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“Billy Boy”, the title track of Modern Romance’s debut on LuLúxpo’s "Paradise Children Records" imprint is an atypical opener for a dance record. Its lackadaisical guitar work feels more like music made for a smokey dive bar in Tennessee or like it accidentally fell off the soundtrack of a lost Tarantino cut. But it’s a stunner nevertheless, the ideal companion to a lazy, hazy sunday. LuLúxpo’s remix is its club-ready counterpart. The label bosses dial down the rockabilly feel and add their distinct slow and sensuous touch. Choice guitar licks are repurposed over a deep, rolling beat, while angelic oohs take a welcome front seat in the song’s second half.

Turning the mirror on herself, Marie Davidson arrives on Ninja Tune with Working Class Woman”, an album that is sure to be heralded as one of the most self-reflective recordings yet from the Montreal-based producer.

Building on the dancefloor-minded trajectory of her breakthrough LP Adieux Au Dancefloor, released via Veronica Vasicka's Cititrax imprint circa 2016. With “Working Class Woman”, Marie Davidson proves that once again that she can roll acidic new beat basslines and sleek, sexdrops tekno laced with sharp-edged vox like no one else. This super strong selection is sure to take pride of place within the collections and listening habits of anyone into DFA and Regis, Not Waving (with whom she recently collaborated) SOPHIE and GAIKA.

Working Class Woman reshapes Marie Davidson's sharp-edged Italo Disco, proto-industrial and electro influences into new modes of cyberpunk coldwave control, proof that looking inward can project a more expansive vision out into the world.

Mark is releasing a new EP called Integriert Euch Nicht. It features two tracks taken from his Berghain debut and a freshly-composed drum & bass missile. “Fucking Sick Of Myself Since Day One (Hot Desk Mix)” and “Hats Off To Herr. F” were first performed at Mark’s 2018 Berghain live set during Ostgut Ton Nacht. The former is a breakcore-adjacent call to arms for the self-loathing, the latter an antarctic shiver of predator- mode IDM-illektro. “Integriert Euch Nicht (Commercial Jump Up Mix)” features singing from Blackest Ever Black alum Silvia Kastel. Mark wrote the vocal parts with sine waves before Kastel recorded each tone individually, creating microtonal clusters in the vein of Luigi Nono. The sax-like sounds are Wilted Woman playing the aerophone, an electronic woodwind instrument. Otherwise, it's Mark's most deliberately straight ahead drum & bass track to date, trading the beat science of former releases for a stubbornly boneheaded approach in line with the title's message. Integriert Euch Nicht is something of a spiritual successor to last year’s tech/gentrification/real- estate-investment themed Integrier Dich Du Yuppie and a ruffer, more floor-focussed elaboration of the techniques tested on his unterton debut The Least Likely Event Will Occur In The Long Run. Under his Klon Dump alias, Mark has also previously released a psych-mnml double EP called Klon Dump Vs. The Open Air on A Colourful Storm and Two Rooms, a tape of sound art improv and knackered pop-strumentals on Bristol-based imprint NoCorner. When not playing solo, Mark also accompanies Blackest Ever Black’s Carla dal Forno on live electronics.

Second Vigram instalment brings us producing artist Dibek, who is half of Vienna's electro/techno group /DL/MS/ (Frustrated Funk, TRUST fame). Dibek explores some Spesimen-style electro on the A-Side, and goes into more bouncy and weird acid jack territory on the flip. Recommended!

DBH Music proudly presents Time Modem - The Time Of The Gathering on legenday BOY Records. This is the first re-issue after 32 years!

Cosmopolitanism is creeping into the bedroom studios of producers worldwide. Romanski is another agent evolving transcultural hybrids, which blend from retained folkways to modern aged club grooves. A mixture of electronic beats in a rigid machine order and handmade organic moments woven together to form an eclectic sound. With a bit of drama, the hamburg based dj & producer Romanski, invites you on a diverse journey with his unique vision of club music. Balearic groove patterns accompanied by repetitive bongo motives & dimmed synth themes flow along the 4 tracks (2 of them featured on 7" vinyl) of this EP. The title track "Karma Calling" is a passionate homage to Mulatu Astatke, "Tagh Tagh" is surrounded by an iranian children’s song, "Gaugin" features a tahitian vocoder line about the french painter and on "Ants" Romanski reflects on lyrics that came to him when resident at a sanatorium years ago. Romanski is using his custom sound range & tools to express his downbeat grooves in this well balanced release. Hide below or turn around the umbrella with devotion and delight.

