cosmic flute house. Datasal is an harmonic reminder of a time where digital progress seemed less harmful than today.
‘Mirage’ is a musical phenomenon that arises in the atmosphere due to refraction and total internal reflection of analog sound rays at the boundary between layers of trance of varying density, tribal ambient, and futuristic dub. Thanks to this effect, the observer sees imaginary images of distant objects that are normally hidden behind the horizon, as well as their distorted shapes or reflections.
‘Neoclash’ is DJ Hell’s new work. The Electroclash of the early 2000s is reconstructed here, its characteristic codes extracted and reshaped into a modern, reflective form. Neoclash is a cultural experiment – music as a medium of reflection, a structure for space and time, and a vehicle for exploring the tensions between technology, the body, and perception. Electroclash now – or a manifesto for the aesthetic relevance of electronic club music, combining strong old-school references with a new understanding. DJ Hell, a.k.a. Helmut Josef Geier, delivers a contemporary reinterpretation of the Electroclash genre. International Deejay Gigolo Records was the pulse of the movement 25 years ago – and Hell, its very namesake. Godfather of Electroclash reloaded. 25 years and many milestones later, DJ Hell returns to his roots with Neoclash, proving that Electroclash in 2025 can sound not nostalgic, but forward-thinking and visionary. Neoclash builds a bridge between past and present within electronic dance culture and club music.
Mr. G, aka Colin McBean, presents a remastered, 23-track compilation entitled ‘OG Retrospective’. ‘The day I found my original studio masters and got my rights back was the starting point, and then I realised it’s 25 years on and it’s time to recode, remaster and reevaluate because I’ve never looked back properly. I’ve always been like a bat out of hell, never quite thinking I’m good enough or great at what I do, but it’s important to celebrate, because there’s nota lot of people still here, still doing it after this length of time’.
After a six-year hiatus, Efdemin returns with ‘Poly’ – his fifth studio album, released on the recently revived Berghain-affiliated label, Ostgut Ton. As the title suggests, ‘Poly’ explores multiplicity: of rhythm, texture, style, and emotion. Across eleven meticulously sculpted textures, the album weaves a multidimensional web of sonic references, nodding to the origins of techno while pushing resolutely into uncharted terrain. The overall tone of ‘Poly’ is mild and playful, introvert and at times dreamy. The music is rich in sonic expression and breathes the spirit of musical concepts that have been refined over the course of decades.
Timothy returns to Dungeon Module with six raw but playful house trax influenced by the early days of Chicago when you could still hear the wave influence. 12 bit drum machines, haunting strings, metallic percussion, cavernous flanger, stuttered vox. An antidote to over slick 90s house pastiche. This album is a fine example of the style Timothy has refined for years, from the psychedelic slam jak of ‘Junior’s Revenge’, to the heads down funk of title track ‘Home Of The Cone’.
Echo Instinct is the new AV electronica project from Kat Day and Nicholas Wood of The KVB. Electronic Soundscapes For Post-Industrial Urban Decay gathers a collection of recordings and improvisations made between 2021 and 2025, crafted from a patchwork of synthesizers, drum machines, manipulated samples and field recordings. Inspired by the ever-changing concrete cityscapes of their former home in Berlin and the derelict, overgrown red-brick factories surrounding their new base in east Manchester, the album isn’t a soundtrack for a dystopian future — it’s a journey through the modern ruins of the world we live in today.
‘Vibe Ride’ is the sixth release of Adam Rudolph’s Hu Vibrational project and marks his 60th release as a leader or co-leader. “With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group’s experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.”
The album was composed in 2007 and done with Roland JX305 synthesizer + Yamaha W7-32 Poly synth/sequencer, with additional sampling in Sony Sound Forge, using real dialogues between cosmonauts in Earth orbit.
Bourj Hammoud Groove shines a spotlight on the music of Armenian-Lebanese pioneer Ara Kekedjian, who was a defining voice in Beirut’s Estradayin pop scene. Fusing disco rhythms, shimmering synth-pop and Armenian melodic sensibilities, Kekedjian created music that was rooted in his community but also sounds somehow universal. Named after Beirut’s vibrant Armenian district, this compilation brings together his most essential recordings and is accompanied by an insightful booklet with liner notes by Darone Sassounian and rare archival photos. It’s a top-tier bit of archival curation that celebrates a musical legacy that bridges cultural history with danceable grooves.
Following up on the success of Moog Edits, “Moog Edits 2 – 10 Dokuz” takes the listener deeper into the sonic world of Turkish psych-funk and disco-folk. This new album is a continuation of the journey, bridging the gap between tradition and modernity with its seamless fusion of moog organ, modular synthesizer, bass guitar, electric saz and rhythmic percussions. Where the first album painted a rich landscape of Turkish psychedelia, 10 Dokuz introduces more intricate layers of rhythm and sound.
Drawing inspiration from Ottoman and Turkish music, this record delves into the complex and often mesmerizing world of “aksak” rhythms—specifically the 9/8 meter (sounds are 4/4 + 5/4 beats or easily 2+2+2+3 beats). 10 Dokuz means that “Ten and Nine” which means 19, first 10 tracks 2/4, 4/4, 8/8 and 3/4 rhythms, the last 9 tracks are 9/8 rhythms which is mostly using Ottoman and Balkan areas.
The combination of synthesizers, analog effects, and traditional instruments such as darbuka, and electro baglama creates about 70 minutes a vivid auditory landscape.
Delsin invites you to submerge into the prismatic electronica of Xenia Reaper. Across nine tracks of exquisitely rendered sonics, the shadowy producer engages in the time-honoured craft of introspective sound manipulation, folding gaseous pads into dissected breaks and running heavyweight machine pulses through achingly beautiful synthesis.
Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is ‘Hell Was Boring’ a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between. L.F.T. – the alias of German producer and multi-instrumentalist Johannes Haas – has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage. The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished – L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart. Along the way, he invited friends and long-time collaborators into the fold – Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl – each leaving their own fingerprints on the record’s world of shadows and static.
Two years after their debut on Berlin’s Mannequin Records, Leroy Se Meurt return with their second album, ‘Hier Pour Toujours’. Far from nostalgic, the record mirrors the bleakness of our times: history repeats itself, the future looks dark, and the duo’s fierce electronic punk is its perfect soundtrack. Drum machines set the march, synths flood the space, loops spiral to exhaustion, and vocals lead this orchestra of machines straight into the fire. Leroy Se Meurt sharpen their roots into something even more relentless—bold slogans, narrative fragments, and anthems made to be shouted together. ‘Hier Pour Toujours’ isn’t any more optimistic than their debut—but it still insists on belief. The end hasn’t come yet, and maybe, just maybe, there’s still light waiting on the other side.
The Hipodrome Of Music 