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Chicago's finest lyricist MC Juice, infamous from the mid 90s from beating Eminem in the Rap Olympics, is back with a scorching 9 track EP (3 instrumentals and an accapella included) on 12" vinyl! Following on from his two 45s on Nobody Buys Records and well as the hit album The Man, all of 3 of which rapidly sold out this is some of Juice's best work displaying his razor sharp wordplay and effortless flow to its fullest. The sound scape provided by Bankrupt Europeans for their 3rd collabo with Juice ranges from the upbeat & funky original version of All Day to the murky oboe of its remix, the dramatic strings on Where You Go and the sinister vibes of Unseen, in short, the perfect set up for Juice to get loose! We are beyond excited to be delivering some of MC JUICE’s finest ever work and there is a general feeling around Nobody-Buys-Records HQ that this may just be our finest release yet. Between the absolutely incredible artwork by the immensely talented Big Crunch, the beautiful marble vinyl, and the exquisite beats and rhymes, this EP is quite simply the perfect summer package. As always, every record is hand numbered!

Among the most influential hip-hop artists to emerge in the rapid creative expansion of the early 1990s, Queens duo Organized Konfusion helped reshape rap's aesthetic horizons with the 1991 release of a groundbreaking self-titled album. A dizzying display of lyrical dexterity and forward-thinking production, Organized Konfusion helped lay the foundation for what would become underground hip-hop, with intricate wordplay and cerebral rhyme structures. Both Pharoahe Monch and Prince Po shine throughout the album, revealing
the immense talent that would later establish Monch as one of hip-hop's most revered voices and spark Po's collaborations with producers like Danger Mouse, Madlib, Large Professor, Oh No, and more. From playful nostalgia to sharp social commentary to surreal linguistic explorations, the duo navigates chaotic drum breaks with dense rhyme patterns, vivid imagery, and ever-shifting narratives. After decades of limited availability and unofficial bootlegs, this is the first official vinyl reissue of Organized Konfusion since its1991 release. Featuring three rare bonus tracks, this 35th anniversary edition is available on 2LP and CD, giving a long overdue spotlight to one of hip-hop's most important albums.

Rapidly gaining momentum, Drumcode’s new DC4 series returns to serve up a collaborative feast for its fourth edition.

Since debuting in summer 2025, DC4 has done exactly what it says on the tin: serving up four elite tracks that deserve the spot to shine.

You know you’re going to get A+ quality when you cue up a Victor Ruiz & Alex Stein collaboration. The Brazilians have a long history of studio jaunts and they deliver the goods via ‘Core’, a brilliant brain-scrambling outing with a strong dramatic arc.

Charles D & Weska follow up last year’s ‘The Answer’ on 1001 Recordings with ‘Can’t Get Enough’ feat. Bexxie. With a foot in prog and techno alike, this is driven by low-slung grooves and Bexxie’s sexy vox, packing an exhilarating energy throughout.

Enter two Drumcode debutants – SCRIPT & OKAYVAL. The former is a fast-rising American artist who is coming off collaborating with Brazilian superstar ALOK, while the latter is a Colombian born, US-based artist whose earned gigs at EDC Vegas and Tomorrowland this year. ‘LIKE THAT’ is a high-energy jam marked by tight rolling percussion and a sharp vocal loop designed for peak-time impact.

Another pair of fresh faces land on the comp as Martin Costas & Gabriel Gil drop ‘It’s All Around’. Lock in for a pulsating slice of prog driven by hypnotic rhythms and lush melodic textures. A versatile cut fit for a variety of party situations.

Tommy Lefroy has never been afraid of existential questions. From their critically acclaimed debut EP, Flight Risk, the band has captured audiences with their candor wrapped in wit. Both lyrically intimate and sonically vast, the band’s catalog is confessional and commentative, balancing irony with sincerity. They broach their biggest subjects yet on their first full length album, The Precariat. An economic term, the precariat refers to a growing class of people facing increasing instability. “Most people we know are experiencing an unprecedented level of precarity, permeating into the collective psyche. We feel like the best we could strive for in a body of work is an unflinching capture of the moment. The Precariat felt like the perfect title, and emblem of how it feels to be alive these days.” Recorded in Los Angeles at Blue Canyon Studios, The Precariat was produced by band members Wynter Bethel and Tessa Mouzourakis, with co-production from Stephen Sesso, and executive production by Mike Crossey (The 1975, Wolf Alice, MUNA). The album’s songs were written by Bethel and Mouzourakis, over the tenure of their friendship, across apartments and tour vans, phone calls and late night conversations. With themes of friendship, coming of age, personal and collective grief, environmental uncertainty and political decay, The Precariat offers a sonic landscape in which to contend with our rapidly changing world. The album’s title track (largely inspired by Springsteen’s critical narratives mistaken for bleeding heart patriotism) grapples with constant exposure to global suffering, and feeling entrenched within systems that fail us. “The Precariat” disintegrates into the ‘American cities’ outro, an idea started while the band lived in London, about missing home while watching it destabilize from afar. The Precariat faces this head on – all the sheen of the American empire has worn off, and there is much work to be done. “We hope to foster an antidote to precarity – community.”