Thirteen years after his whopping ‘Time and Space’ EP, Chicago 'O.G.' Mark Grusane returns to the Rush Hour imprint with his ‘Dance Intensity’ EP. Combining trademark electro, wave, synth-pop and disco elements into three modern dancefloor cuts.

Record Store Day 2021 release. The exclusive Split-EP by Mano le Tough & DJ Koze breathes new life into the Pampa Records discography. While on the A side Mano le Tough delivers a trippy modern house cut, Koze makes things raw and dirty on the flip with some vocal assistance from his release mate Mano.

Rawax proudly present Gregor Tresher aka Sniper Mode! It’s Gregor‘s first release under his Sniper Mode moniker after 17 years! A timeless future classic - highly recommended!

After two stellar Split EPs with Das Komplex, Brazilian sound wizard Rotciv delivers his first Solo EP on Luv Shack Records. With 4 intricate original cuts and a Massimiliano Pagliara remix, the Elev8tion EP is a bold testament to modern EBM. The titular track sets the stage with a firework of dramatic synths, brash elektro beats and a fluttering acid line, finding a perfect balance between dancefloor appeal and leftfield quirkiness. Italian maestro Massimiliano Pagliara remixes “Elev8tion” in a straightforward fashion, opting for a percussion heavy drummachine pattern, a driving bassline and additional synth melodies, yet incorporating the original 303 to great effect.

While the German producer Martin Matiske averages a new release under his given name every few years, there was a long stretch of time in which sightings of his Blackploid alias were much more rare. After dropping an EP for Frustrated Funk in 2006, fans found further material hard to come by over the next decade or so. However, Matiske has reinvigorated Blackploid in recent times, with the project making a few compilation appearances and dropping a couple of EPs across 2020.
That run now culminates inCosmic Traveler, a four-track affair which marks Matiske's debut appearance on Sheffield's Central Processing Unit. Given the long wait, it's great just to see Blackploid back among the fray once again. But for the project's CPU curtain-raiser to be an EP of such high-quality techno jams? Now that really is spoiling us.
Cosmic Traveler's title nods towards the sort of stargazing aesthetics one finds in classic Detroit techno. However, while there are undoubtedly ties to the Motor City in this music, the record ultimately steers less towards spacious atmospherics and more towards the taut, lean machine-funk of seminal practitioners like Dopplereffekt.
Matiske sets his stall out from the off. Opener 'Electric Engine' begins with a run of stiff-necked 808 kicks before hissing hi-hats, a grizzly bassline and all manner of futuristic sounds enter to warp the tune into hyperspace. Following cut 'Night Drive' repeats the trick of 'Electric Engine' but adds a pleasingly dinky synth lead in order to nudge itself slightly towards bleep-techno territory.
The two cuts on Cosmic Traveler's B-side are pure late-night goodness, a pair of mid-set heaters primed for dark basements. 'Pleasure Activism' delivers on the promise of its title and then some, pushing the Kraftwerk template to extremes by bringing a load of gnarly synth lines into play over a wobbling acidic chug. Finally, EP closer 'The Race' is reminiscent of both the twisted machine-funk of Gerald Donald's Japanese Telecom project and the playful modern evolutions of artists like fellow CPU high-flyer Jensen Interceptor.
The resurgence of Martin Matiske's Blackploid project continues withCosmic Traveller, an EP of timeless electro-funk and techno.
FFO: Dopplereffekt, Japanese Telecom, Jensen Interceptor, Cardopusher

