One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties.His new album, ‘Planetary People’ has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.
For two decades, Tamikrest’s music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means ‘connection’ or ‘union’ in Tamasheq, and the band have become one of the Kel Tamasheq’s most vital voices, raising awareness of their plight while channelling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means ‘voyage’ or ‘journey’, shows just how far the band have come. Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat’s co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label – one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric ‘Momo’ Maurel, who joined a year later.
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.
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.
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.
Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut ‘Ballistic Statues’, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground. This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material. ‘Ballistic Statues’ remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.
The 10th release on Dungeon Module is ‘Bunco Trax’ by Timothy “J” Fairplay a double length collection of raw House and beat tracks produced in anger at the Dungeon Module studio. 16 tracks of Chicago influenced proto jak box jams, disjointed rhythms and metal on metal. Made with TR808, TR707, TR727, Casio RZ-1, Casio CT-510, Korg SR-120, Juno 106, JX-3P, Poly Six, SH-09, SH-5, Syncussion, Pro One, A/DA Flanger, RE-201, EP-100, CE-2, DD-3, Soundcraft 200B, Boss KM-60, Teac 2A.
In 1991, Rome, Francesco Chicco Furlotti founded Male Productions, an independent record label – small, determined, and far removed from the commercial logic that dominated at the time. Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape – Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission: The True Underground Sound of Rome. The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. Space Echoes presents – at last in a complete and faithful form – the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.
The eight long play on the Exarde label comes from none other than UK electro royalty – Transparent Sound. If you have been following the music world for a while, then you would know this name as it’s been on the radars since the 1994. From the beginning it was a synergy between two artists Orson Bramley and Martin Brown, now the project solely run by Orson and he is presenting us Potent Mystery, an electro album in the best possible execution of this genre filled with melody and mystery. For the remix duties stepped up Acidulant the Maltese based hardware guru and the master of live sets from Bristol – Ben Pest. Each of these men and stellar artists have spent numerous years perfecting the craft of the electronic music which have resulted of this album being born as we can hear it now.
Circuitry Electronic launches with a release that stands as a statement of intent – an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley – one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002.
Patricia clocks back in at Acid Test with ‘Y Try’, a six-track Mini-LP, neatly packed, no detours. The brief was never complicated. Big room Patty business, plain and simple. The A-side aims straight for the main room, the flip takes things deeper.
Marking 50 years since the live launch of one of Britain’s most influential electronic bands (at the Sheffield Students Union Refectory on 13 May 1975), Stephen Mallinder and Chris Watson reactivated the Cabaret Voltaire name for an exclusive live performance at the Forge Warehouse, Sheffield. A 4 date tour of the UK followed in November 2025. They were joined by Eric Random and Oliver Harrap.
“But What Time Is It Really?” was recorded on the Oct-Nov 2025 UK Tour and perfectly captures the mood of the UK dates. Fans travelled across the world to see the band present new arrangements of classic Cabs tracks such as ‘Sensoria’, ‘Crackdown’, ‘Do Right’ and ‘Spies in the Wires’ alongside ‘Tinsley Viaduct’, a contemporary piece of musique concrète composed by Chris Watson.
Stephen Mallinder: Vocals, bass, keyboards, samples
Chris Watson: organ, modular synths, samples, field recordings
Eric Random: Keyboards, guitar
Oliver Harrap: Electronic percussion
In memory of Richard H. Kirk.
Cititrax presents Sand Clock, the new full-length album by Men With Secrets – the Italian trio of Donato Dozzy, Lino Monaco, and Nicola Buono (Retina.it). Born from a shared background in experimental techno under the name Le Officine Di Efesto, the three found themselves drawn toward something slower and more deliberate: the emotional directness of classic post-punk, minimal wave, and synth-driven pop. Sand Clock is the fullest expression of that devotion. Recorded in Rome and Pompeii in 2023, the album channels the melodic clarity and romantic tension of late-80s and early-90s darkwave while never losing the cool precision the trio carries from their electronic roots. Icy synthesizers curl around shuddering basslines; drum machines land with quiet authority; baritone vocals move between intimacy and quiet apocalypse. The result is music that breathes between the shadowed dance floor and solitary headphone listening—structured, emotionally exposed, and impossible to place in any single moment. This is not revivalism. It is the recognition that certain emotional territories were mapped but never fully inhabited—and a determination to go further in.
“You Cannot Be Programmed” is an album focusing heavily within the EBM, New Beat areas with all of the usual Kid Machine touches.
Nearly three years on from their self-titled debut, Psyché return with a new album that reinvigorates and expands their singular blend of groove and psychedelia. The band’s name itself—the ancient Greek word for ‘mind’ or ‘soul’—signals a deep-rooted love for psychedelic funk, while pointing towards a vast array of Mediterranean influences spanning Southern Europe, the Balkans, Anatolia, and the Maghreb. While their first record explored a mythical, timeless Mediterranean as a sort of ‘elsewhere’—reimagining ancient musical traditions through modern styles and sensibilities—Psyché II adds a subtle political dimension and shifts the focus toward a wider, more contemporary geography. Here, the Mediterranean becomes a modern lingua franca —a fluid bridge uniting diverse peoples, cultures, and musical legacies. In this vision, the band’s native Naples serves as a vibrant crossroads where sounds from North Africa and the Middle East meet the echoes of distant shores like Brazil and Colombia.
Taiga Trans, the debut album from Gothenburg-based group Fauna, is a hypnotic collision of krautrock propulsion, psychedelic ritual, and subterranean rave energy. The eight-piece Swedish outernational collective channels a multicultural, multidimensional sound that feels both deeply rooted and otherworldly. Think Goat’s feral mysticism, Can’s motorik drive, and a dancefloor at its most transcendental. Electronic textures whoosh like solar winds. Quiet percussion sighs and chatters. A jaw harp sets up a twanging bounce. An ancient saz introduces a taut riff. Suddenly a high-strung electric guitar scorches and a deep, booming bass groove drops with a four-to-the-floor kick drum thud.
For over four decades Mr. Fingers has been shaping the core of House Music. Now he returns with a new album that continues this timeless journey through deep rhythms, soulful melodies, and immersive atmospheres. Crafted with the warmth and musicality that define him, the record blends deep house, jazz-infused harmonies, and subtle R&B textures. On ‘Leev Ur Mynd’ Mr. Fingers once again reminds us why his music remains essential: hypnotic grooves and heartfelt compositions. Not just music for the club, but also for the quiet spaces.
The Wheel of Rituals, ‘Contextual Devices and Systems’ (2026). Concept and art by R.A. User. Digital audio, digital photography (and found footage), music composition, album, two-sided lathe cut recorded and riso print. Duration: 58 minutes (album), 10min 35s (lathe), 24 pages zine. This publication presents two modalities of archaeological inquiry: various items and material remnants salvaged from post-conflict landscape of northern France, and recontextualized digital captures extracted from contemporary popular media. Through processes of cut-up poetry, these temporal artifacts generate new intertextual configurations: audio graphics. The juxtaposition of geographical and media archaeologies functions as a literary methodology for examining conditions of contemporary culture – each fragment serving as contextual device within a speculative system of meaning.
The Hipodrome Of Music 