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.

The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.

"Potency rolls into double figures with a new release from Malik Kassim, aka Retromigration. Following albums and singles on labels including Love On The Rocks, Rhythm Section and Wolf Music, the tenth release on Cromby's rapidly-evolving, floor-focused imprint locks into the sound of one of house music's most consistent and consistently exciting producers, seamlessly bridging the established Potency energy with a luxurious vision of the genre. 'Love Rock' summons an instant block party energy, showcasing the expert weight of Kassim's basslines, as well as hinting at the fusion of hip-hop and jazz that bubbles through the textures of the German-Nigerian producer's studio work. Meanwhile, 'I Do Dance' stays true to the promise of its title, delivering blissful sun showers of synths amid emotional pads and hints of the classic Korg M1 organ sound, a universal signal to party. Ushering in the flip, the more tightly-wound percussion of 'Neighbourhood' maintains Kassim's driving groove, while dancehall samples and dub influences expand the established Retromigration sound into new spaces. Finally, 'Go 2 Nowhere' completes the dance, masterfully blending pillowy breakdowns and wistful keys with the EP's most urgent groove. Rich in detail while keeping the floor in constant motion, 'I Do Dance' reinforces Malik Kassim's timeless touch for unmistakably modern house music."

Jacksonville returns with Heavy & Gold, a powerful five-track EP rooted in the raw energy of underground house and analog machine funk. Produced by Chris Lyth, the record blends Chicago-influenced drum programming, hypnotic basslines and deep melodic textures into a set of highly functional DJ cuts built for the dancefloor. The EP moves between muscular jack tracks and deeper hypnotic moments, balancing driving groove architecture with subtle emotional tension. Heavy & Gold opens with the title track, a dense and rolling house cut driven by heavy drums and warm synth layers, before Just Another High delivers a tighter, more stripped-down groove with classic underground swing. Rapido pushes the energy further with a direct, rhythmic workout built for peak-time transitions. On the flip side, Parallel Love expands into a deeper and more atmospheric territory with evolving textures and hypnotic momentum, while closing track Miz & Ida delivers a long, hypnotic groove combining analog warmth and late-night dancefloor pressure. True to the Skylax philosophy, this release focuses on timeless groove design rather than trends, offering DJs and collectors a record built to last in the bag for years. Written and produced by Chris Lyth with executive production by Hardrock Striker and artwork by H5 (Simon Renaud), Heavy & Gold continues the Skylax tradition of uncompromising underground house music.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

Made up of Matt Tuck, Michael ‘Padge’ Paget, Jamie Mathias, and Jason Bowld, Bullet For My Valentine return with their 8th album ‘Social Apocalypse’. The band have accrued multimillion album sales, multibillion streaming numbers, multiple Gold certifications at home and abroad, plus three UK Album Chart and Billboard 200 Top 10 placement.
Thematically, ‘Social Apocalypse’ combines the bare-faced lyrical introspection of people weathered and worn by the modern world. Working once more with producer Carl Bown – a veteran of four Bullet albums, alongside work with Sleep Token, While She Sleeps,
Malevolence and more – the idea for each track was diligently scrutinized, constructed and polished to its immaculate final form.
The track ‘Social Apocalypse’, rages against the end of the world as we know it, ‘I Don’t Trust Tomorrow’ is a reflection on the fear of the unknown labelled as the heaviest Bullet song ever complete with a hair-raising vocal turn from Lorna Shore’s Will Ramos. The second collaboration features Against The Current vocalist Chrissy Costanza also stepping in to duet on the exceptional ‘In The Absence Of You’.
Reminiscent of the band’s storied past without ever being repetitive of it, it’s with a steelyeyed determination to break new ground that the beloved hallmarks of Bullet For My Valentine past and present – Acid Rain and Fragile’s rapid-fire riffage, the melodic sensibility of Masquerade and Never Enough, and the anthemic balladry of Read Between The Lines and Here Without You – are refocused and re-energized for the future.
Bullet For My Valentine have established themselves as one of Britain’s all-time most celebrated rock and metal exports and now enter the dawning of a new era with the same burning drive and vision as ever.