Since emerging in the early 2000s with releases on the seminal Merck label, Proswell (Joseph Misra) has proven to be one of the most original voices in IDM. People Are Giving And Receiving Things At Incredible Speeds (pagartais), his debut on Sheffield's Central Processing Unit, is another Proswell record which overflows with creative energy. Containing five widescreen electronic epics, Pagartais showcases some of the most ambitious work in the discographies of both artist and label.
The core sonic palette of Pagartais is one schooled in the IDM and electronica sounds of imprints like Rephlex Records, B12 and Skam. These tracks are helmed by thick washes of keys, an array of playful synth tones and drums so deft it's sometimes hard to tell whether they have been programmed or played live. However, across almost forty minutes of music here Proswell explodes preconceptions about genre and form, his music gleefully jumping from one new sound to the next while assimilating electro, prog, computer game music, post-jazz and pretty much everything in between.
Opener 'Pagartais I' sets the tone for the rest of the record. This is a track which never sits still - beginning with a distorted melee of drums that comes off like a strange new version of breakbeat, 'Pagartais I' moves through some thrillingly idiosyncratic takes on Rephlex-school IDM, stargazing Detroit electro and The Comet Is Coming's futurist electronic jazz across its near-ten-minute runtime. Following number 'Pagartais II' is no less impressive, referencing the hyper-modern computer sounds of Iglooghost and Kai Whiston while containing a driving opening section which could have soundtracked one of the legendary Wipeout games.
Although this fabulously unpredictable record often zips along at high speeds, Proswell is also able to dial things back when he needs to. Indeed, the second half of Pagartais finds him slowing down a tad in order to deliver some of the album's most atmospheric material - 'Pagartais Iii' blends cutting-edge electronics with sonorous jazz harmonies and fizzing improvised lead lines, the mysterious 'Pagartais IV' is a sort of freeform variation on the maximalist, colourful electronica of Galaxy Garden-era Lone, and the slinking computerised Braindance number 'Pagartais V' recalls Calum Gunn's recent CPU drop Addenda.
Really, though, none of these comparisons quite do justice to the inventive capacity of this music - Proswell's in a lane of his own here. An incredibly innovative fusion record that takes in IDM, prog, computer music, electro and plenty more besides, People Are Giving And Receiving Things At Incredible Speeds (pagartais) is the sound of a unique musical mind in full flight.
Riyl: Calum Gunn, Kai Whiston, Iglooghost, Rustie, Bogdan Raczynski

New Norwegian imprint Continually with a debut EP from Ruton (Rub800 & Tonchius), touching through a variety of genres within the modern sound between house and techno. A-side kicking off with “Coconuts falling from a Clear Sky”, introducing heavy kicks and bumping basslines, which sets the mood for the dancefloor with its mysterious and playful vibe. “Introvert Acid” offers introspective up-beat techno with bleepy and modulating melody lines. Moving over to the B-side, which attempts the house vibe. “Partly Sun”, accompanied by organ sounds and rhythms, are clearly UK-flavored with hints of garage house. Finally, “Taste of Spring” wraps it sweetly up with melodies that draws parallels towards deep-house and synth-pop.

The Last Day Of Pompeii is a compilation of hidden gems by Retina.it -most of them released via Chicago’s Hefty Records in early 2000- and few unreleased coming as a double EP. The records will have inserts presenting 2 halves of Karl Brullov painting from 1830 (that gives the name to the project). On the backside of the insert there will be anecdotes and pictures from the archives. Midgar want to pay tribute to the Pompeian duo, whose life has been entirely dedicated to music. Retina.it is respected by the likes of Frank Bretschneider, Olaf Bender, Donato Dozzy, John Hughes considered ‘big’ and ‘seniors’ of electronic music industry, but modern public is lacking informations about them. The project ‘The Last Day Of Pompeii’ talks about their origins, early history and relationship with Hefty Records.

The Last Day Of Pompeii is a compilation of hidden gems by Retina.it -most of them released via Chicago’s Hefty Records in early 2000- and few unreleased coming as a double EP. The records will have inserts presenting 2 halves of Karl Brullov painting from 1830 (that gives the name to the project). On the backside of the insert there will be anecdotes and pictures from the archives. Midgar want to pay tribute to the Pompeian duo, whose life has been entirely dedicated to music. Retina.it is respected by the likes of Frank Bretschneider, Olaf Bender, Donato Dozzy, John Hughes considered ‘big’ and ‘seniors’ of electronic music industry, but modern public is lacking informations about them. The project ‘The Last Day Of Pompeii’ talks about their origins, early history and relationship with Hefty Records.

Welcome to the Rawbeats World!
Notice don't forget your headphones, start your sound system because Terence Terry's creative touch is in the house. Introducing our first release with 3 pieces of new musical perspectives that will become a self-fulfilling prophecy, meant to awake different feelings in each of us.
Remixed by German legend DJ Honesty, driven by an undeniably soulful and passionate flow.

SISTERS return with some grinding modern wave music from Dead Husband and remixes from An-I (LIES), Papers and Klasse Wrecks Privacy.

