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.
Abdou El Omari was born in 1945 in Tafraout, south of Agadir — a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber’s culture. Very little is known about the man — a veil of mystery still surrounds his life, only deepening the fascination. His name remains discreet, but his music continues to travel. It seems to drift from another time, another world, or perhaps from a dream shared between the blue nights of Casablanca and the silent dunes of the Sahara. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own — a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments.
‘Tirakat’ brings together Jakarta-based trio Ali and Lebanese composer and multi-instrumentalist Charif Megarbane in a collaboration shaped by long-standing cultural exchange between Indonesia and the Arab world. Ali’s blend of 1970s Indonesian psychedelic funk, Melayu traditions, disco grooves and Arab melodic forms meets Charif’s long-running exploration of cross-regional sound, rooted in a shared musical vocabulary rather than genre. Rather than approaching the project as fusion, Tirakat reflects a way of making music that feels already interconnected. Melodies, grooves and textures move fluidly without signalling their sources, grounded in a performance-led process shaped by intuition, repetition and trust. Western instruments are played through techniques and sensibilities formed in Indonesia and Lebanon, emphasising circulation of influence. The title ‘Tirakat’ refers to a Javanese practice of discipline, patience and devotion, derived from the Arabic tariqa (“path” or “method”). This layered meaning mirrors the album’s focus on process and continuity. The result is a record that feels both contemporary and timeless, where Indonesian and Arab sounds intersect naturally through groove, texture and melody.
Bill Converse should be a household name in every heads abode. He’s been DJing live with 3+ turntables since he was a teenager, always under the same name. Unfathomably envious record collection. Your favorite DJs as well as very likely your favorite DJ. Whether it is DJing or a live set, his presentation is head-spinning, hard-edged but hypnotic. His avalanching drum programming is as recognizable as Coltranes timbre. His records have been released on Dark Entries, Fit Sound, Texas Recordings Underground, Tabernacle Records, Immortal Sin, Acid Test, Feral Colony and Obsolete Future. Now Fixed Rhythms presents a 2×12 pack of Bills characteristically bewildering excellence. The first 12” has four cuts. Woozy, heavy, bombastic machine workout opener “Stress Test” followed by the tension peaking sustainer “ZoneZone” on the A side. On the B side, “770” brings us to a new place of plucky bass lines and unconventionally tuned drum workouts, with “lure me” closing the first 12” with flexing low-end, percussive stabs syncopated with heavy snaredrum riffing.
Mark Stillwell is an electro producer from Sydney (AUS). Inspired by the new generation of electro producers, his gear speaks for itself: 808, 606, Monopoly, Polysix, Juno 60, lot of pedals and creativity. His release adds something important to the Gravitational Waves catalogue: dense, dramatic, influenced by 80’s European wave but blending an US electro feeling. A release inspired by cyberhospitals, eagles, revenges, wicked murderers using phone lines to kill, redemption but with a straight and loyal way. Telling the story of a man who hates this world, passing days in his bedroom to make music. The use of atonal and dissonant arpeggios, the tone changes, the robotic voices and this sense of oppression, anxiety and loneliness are all part of the crazy world of Mark. A vision that it’s like a mirror of the world we are living on.
In just five years, The Spy has gone from underground newcomer to one of the most talked-about names in the European electro and EBM dark electro scene. Now landing on Oráculo Records, he presents his most wave-driven and club-oriented material to date: pure, physical electro built for dark rooms and late hours. Driving basslines and sharp machine rhythms—infused with subtle, classic post-punk tension—define a sound that connects the dancefloor with the shadows. This is music made to move bodies without sacrificing attitude—raw, confrontational, and far removed from formulaic club clichés. Five years in, the message is clear: this is not hype, but momentum—an artist fully in command of a modern electro language built for the underground.
“Música Para Caminar” is the new album by 80%Baul, and the record that confirms his definitive leap from revelation to legend. Rooted in a dark, introspective sensibility, Música Para Caminar also connects seamlessly with the vitality of today’s Spanish underground. Once again, 80%Baul surprises with songs that function as poems – bleak, incisive reflections on a decaying, dystopian present. More than music, Música Para Caminar is a statement: music with intention, depth, and meaning – an artistic vision that transcends genre and cements 80%Baul as one of the essential voices of contemporary Spanish post-punk.
Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory.
“II” is the second album by Californian post-punk heroes Alone in My Room. Continuing their exploration of isolation and urban tension, the band sharpens their stark, stripped-down sound, blending cold-wave severity with lo-fi intimacy. Pulsed basslines, detached vocals, and raw, close-mic’d production create an atmosphere that feels oppressive yet deeply personal. Following their 2020 debut Alone in My Room—a claustrophobic, late-night statement—the band pushes further into darker, more confrontational territory, solidifying their place in modern underground post-punk scene.
Enrico Rava’s second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock. The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy – electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White’s drumming is relentless, pushing the music forward with an intensity that never lets up.
As the label turns 35 years, Tresor Records’ ongoing reissue series comes round to Scan 7’s 1999 album, Resurfaced. A true exemplar in the canon of Detroit techno, the LP is a further reminder of Scan 7’s confidence to patiently let the music unfold, never needing to overplay their hand. This is demonstrated from the first second as Random Soul opens with a slow downbeat and soft, almost imperceptible synths before quickly settling into a perfect groove whose power is present without the need for a hard edge. This strategy is utilised throughout the album in tracks like Black Wall and Unit Seven, while Invisible Invasion and Twisted Groov add in some intensity for deeper moments in the club.
Repetition stops being mechanical and starts to breathe. Beauty is taken apart piece by piece to get rebuild with irony as A Thousand Details’ minimalism blinds the mind.
The Hipodrome Of Music 