Made up of Matt Tuck, Michael ‘Padge’ Paget, Jamie Mathias, and Jason Bowld, Bullet For My Valentine return with their 8th album ‘Social Apocalypse’. The band have accrued multimillion album sales, multibillion streaming numbers, multiple Gold certifications at home and abroad, plus three UK Album Chart and Billboard 200 Top 10 placement.
Thematically, ‘Social Apocalypse’ combines the bare-faced lyrical introspection of people weathered and worn by the modern world. Working once more with producer Carl Bown – a veteran of four Bullet albums, alongside work with Sleep Token, While She Sleeps,
Malevolence and more – the idea for each track was diligently scrutinized, constructed and polished to its immaculate final form.
The track ‘Social Apocalypse’, rages against the end of the world as we know it, ‘I Don’t Trust Tomorrow’ is a reflection on the fear of the unknown labelled as the heaviest Bullet song ever complete with a hair-raising vocal turn from Lorna Shore’s Will Ramos. The second collaboration features Against The Current vocalist Chrissy Costanza also stepping in to duet on the exceptional ‘In The Absence Of You’.
Reminiscent of the band’s storied past without ever being repetitive of it, it’s with a steelyeyed determination to break new ground that the beloved hallmarks of Bullet For My Valentine past and present – Acid Rain and Fragile’s rapid-fire riffage, the melodic sensibility of Masquerade and Never Enough, and the anthemic balladry of Read Between The Lines and Here Without You – are refocused and re-energized for the future.
Bullet For My Valentine have established themselves as one of Britain’s all-time most celebrated rock and metal exports and now enter the dawning of a new era with the same burning drive and vision as ever.

Repress.

Fast-rising Dutch DJ/producer BELLA becomes the first new artist signing to Sally C’s Big Saldo’s Chunkers imprint, with the inspiring ‘Note to Self’ EP – her debut production.

Relationships are key for Sally C. Since the inception of Big Saldo’s Chunkers in 2020, she’s released three carefully chosen EPs, all from her own studio. When she met BELLA while playing a festival in Amsterdam during summer 2022, the click was instantaneous, with the pair going on to play an impromptu b2b that day. Vibing both musically and energetically, they kept in touch, with BELLA sending Sally her maiden productions ‘Note To Self’ and ‘Orchestra Spring’. Sally connected so deeply with the tracks that they’d form the backbone of her debut artist EP on Big Saldo’s Chunkers.

One listen to the final EP and it’s not hard to see why Sally wanted to emboss them as Chunkers. Three fresh originals taking in influence from ‘90s house, acid, electro and prog, all with a unique hard-to-pin-down energy that makes them hit with a special swing.

The title track – also the first production made for the EP - sees BELLA lay down a sonic blueprint – both for her own sound and the full body of work. “This set the vibe and guided me through the creative process. I was really trying to make something that felt my own, that was also unique and not something I’ve heard before,” she shares. ‘Note to Self’ is heavy on attitude and bounce, driven by banging old skool drums, a rapid-fire grime-style vocal and a duo of synth lines – one uplifting, the other mining a slick ‘80s sheen, and the results are memorable. An absolute tune that Sally’s delighted to add to the Chunker catalogue.

‘Orchestra Spring’ is the perky sequel, a wicked one-two punch of kaleidoscopic groovy house with lashings of attitude that loves to scribble outside the lines with lots of retro samples and trippy energy. ‘Odd Symphony’ completes the trio, a blazing late-night cut driven by a gurgling acid underbelly, gritty drums and warm chords, giving the EP a brilliant afterglow.

On his self-titled album POUYA, the Miami artist steps outside the world that built him and into one that’s been calling to him for years. Known for his hard-hitting, rapid-fire rap and underground roots, Pouya sheds expectations and dives headfirst into a grittier, more vulnerable sound—trading 808s for guitars, and hooks for raw emotion. This is not a rap album. This is something else.

Leaning into alternative rock, post-grunge, and even hints of early 2000s emo, POUYA is loud, emotional, and unfiltered. It's Pouya at his most sonically adventurous—and maybe his most personal. You can hear the freedom in his voice, the pain in the distortion, and the shift in his songwriting. It’s still Pouya through and through, but it’s a version of him that’s been brewing in the background, waiting for the right time to come alive.

With POUYA, he proves he doesn’t need to follow a formula. He never did.

1xLP, pressed on Graphite Eco Mix vinyl and housed in a single pocket jacket with polylined protective sleeves

2025 Reissue

Back in the 90s JP Buckle had releases on Aphex Twin’s legendary Rephlex records and Warp. His debut album Flyin Lo-Fi is true classic in the Rephlex cannon.