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 two tracks on 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.

Sex Judas feat. Ricky started out as the solo project of Norwegian producer Tore Gjedrem known for his work as one half of electronic duo Ost & Kjex. Over time the project has developed as a fully fledged band including the talents of multi instrumentalist Ivar Winther, the bass magic of Kristian «Gesse» Edvardsen, the percussive force that is Sidiki Camara and Tore Brevik and the vocal talents of Tracee Meyn. The band has also many friends, most notably modern composer and violinist Ole Henrik Moe which often lends his avantgarde leanings to the group. Illustrator Sindre Goksøyr is also a key member, giving visual life to the project. The bands foremost home is the Glasgow label Optimo Music, that released Sex Judas debut album «Go Down Judas» in 2018. Earning the band a Norwegian Grammy, called the Spellemann.

Field Maneuvers residents LMajor and Corporeal Face - who together make up Local Group - follow up a sold out Laser Domes EP, a Secret Race 4 appearance and an XL Recordings inspired release Fresh Rhythms with a rave and hardcore inspired 4-tracker for mysterious imprint 1Ø Pills Mate. Heavily inspired by the UK sounds of garage, jungle and breakbeat, the duo's first outing on the label encapsulates everything you might hear in a Local Group set. ‘Rhythmic Trip’ is an emotional, breaksy number; meandering out of dark tones and patterns and into large vocal samples and uplifting odes to classic hardcore. Netil Radio resident Angel D’lites Dolphins Have Sex For Pleasure release on Banoffee Pie Records last year has already gone down as something of a contemporary classic, and here she continues in typically high velocity fashion with a wicked 150bpm lovecore remix of the Local Group original.

“Whether it is traditional or contemporary, we need to be authentic,” says Gözen Atila who performs as Anadol. “I don't claim that I am authentic, but this is what I want to achieve.”

A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.

The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”

This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.

If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”

There's a mystical place in the heart of Rotterdam, oddly tucked in between the corporate buildings. Bright light boards and red velvet carpets, it's a small cinema that still breaths its old-school grandeur. That's where the Cinerama Adventures project was born, lead by its staff supervisor DJ Overdose. The result are two tracks that go from modern flavored freestyle to sleazy darkroom experiments, both accompanied by the instrumental versions.

In a convergence of two of the most celebrated names in contemporary electronic music, Karsten Pflum steps out on Central Processing Unit with the Liars EP. As anyone who has followed either Pflum's work for labels such as Worm Interface/Furthur Electronix or the Sheffield imprint's recent run of top-quality electro joints will have expected, this coming together proves to be a match made in heaven.
What we have here is a tour de force of modern machine music. With Liars, Pflum achieves that rare feat of making something that is at once boundary-pushing yet also thrillingly immediate, his attention to detail shining through with each well-placed snare hit or leftfield structural choice. Equally apt for home listening or dancefloor deployment, Liars is a delight for heads and hedonists alike.
Constantly evolving while also cleaving to a relentless groove throughout, opener 'wan1' is a brilliant scene-setter for Liars. The track slinks between sections of seething post-Drexciyan acid and eerie vignettes which balance out haunted house synth licks with the sort of punishing bass blasts that recall early grime classics like Youngstar's 'Pulse X'. A sly shift of key halfway through the track only serves to redouble 'wan1's restless brilliance.
After 'wan1', 'lola' represents something of a gear-switch. The track's wiggly opening bassline is a red herring - make no mistake that we're fully into braindance territory on this one, the drums skittering across the mix as Pflum fills the track out with jungle-adjacent delays and softly insistent synth pads. As 'lola' goes on, blurts of synth and some stiffening in the drum work pushes the track into pure rhythm workout territory.
First B-side 'mousfolk' somewhat splits the difference between Liars' A-sides. This track has 'wan1's unyielding stomp and prominent acid bass line, but the helter-skelter drum breaks and wandering keyboard lines are very much pulling from 'lola's zanier energy. As with the other joints here, 'mousfolk' is elevated by Pflum's composerly touch, the Dane frequently throwing in new sonic tidbits - a skippy snare tattoo, a single-note synth loop which sounds like a hovering spaceship - that reinvigorate the mix.
Pflum's musicality is at the fore once more on closer 'balm'. For the first section of 'balm', a rich and sombre keyboard fugue, you'd be hard pressed to say whether you're listening to a producer of club music or a contemporary classical maestro. The way Pflum builds this central motif up with deft broken-beat drum programming, a wheezing synth countermelody and distant vocal sighs is equally delightful, the whole track coming off like a kindred spirit of the electronica-infused experiments on Radiohead's 2000 masterwork Kid A.
A brilliantly unorthodox collection of electro-braindance hybrids, Liars is a barnstorming Central Processing Unit debut from the seasoned Karsten Pflum.
Riyl: AFX, Silicon Scally, DMX Krew, Matmos

