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Next in the vinyl-only Kontra-Musik White Label series is a new collaboration between founder Ulf Eriksson and the label's most prolific artist, Andreas Tilliander, also known as TM404. The record opens in housier territory and ends with the deepest of dubs. In between, the duo carve out a distinct sonic language through two stripped, old school Detroit techno-inspired cuts, built around rolling basslines, subtle swing and a dense sense of depth.

2026 Repress

Cirkle returns to Sublunar, Sciahri's label, following the success of Sonic Surge, with a new EP that showcases both refinement and immense talent. This release encapsulates Cirkles distinct sound and artistic evolution, offering a rich and immersive sonic journey.

The EP opens with Shadows of the Past, a track driven by a pulsating, groovy synth line and dynamic drum patterns that propel the rhythm forward. It seamlessly transitions into Beaten, a dark, hypnotic piece that envelops the listener in a shadowy atmosphere.
The B-side begins with Shamanic, a track that pays homage to a more classic techno sound while maintaining an irresistible, steady groove. Following this, The Wall That We Build offers a more delicate and minimalistic approach, balancing precision and subtlety. The journey concludes with Tears of Light, an epic and transcendental piece that takes the listener to another dimension.

Als eine der beliebtesten britischen Bands der letzten vier Jahrzehnte blicken The Charlatans auf eine Karriere mit 14 Alben, drei Nummer-1-Alben in Großbritannien und epochalen Hymnen wie "The Only One I Know", "North Country Boy" und "One to Another" zurück. Sie feiert ihr bahnbrechendes Debütalbum aus dem Jahr 1990. Die 20 Songs auf dieser Veröffentlichung umfassen das Originalalbum sowie eine Auswahl von Bonustracks, die Tim Burgess speziell für diese Veröffentlichung zusammengestellt hat. Das Album wurde von Frank Arkwright in den Abbey Road Studios neu gemastert und wird auf doppeltem weißem Vinyl mit bedruckter Innenhülle gepresst. Es ist auch als 2XCD erhältlich.

A groundbreaking collision of Atlantic psychedelia and cosmic dub!

A collaboration set to leave a lasting mark: Sensible Soccers join forces with dub master Mad Professor for an EP that redefines the boundaries of this year's electronic music.

Available in both physical and digital formats, this release captures a rare and powerful meeting of two distinct yet deeply connected sonic worlds. The result is a fully immersive experience—a new form of post-dub psychedelia, blending hypnotic grooves, expansive textures, and deep sound system vibrations.

The opening tracks, “Dub de Saia Travada” and “Berlaitada Dub”, are pure dancefloor catalysts: magnetic rhythms, heavy basslines, and a lysergic energy primed to ignite clubs and festivals throughout the summer. Music designed for movement, for the body and the mind—an invitation to lose yourself in collective, hallucinatory dance rituals.

Closing the EP is “Dub Discreto”, a cosmic and visionary journey that pushes the project even further. Here, dub meets the synthetic waves and abstract explorations of cosmic sound pioneers like Cluster and Klaus Schulze—reimagined through the warmth and depth of Jamaica. A timeless experience, suspended between deep space and earthly vibrations.

This EP is more than a collaboration—it’s a bridge between cultures, eras, and states of consciousness. An essential release for record stores, distributors, and listeners seeking something truly forward-thinking.

XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

Matt Gold and Dustin Laurenzi present Devotional Fade, a collaborative record of electroacoustic rhythmic improvisations – equal parts meditation and dance, released on We Jazz Records, 24th April. Laurenzi and Gold, key collaborators in the Chicago creative scene and with genre spanning artists such as Bill Callahan and Makaya McCraven, step forward here with a major artistic statement, a product of extended improv sessions capturing the duo's hypnotic interplay. This is the sound of two of Chicago's most vibrant instrumental voices listening deeply, communing in sound.

Recorded in Laurenzi's attic studio, Devotional Fade emerged from a series of weekly sessions over the course of a single month. The duo kept the tape rolling continuously each day and selected a number of immersive sonic worlds to present, oscillating between patient, sacred minimalism and wild, dancefloor-worthy combustion.