These JP Buckle originals are from that album, released in 1998 and out of print on vinyl for 20 years, now re-released on vinyl by Ping-discs with 4 exclusive new remixes from Myoptik, Roy Of The Ravers, Crispy Jason and Inkipak.

This is two slabs of wax with bangin tunes on all four sides. The originals remain classic favourites of Rephlex aficionados the world over, and the remixes come from pedigree artists as well. Myoptik has had releases on many labels, including Mighty Force who first signed Aphex Twin over 30 years ago. Everyone knows Roy Of The Ravers, he has even been played in Aphex Twin’s live sets! Crispy Jason’s amazing music has featured on releases by both artists and Inkipak is the new sensation, with all of his first 4 albums selling out rapidly, indeed his debut album Anomaly is on its 3rd re-release on Pingdiscs now, that’s how in demand he is!

Originals taken from the classic 90s Rephlex album Flyin Lo-Fi.

Winds from remote eastern lands descend rapidly on our plains, lurking between memories and feelings, whilst the drums of liberation play the same hypnotic patterns repeatedly - as in an ancient ritual. The sorcerer behind the Dorothy's Dream alias gives us three original cuts filled with pure minimal mystery, backed up by a remix by US-based talent Chklte, who adds some harsh 909 drums on his version of "Arambol", closing the EP but not the enigma that surrounds this release.

For the next edition under the number twenty-two we have Peruvian mastermind Rufo, coming up to steer the spaceship into the right direction as he always does. Currently based in Barcelona being the resident of the legendary project Mad Radio that is expanding rapidly with the clear vision of electronic underground music. Therefore, our artist has learnt and studied the ancient methods of best of the best. The extend play is called chronicles of past millennium and explores the sound of the past with a modern twist on it. It’s sounds splendidly fresh now and with full confidence could be said it will sound fresh in all the upcoming future millenniums. The record features a vast range of sounds which shows the maestro is very versatile at the executing stunning audio puzzle pieces that are ready to blast the dancefloors of big clubs, illegal raves or the afterparties all over the globe.

2024 Repress

Berlin techno talent Regent is next up on Mutual Rytm as he returns with a compelling new five-track 12" titled 'Coral Knife', plus a digital bonus cut.

Regent emerged only in 2020, but has fired out quality tunes on Planet Rhythm Records, Arts Collective and Warg Records since then. His already extensive catalogue of standout releases combines tough and rapid grooves with cerebral qualities and a real depth of writing and sound design, resulting in timeless yet avant-garde material optimised for the dance floor. For that reason, he is one of the new forces emerging from the German capital and why his next EP, 'Coral Knife', sees him find a perfect home on SHDW's Mutual Rytm imprint as he returns with his first 12" on the label following his appearance on the 'Federation Of Rhythm II' compilation earlier this year.

The tight and funky 'Brickyard' opens with a high-speed groove and a taught synth riff darting about the mix to seductive effect, before 'Driftage' gets more raw with rickety percussion over bulky drums. The synths are dubby and liquid as they get smeared about the mix to bring dynamism to the groove. There is then darkness and heaviness to 'Nocta' with weighty kicks and alluring vocal sounds drifting through the late-night airwaves.
Title track 'Coral Knife' cannot fail to sweep dancers off their feet with its fizzing synths and smooth drum loops overlaid with icy hi-hats that get you into a meditative state, while 'Encoder' layers up bleeps and squeaks over a signature linear groove that is detailed with muffled vocals and distant cosmic stars.

As always with Mutual Rytm, the package rounded out with an impressive digital bonus in the form of 'Multiversa' - a driving and thunderous techno cut that closes the show emphatically.

Igor Radošević aka Cosmic G is next to join the E&X roster with his encapsulating “Human Spirit EP” for our first delve into 2024.

The Serbian DJ & Producer has been in high demand over the past 12 months releasing a plethora of well received records on respected labels such as Haws, Goddezz & Neptune Discs, ensuring a rapid rise through the progressive house & trance scene.

Both originals are backed by two stunning remixes from up and coming French talent Clint who has added plenty of raw energy into both his renditions, turning this record into a must have for any discerning DJ or record collector.

Repress!

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight who teams up with rapidly rising talent Crusy for a staunch collaboration ‘Daddy Shhh’. A fiery club heavy cut, focusing on Toolroom’s founder’s speciality of Tribal Tech House, ‘Daddy Shhh’ is a record made for the dance floor specifically. Mixing high energy grooves, Latin percussion and rolling tech bass line that’ll keep you moving until the early hours.

