Various
Neighbors

REZ14fourteen comes galloping in for our home label Rezpektiva this time featuring Toronto's The Riders Of The Soundguard who originally released on Boomtang Records in small numbers from 1992-1994. A rangy (think prime Abou Diaby for Arsenal) EP, 5 tracks strong of heads down house gear and laid back funkers interspersed with cuts that sound like they were taken from an Indiana Jones movie.

Maja Pa presents the third and final installment in the Casting Shadows series with five tracks showcasing her unique style.The EP opens with "A Perfect Day" by Art Teachers, an excellent example of their distinct synth punk sound, providing the perfect introduction to the Veveo-verse. Next up is Vastechoses associate Brique Corps, who delivers the jagged body music of "Has Yo For All4,". On the B-side, Czech duo Kontrajas contribute "Lunt," a circuit-breaker from their self-released Laguna EP. Label regular Rory McPike returns to his post-punk persona 2200 for the goth-infused Outlaw. The record concludes with Geoid Color Circle’s mournful "Adieu Trois Mort En Juin”, taken from their Six Sad World tape.

Beta Librae returns to Incienso with her third album, “DAYSTAR”. Whereas her previous album for the label, “Sanguine Bond” was an altogether more heady affair - “DAYSTAR”, like the name implies, is a bright and bold waypoint in the ever expanding Beta Librae universe.On eight songs, including a striking collaboration with james K on the lead single “Late At Night”, Beta gathers up new elements of sound and pairs them her unmistakable rhythmic shapes to bring us the most wide-ranging and cohesive B.L. album yet.

Dear Reptilian Santa, we're sorry...192 rec is taking the music industry by surprise with a 3rd EP right in time for end-of-year celebrations instead of a Best Of Christmas Songs. Kizoku is dropping with Waited Too long EP a pure nostalgic shot of raw tech-house straightout of the Stud, with naughty basslines, haunting melodies and funky rhythms. Already an after classics.

Evasione Digitale is a new label devoted to the Italian Progressive sound of the 90’s.The label is kicking off with the reissue of "Punto G,” the sought-after Italian Techno 12” originally released on Spock in 1995, under the umbrella of Leo Mas, Gemolotto and Fabrice. The "Triade,” with their influential labels, coined a trademark sound for the city of Udine, creating a solid acid kingdom and giving space to modern experiments.Produced by Fabrizio Vascotto (Skeela) and local dj Marco Bellini, resident in cult clubs like Area City and Aida, "Punto G" sees the light again via Torino and Berlin.

Four years on from Bloei EP (ninih002) and his bewitching collaboration with Theremin soloist Carolina Eyck, Waves (yeyeh002), Eversines returns to Pieter Jansen’s yeyeh/ninih platform with his second solo album, Dwang. The intervening period has seen the Dutch producer release a string of EPs on dancefloor staples like De Lichting, Kalahari Oyster Cult and Wex, all while performing his particular brand of cross-genre dreaming music in DJ and live sets at clubs and festivals across Europe.On Dwang, Eversines revisits the psychological themes he explored on 2021’s Solvation EP, here channelled into a compelling extended narrative centred on inner struggles and personal growth. Sequenced like a DJ set, the music on Dwang ranges between ambient, breaks, acid techno and trance in a progression that moves from a stance of denial and resistance, through acknowledgement and onwards to acceptance. This intense emotional process is skilfully evoked by Eversines’s expert control of tension, catharsis and relief across the album’s four sides.Opening the first disc, ethereal opener ‘Bridge’ clears the mind of outside cares with ocean-deep dub. The moody yet measured breaks and acid of ‘Elev’ build a sense of anticipation before ‘Resist’ and ‘Must Know’ — both of them loopy, airtight takes on classic acid techno — each evoke the feeling of being trapped in a cycle. The second disc opens with ‘Fog’, a title done justice by the track’s billowing clouds of electrically-charged synths and murky bass. The wave of energy building up to this point begins to crest with ‘Onheil’ (‘Evil’), a driving floor-filler that could soundtrack a racing game from the future, before the surf finally breaks with the rushing Detroit-meets-psytrance barrage of ‘Problem Solving Mode’. ‘Tussen Tijd’ (‘In Between’) marks the calming of the waters with cautiously optimistic chord progressions and bright breaks.It’s not a resolution, because in this life there are no easy answers. The trick, as Eversines tells us through this varied musical journey, is to let go of things outside your control and find peace in yielding to a higher flow. Thus Dwang, at once concise and expansive, uses the full range of Eversines’s dancefloor acumen to convey his personal message with universal resonance.