The pair set two parameters to heighten the sessions' stakes: editing would be kept to a minimum, and a rule of "no pitched overdubs" was put in place – ensuring that all melodic and harmonic gestures would have to be committed in real time. Laurenzi and Gold held true, only sparingly adding a stray shaker or brush to these already largely complete improvisations. Devotional Fade is imbued with quiet propulsion and ecstatic repetition.

Matt Gold is a guitarist, multi-instrumentalist, songwriter, and producer based in Chicago, IL. His work pulls from diverse traditions of electric and acoustic music. Matt has performed across six continents and contributed to over fifty recordings as a collaborator and instrumentalist, garnering critical praise from Pitchfork for playing "one of the most exhilarating guitar solos of recent memory, in any genre." Gold has several long-running collaborative bands spanning jazz, folk, experimental, and chamber music including Sun Speak, Storm Jameson, and Tin. He performs and records with an array of creative artists including Makaya McCraven, Marquis Hill, Jamila Woods, Natalie Merchant, and Greg Ward. Gold co-curates the record label and concert series Flood Music.

Chicago saxophonist/multi-instrumentalist Dustin Laurenzi has developed a personal approach to improvisation and composition that has garnered the attention of the city's creative music community. Laurenzi's music is inspired and informed by jazz, folk, and improvised music. His inventive improvisational sensibilities have made him a sought-after musician in many circles of Chicago's vibrant music scene and beyond. Laurenzi has toured extensively with songwriter Bill Callahan and is featured on Callahan's 2024 release Resuscitate! He has toured with Grammy award-winning artist Bon Iver and appears on the band's critically lauded 2016 release 22, A Million. Laurenzi has also performed with Jeff Parker & The New Breed, Marquis Hill, Makaya McCraven, Matt Ulery, Japanese Breakfast, and This Is The Kit.

Label Boss TSVI is back with a brand new release on Nervous Horizon: Dance Tripping EP! Inspired by his early years in London, where he spent countless nights at minimal and tech house raves, the EP draws elements from these styles through stripped back productions and groove driven basslines. Moving away from TSVI’s signature percussion focused sound, the record prioritises a more sound design approach, exploring texture, movement and club functionality.
The EP opens with Music is Moving, a high energy festival weapon built around a groovy bassline and a UK garage leaning swing. A sharp, restless lead drives the track forward before exploding into a euphoric climax of phased and distorted sawtooth waves. Next comes The Wasp Track, combining pitched down leads with a rolling tech house groove, built for peak time tension and release. The title track Dance Tripping sees TSVI at his most stripped back, featuring loopy analog textures and hypnotic rhythmic elements that focus on repetition. The last two tracks Kataklisma and Turbo Motion create a literal sonic apocalypse by pounding the club with heavy reeses and mean beats.

TSVI Dance Tripping EP is the ultimate club weapon for 2026!

In a Secret Room is a retrospective that reopens the sonic and visual archive of KKD, bringing back to light a trajectory that long remained underground within the history of Italian new wave. The tracks, recorded between 1979 and 1986, reflect a constantly evolving process shaped by experimentation, improvisation, and a drive toward new languages. The project takes shape inside a former hotel in Italy’s Po Valley, transformed into a studio, rehearsal space, and visual lab.

Here, among analog synthesizers, homemade electronics, and multitrack recorders, Kriminal Killer Division experimented with and pushed their available technology to its limits, developing a hybrid language: sounds captured from radio and the street, synthetic voices, guitars, and electronic sequences intertwine in compositions that move between art rock, minimal wave, and more industrial directions. This collection aims precisely to reactivate that imaginary. The vinyl is accompanied by a risograph fanzine that restores the project’s visual dimension: collages, photographs, and graphic materials reflecting the same experimental attitude found in the recordings. Sound and image move together, as parts of a single expressive device. In a Secret Room offers access to a hidden space where interference, noise, and intuition take form without mediation. Not a nostalgic operation, but a re-emergence: a living archive that continues to generate meaning in the present.

Collecting Orders For 2026 Repress

We are thrilled to present the latest EP by renowned artist Satoshi Tomiie, released under the esteemed Phonogramme label. This captivating vinyl takes you on a journey into the pulsating realms of techno and dub techno, showcasing Satoshi Tomiie's unparalleled talent in electronic music production. Three meticulously crafted tracks delivering an immersive and captivating auditory experience. Powerful rhythms, striking basslines, and mesmerizing sonic textures seamlessly blend together, creating a breathtaking sonic voyage. Satoshi Tomiie, has captured the essence of techno and dub techno through this release. By collaborating with Satoshi Tomiie, the french label Phonogramme continue to solidify their reputation as a source ofinnovative and exciting electronic music. This vinyl record is an essential addition for techno and dub techno aficionados, as well as for all electronic music enthusiasts seeking new sonic experiences.