Next up, we’re welcoming UK selector and producer Huxley who drops brand new single, ‘All I Need’. An artist not bound by conventional genres, Huxley’s sound shifts and melds into whatever fits the record, and that is certainly true when listening to ‘All I Need’. Coming through with a lush, Deep House synth vibe and an earworm vocal that melts into the mix before launching into Classic UK House style bass stabs means only one thing, a straight up belter.

Up next is another heater from Liverpudlian DJ and producer ESSEL who returns to the label with ‘Lennon’. An artist well versed in the art of hit-making; ESSEL has been a firm fixture of the Toolroom family over the past few years. A darker take on her typical vibe, ‘Lennon’ is a record that skirts the edge of her sound, tipping over into clubland and we have to say, it’s absolutely class. If there’s ever a glass ceiling above then ESSEL is sure to smash straight through it, she certainly is an exciting new prospect and without doubt one to watch.

Last but not least, we see the return of powerhouse DJ and production duo Leftwing : Kody who team up with fast-rising producer James Hurr on their debut outing ‘Music Is the Medication’. Reggae vocalist I Jah also features, bringing some Ragga styled heat to the record. ‘Music Is The Medication’ is a sublime record, mixing a tough, Tech House focused vibe with UKG styled breaks and a straight to the point Ragga vocal overlayed for maximum delivery means only one thing, a certified banger.

Presenting 'Swinging Flavors #12,' the latest sonic exploration by Tokyo-based sound craftsman, T5UMUT5UMU. In the pulsating track "Bolt," he deftly blends elements of techno, breakbeat, and jungle, offering an intergalactic journey through the diverse universe of bass music. Released under Beat Machine Records'
Swinging Flavors series, this digital and 7" vinyl release invites listeners to embark on a cosmic adventure.

T5UMUT5UMU, a genre-defying producer, skillfully navigates the space between tracks united not by traditional genre labels but by vibe and style. With techno, breakbeat, and jungle as his guiding stars, his music draws inspiration from Eastern cultures, seamlessly woven into UK-style club tracks. Fusing elements like HARD DRUM, dark breakbeats, grime, and DnB, T5UMUT5UMU creates compositions that transcend boundaries, captivating audiences globally.

The remix of "Bolt" by Mani Festo mirrors the rapid and diverse stylings found in his towering catalog. Mani Festo, caught in the tension between futurism and tradition, is a champion for the transformative power of club music. As part of the Club Glow
collective, his dynamic sound ranges from breakbeat science to electro machine funk, elevating 'Swinging Flavors #12' to new heights. The remix, akin to a warp-speed journey, propels the original track into uncharted territories, delivering an electrifying experience anchored by heavyweight rhythm craft.

Together, T5UMUT5UMU and Mani Festo invite you to lose yourself in the cosmic magic of 'Swinging Flavors #12,' a release that transcends musical boundaries, celebrating the joy of exploration within the vastness of bass-infused soundscapes.

The fifth Planet Tapes projects us into a completely efficient mechanism that propagates rapidly and causes spectacular consequences.

A1 written by Graham Sims and Simon Button better known as Connective Zone. After releasing music in the 90s and early 2000s, one of their old works is about to see the light of day, almost 20 years after their last appearance on vinyl.

A2 created by R.E.S.S, a South American boy part of the "Orbe" collective and passionate about parties with small groups of people. Official debut on vinyl but his first solo EP won't be long in coming.

B1 composed by the bond of two childhood friends (Existencia Pasajera & Dismal) who followed separate musical paths and reunited years later in the Valdivia electronic music scene.

B2 belongs to Yu, an emerging Italian artist who already boasts numerous releases, all starting in 2023. His sudden rise is in the eyes but above all, in the ears of everyone.

Drumsauw announced debut release 'Focus' on DCLTD.

Drumsauw, the rising techno prodigy also known as Joseph Sutherland, is gearing up for his highly anticipated debut on DCLTD. With a rapid ascent since 2017 and support from industry titans like Adam Beyer and Ritchie Hawtin, Drumsauw's arrival on the label promises an electrifying fusion of driving beats and impeccable production finesse.

'Focus' fires like a jackhammer, a piercing slice of percussive techno that reveals an atmospheric side as metallic synths enter at the mid-way mark and the momentum into dreamier territory.

'Set Back' is a highly effective cut built around ultra crisp drum work, shuffling kicks, a mind warbling vocal and menacing synth line.

2026 Reprss

Hi-NRG synth pioneer Patrick Cowley moved away from his usual robotic steeliness on 1982’s “Primitive World,” drawing instead on the groove rock of early 1970s gay discos. It’s a percussion track influenced by Baba- tunde Olatunji’s 1959 hit “Jin-Go-Lo-Ba,” made more famous by Santana’s 1969 cover. Cowley updated the sound for the 1980s with electronics and drum machines but kept the playful attitude of the original. Two choirs of voices chant back and forth to each other, giving Cowley a chance to include many of his friends from the San Francisco dance music community.