Egg Meat is a new project from London based artists Tooth Rust aka Laurel Uziell and Georgie McVicar, their self-titled EP features poems spoken by Danny Hayward.

The EP features speech-jammed text skittering across insistent rhythms, clipped signals and buzzing, saturated grains. You hear the racket of gunshots, mechanical clutter and punctuating tones that ring out impatiently like an unanswered phone call. Hayward's words at times surfacing as meaningful utterances, at others buried under this dense sonic matter.

The manipulations of voice are also at times so extreme as to render them indistinguishable from the clattering electronics that engulf them. The speech shapeshifts, shudders, and shatters in the way a violin glides and trills above an orchestra. The EP ends with an ambiguous promise: "Don't worry", Hayward assures us, "we'll be back."

Portuguese super talent Shcuro in the house! Right on point with his new EP Signs Of Unsettlement. 4 dark and heavy modern slamming electro/techno belters loaded with some heavy surface tension!!!

Split release from Serbian-born, Macedonia-based Alavux on side A and The Hague's Gallus on side B, each with their own interpretation of the more harsh and heavy industrial machine-driven electro-robot alienation, perhaps of some modern hidden 'Deus ex Machina'?

Wheez-ie's uncompromising rave anthems get a wild ride of remixes from Tim Reaper, Vtss, DJ Stingray 313, Aura T-09 & Cardopusher

An of-the-moment remix EP full of bold, dark, and relentless warehouse thrillers. On January 14, L.A.-based producer Matt "Wheez-ie" Mauldin follows up October 2021's Horizons release on Evar Records with an of-the-moment remix EP that's cathartic, riveting, uncompromising and altogether powerful. Wheez-ie gathers together an all-star cast of dancefloor iconoclasts who reinterpret his singular '90s-referential rave visions to thrilling affect – this is all killer, no filler warehouse music for those who are brave enough to take the ride.

London's jungle modernist Tim Reaper reworks "Horizons" – a Summer of Love-ready breakbeat epic with cinematic, near gothic overtones – into an homage of sorts to early LTJ Bukem, cutting up Wheezie's melancholy synths into a twinkling fairyland that dances atop a weighty ton of chopped amens and classic jungle subs. Detroit icon DJ Stingray 313 trades in the punishing techno vibes of the original "Anon" for something equally fierce – a versatile 139 bpm slab of expertly-machined industrial electro that pairs perfectly with the sample "You think you know me, you don't," which could well be a rallying cry for Wheez-ie's unexpected musical stylings.

The surprises continue on the remix of "Pressure," tackled by Evar Records label head Aura T-09 with the wildly eclectic Barcelona-based Cardopusher. The duo transform Wheez-ie's aggressive free-festival hard trance into a cheeky and modern riff on early Paul Van Dyk/Tiësto/Love Parade anthems. Gossamer layers of Aura T-09's angelic vocals and tunneling Acperience arpeggios are offset by a wildfire of hacked breakbeats and Dominator synth stabs, revealing Cardopusher's rich breakcore past. Rounding out this fully mental and totally unexpected remix pack is a nasty, naughty fingerblast from the Berghain dark room via Polish-born, Berlin-based Vtss. Where other remixes add the breaks, the fast-techno goddess strips back the early '90s breakbeat hardcore onslaught of the original and replaces it with an equally relentless industrial 4/4 beat – the entire tune is a masterclass in the intensity for which she's known. Uncompromising and utterly of-the-moment, the Horizons Remix EP explores new shades of the themes that infuse Wheez-ie's original: dystopian futurism, uncertainty, dark beauty and rave catharsis. Don't sleep!

Lunar Disko is delighted to present a new release from cult soundtrack producer, Heinrich Dressel. Five tracks of synthesizer beauty from a master of the modern Giallo electronic sound. Perfection for your late-night promenade excursion.