This has been DJ Hifi Sean’s year, with a best-selling album with David McAlmont , count- less live gigs and high-profile remixes to his name. His interpretation of Cowley’s “Primitive World” can be counted among his best, bringing an intense TB-303 acid house vibe that perfectly complements Cowley’s weird electronic blips and bleeps. The effect is a disorienting mix of psychedelic 70’s groove, 80s synth pop, and 90s tacky house vibes. “Primitive World,” is one of the brilliant standouts on Cowley’s final record, Mind Warp, the so-called “death album” written as his health was rapidly sinking. Hifi Sean’s new remixes pay tribute to Cowley’s genius while fusing the track even more strongly to dance music’s electronic future.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

John Ghost (Ghent, Belgium) is the sextet led by guitarist/composer Jo De Geest. As a group, they draw influences from jazz, rock, and contemporary classical music. Minimalism, electronics, and an overall cinematic quality characterize their instrumental sound. The ensemble's sound can be described as a symbiosis of Hidden Orchestra, Portico Quartet, and James Holden.



After the critically acclaimed “Airships Are Organisms” (4-star reviews in The Guardian and Financial Times, as well as airplay on BBC 6 and Worldwide FM) John Ghost is back with “Thin Air . Mirror Land”, to be released on October 6 via Sdban Ultra, the label of ECHT!, Black Flower, Glass Museum, STUFF. and more.



For this album, they continued their fruitful collaboration with legendary producer Jørgen Træen, known for his work with Jaga Jazzist, Electric Eye, Kaizers Orchestra, and numerous projects on the Hubro Record Label. The result is an album with a slightly more somber tone, focussing on a broader range of instruments and an emphasis on percussive elements."Thin Air . Mirror Land" unfolds as an aesthetic refuge in stormy times. It is a musical urge for introspection in a chaotic reality, and a longing to reconnect with a natural environment.



During the creative process, Jo drew inspiration from the music of artists such as Hans Zimmer, György Ligeti, Magma, The Residents, Disasterpeace, James Holden & The Animal Spirits, Do Make Say Think, William Basinski, and Jóhann Jóhannsson. The album title "Thin Air . Mirror Land" and the song titles are driven by a fascination with the artwork of Edvard Munch. Jo found inspiration in Munch's painting "The Storm" (1893) as a catalyst for the writing process, exploring a dystopian backdrop and the intriguing interplay between comfort and unrest. Heavily inspired by the music, Jaak De Digitale created the gloomy artwork for the album.



Members of the band are Jo De Geest (Endlingr), Rob Banken (Rapidman, HAST), Wim Segers (Compro Oro, PAARD.), Karel Ceulenaere (Black Flower), Lieven Van Pée (Echoes of Zoo, De Beren Gieren) and Elias Devoldere (Nordmann, Elias) who went through a thoughtful studio process, with the result being a conceptual and slightly dystopian atmosphere.

After shaking up the dice across global festivals and club dancefloors last summer, Albion Collective reinvigorates Yoofee’s instant classic, Seek & Move, in a brand-new remix EP featuring Mystic State, Molokai and K-lone.

Mystic State fires up the engine with his remix of Seek & Move, alchemising Yoofee’s rapid kinetic energy into pure steamrolling pressure. The intro mischievously echoes the original, imbuing the drop with a strike of surprise when Mystic State’s stripped back, sub-loaded weapon fires in place of the classic.

Molokai keeps the motor revving with powerful, in-your-face sound design built for the heavy steppers. Zapping, buzzing, and fizzing robotic delights spark and pop throughout Molokai’s grungy yet groovy retwist of Yoofee’s Seek & Move.

K-lone serves up a signature sweet ‘n’ tasty edit of Make You Believe, realigning the original B-side’s focus from its organic soulful keys to its endlessly elevating electronic arpeggiation. What was once bathed in reverb, serving as a glimmering skyline to the gorgeous memory palace of Make You Believe, becomes the unblurred protagonist bleeping and blooping its way through a high-rise city of slick trap rhythmics.

Albion Collective is proud to welcome these fantastic artists to the label and present their brand-new viewpoints on Yoofee’s Seek & Move Remixes EP.

Last summer saw youANDmedelivered his “Diva 2022” mix of "PPPPP" a track that would ignite dancefloors across Ibiza and become one of the smashes of the summer in the process. The label was always certain the record was a hit and the response that followed justified their faith.

The track went on to be championed across the globe by the likes of Ame, Dixon, Matthias Tanzman and Pete Tong (Radio 1) leaving a succession of dancefloors demolished in its wake. Fast forward to 2023 and the Cult brings in a smorgasbord of house music’sfinest to breathe fresh verve into what is rapidly becoming a future house classic.First, comes the unmistakable dancefloor call of the “Diva” mix, with its fierce retro vocal and contagiously looping house sound. Its raw undeniable groove shook dancefloors for a reason the first time around and here it is to do the damage all over again. Next, house music legend Ian Pooley hops on board to serve up a delicious slab of fat analogue deepness.


A rework for the real house heads, it drenches the original vocals in reverb and creates a tough sub-laden groove bound to work deeper floors. House music’s producer of the moment Cinthie delivers a red-hot reinterpretation that ups the bpm count and zones in on the drums. The Berlin-based producer creates a colossal house-breaks crossover that is bound to tear apart dancefloors. Reese subs fill out the lows while organs deliver the original rave flavour and take the track into orbit.


Finally, Tel Aviv’s Yotam Avni turns out a remix that delivers shades of the pure old-school house with piano stabs sitting alongside deep chords before he puts his tougher-edged modern techno stamp onto it. Rhythm Cult is on a roll now returning with one of the most hyped tracks of 2022. This package delivers the goods with fresh remixes for 2023 from some of the best in the industry who are now added to the label's impressive roster.

Utter presents the extraordinary audio-visual project 'SuperEverything*' by multi-media artists The Light Surgeons.

'SuperEverything*' is a live cinema performance piece that explores identity, ritual and place in relation to Malaysia’s past, present and future. Commissioned by The British Council in 2011, it was created in collaboration with a group of Malaysian audio and visual artists. Over the past decade, the project has toured to various film and new media arts festivals internationally.

'SuperEverything*' is a fusion of music, field recordings, documentary filmmaking and real-time moving image manipulation that together transports its audiences through a series of universal narratives; exploring themes of tradition and modernity, globalisation and development, race and national identity, to consumer culture and belief.

'SuperEverything*' surveys our human condition to reveal what unites and divides us. It weaves together a rich kaleidoscope of stories, sounds, images and smells live on stage. It is a truly immersive, cross disciplinary performative artwork that reflects on how our complex identities are formed through ritual in relation to our rapidly evolving physical and psychological environments.

'SuperEverything*' poses many questions about how people form a sense of identity in a world increasingly dominated by information networks and fast changing social and economic landscapes.

This limited edition vinyl and digital album features the nine original tracks that make up the musical score to this groundbreaking live cinema project, fusing traditional South East Asian instruments with field recordings, electronica and western classical string instruments.

Accompanying the record is a 24 page full colour booklet and double-sided poster, housed in a gatefold sleeve. The booklet contains quotes from the narrative interviewees whose voices are interwoven throughout the performance. These quotes accompany images from the production and performances to help illustrate the musical journey and allow you to contemplate the themes and ideas explored in this work. The poster design features a collection of filmstrips taken from the video material in the show with a single striking album image photo on the reverse.

The release is also accompanied by a previously unavailable film of the full live cinema performance recorded at Hackney Empire in collaboration with The Barbican in 2013.

There was a time when a person would pick up an instrument to compose yet another song for a loved one. A sad figure humming into a microphone, pronouncing the most basic words and forms to convey quantity, quality, fact, statistics and similar sounds describing pain, loss and sorrow. The human brain would perceive the melody sad and perhaps within herself feel a sense of melancholia.

In another parallel world a new composition would then appear. But not one composed on a wooden built instrument, no, sounds made into structures and tables that would assists the listener into providing an additional context and meaning through digital synthesis and quantised harmonies. But who could really tell if these sounds were real? Or where they just sounds impersonating an idea of something?

Rhyme nor reason is as abstract in its shapes and ideas as it is concrete and elegant in its narratives. A carefully crafted wooden cabinet with an over-whelming amount of different drawers and hidden compartments. Each box storing blissful arrangement; a fluorescent stone, a paper note saying something about lunch, some collectible objects, a forgotten token or perhaps an autograph, all so very vibrant and joyful for its possessor.

Deleted files stored on rapidly rotating platters coated with magnetic material. Small, easy to loose SSD memory cards of recorded corrupt files and digital artefacts. Software engineered compositions trying to grasp the shared belief of an upcoming future, vivid and uncertain; birds, waters and long lost recollections. A release unconcerned with the literal depiction of things from the visible world. At least not for now.

Boston based production duo and room-mates John Barera & Will Martin continue their journey into sculptural, storytelling House music, with their debut album on Dolly - ' Graceless'. The pair's work has found a wider audience since the success of 'Reality', which found its way into the hands of Berlin's Steffi, and acted as a central gear and in her 2013 Panorama 05 Mix. John Barera has been a firm disciple of the House and Techno world for the past 10 years, and after launching Supply Records in 2011 has brought an elegant, resoundingly universal mixture of underground club tracks to the fore. A fresh and fruitful partnership with close friend Will Martin grew out of the pair's rapidly growing studio, and the latest results can be found here over the 8 cool, classy and refined contemporary House tracks.

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.



That initial fearlessness has since fuelled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.



GoldFord’s touring trajectory has followed the music's rapid ascent. He began in intimate rooms like Los Angeles’ Moroccan Lounge and New York’s Baby’s All Right before embarking on a debut North American tour that sold over 25,000 tickets. This momentum carried over to his first UK and European run, which required multiple venue upgrades in cities like London and Manchester. The international momentum continued with an Australian debut in March 2026, alongside key festival appearances at Austin City Limits and Noah Kahan’s Out of the Blue. He is currently headlining 1,000+ capacity venues on the Space of the Heart North American tour, including sold out shows in historic rooms like The Fonda and Webster Hall, with upcoming festival slots at Shaky Knees and Oceans Calling.

[GER Seit ihrer Gründung im Jahr 2014 haben sich These Wicked Rivers zu einer der fesselndsten Bands der aktuellen Rock-Revivals in Großbritannien entwickelt. Die aus Derby stammende Gruppe schöpft aus dem reichen Erbe von Rocklegenden und Blues-Größen und hat sich mit ihrem unverwechselbaren, vom Blues geprägten modernen Rock einen Namen gemacht. Dank ihrer Live-Auftritte, die oft eine fast spirituelle Tiefe erreichen, und ihres zeitlosen Songwritings hat die Band in den letzten Jahren enorm an Fahrt aufgenommen. Ausverkaufte Konzerte in Großbritannien, den Niederlanden, Frankreich und Deutschland sowie der große Kritikererfolg ihres zweiten Studioalbums "Force of Nature" (Platz 3 der UK-Rockcharts) haben ihren Ruf als Live-Act, den man unbedingt gesehen haben muss, gefestigt. Das Jahr 2026 verspricht ein Meilenstein für das Quintett zu werden: Im Herbst erscheint ihr mit Spannung erwartetes drittes Album "Fire and Folklore". Aufgenommen wurde das Werk in der Heimatstadt der Band, Belper in Derbyshire, im Heimstudio von Andy Sneap. Unter der Regie des Grammy-Preisträgers Sneap (Judas Priest, Saxon, Megadeth) und Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) ist das bisher ausgereifteste Album der Band entstanden. "Fire and Folklore" geht über den typischen ,Wizard-Blues-Rock"-Sound hinaus und erschließt neue klangliche Territorien; dabei werden Country-Einflüsse und Southern-Rock-Flair integriert, ohne den für die Band charakteristischen Groove und Soul zu verlieren. Zudem ist die aus Derby stammende Country-Hoffnung Kezia Gill als Gastmusikerin auf dem Album vertreten. Geliebt von einer rasant wachsenden Schaar von Fans und ausgestattet mit einem Album, das den Sprung auf die großen internationalen Bühnen anvisiert, stehen These Wicked Rivers bereit, neue Höhen zu erklimmen. Seid dabei, klingt klasse. CD mit zwei Bonustracks, LP als Purple oder Black Vinyl! Established in 2014, These Wicked Rivers have emerged as one of the UK's most compelling forces in the recent rock resurgence. Hailing from Derby and drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years. Sold-out shows across the UK, the Netherlands, France and Germany have cemented their reputation as a must-see act, bolstered by the critical acclaim of their second studio album 'Force of Nature' (#3 UK Rock Chart). 2026 is set to mark a landmark chapter for the quintet, with their hotly-anticipated third album 'Fire and Folklore' set for release in autumn 2026. The record was recorded in the band's hometown of Belper in Derbyshire, at Andy Sneap's home studio. With the Grammy-winning Sneap (Judas Priest, Saxon, Megadeth) and Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) at the helm, it's the band 's most accomplished record to date. Expanding beyond their signature wizard-blues rock sound, Fire and Folklore pushes into new sonic territory, blending in shades of country and Southern spirit while retaining the groove and soul that defines the band. The record also features a special guest appearance from fellow Derby artist, country starlet Kezia Gill. Loved dearly by a rapidly growing "Family" of fans, and armed with a homegrown record with its sights set firmly on the global stage, These Wicked Rivers are poised to reach new heights. Jump on in and enjoy! CD contains two bonustracks, LP comes in Purple or Black Vinyl!