Introducing Whoman, a Brussels trio formed by Mira and Ambroos De Schepper and Lou Wery, after several years of concerts and sonic explorations between electronic and acoustic formats. Born from travels, rehearsals, and fragments accumulated in various living spaces, About Honey has patiently taken shape, like a collection of soundscapes and intimatenarratives. The richnessof the textures and the fluidity of the arrangements are striking. Acoustic guitars, mandolin, and tenor guitar converse with synth pads and delicate vocal harmonies, sketching a shifting sonic universe where pop energy and introspective folk atmospheres intersect. Finalized at Studio Ledeberg in Ghent, the album bears the mark of these years of concerts, particularly the tours in mountain refuges that refocused the band"s attention on the essence of the songs: voices, harmonies, and collective breath. Like the honey from which it borrows its metaphor, About Honey concentrates multiple influences to reveal a singular color: the textured expanse of Animal Collective and Panda Bear, the luminous melancholy of Fleet Foxes, and the abundant songwriting of Dirty Projectors. In ten tracks, Whoman delivers a dense and luminous debut album, both organic and inventive, where the delicacy of the vocals and the richness of the arrangements combine to create a warm and vibrant record, revealing a unique new voice on the Belgian indie scene.

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

Shawn Lee, the Silver Fox, did it again! He managed to persuade David Fostex to reord a follow up to his intriguing 2023 offering "Dark Yacht" with an even more cutting-edge venture into the world of sinister, mysterious world of the super yacht sounds and releases "Dark Yacht 2" including 10 new, original compositions written during a frosty, starry night somewhere near Marina Del Ray.

"As I find myself entering into the new era of my personal musical odyssey, I reflect back to a simpler time -a kinder, more gentle world where people listened without hearing," says David Fostex. "An artistic genius such as myself could easily live a life of excess and luxury without even breaking a sweat. I now find myself slaving away in a hot cramped home studio perspiring profusely over childlike chord structures and rudimentary themes. However, I am still reaching for musical greatness and to be perfectly honest, I am creating sonic masterpieces beyond the shackles of my so-called peers- if you can even call them that. My work speaks for itself and I speak for myself. So it is with great pride that I present to you ,Dark Yacht 2', an intimate journey into the mystical world of DAVID Jeremiah FOSTEX the living legend and purveyor of all things good and true. You will laugh-you will cry… Find a friend or a loved one… hold them close and listen to the splendour of what no doubt will be considered to be one the greatest albums of all time. You're welcome".

Solid Red Vinyl Edition - 10@ Mini album. Originally release in 2025 in a painfully limited 2x7" + Book edition.

"Dream of the Egg" is the debut solo album by Tomo Katsurada, known for his work with the Japanese psychedelic band Kikagaku Moyo. This project is a unique fusion of music and visual art, inspired by the Japanese 1920s children's book “Yume No Tamago (Dream of the Egg)”. It reveals a deeply personal journey, reflecting Tomo's dreams and the numerous rebirths experienced in 2024—a year marked by profound new beginnings in every facet of his life.

This mini album was driven by a passion for raw and immediate expression. Every song was crafted and recorded with only the materials available to him at the time, embracing an organic and handmade atmosphere. By eschewing rhythm clicks and standard instrumental tunings, a spontaneous sound emerged, capturing the essence of both uncertainty and immediacy. Adding to this distinctive sonic landscape, guest musician Jonny Nash (UK) contributed ethereal guitar sounds on the first and final tracks, enriching the record's dream-like quality.

The journey begins with the opening track, "Moshimo," which means "If..." in Japanese. Here, Jonny's guitar weaves seamlessly with the vocal melody, creating a harmonious dialogue. The first half of the album concludes with "Zen Bungalow" a cover of Gabriel Yared's “Bungalow Zen” from the soundtrack of the film “Betty Blue 37°2 Le Matin”. This particular track is his partner’s favourite song to listen to every morning and left a profound impression on him. One day, he heard a song in his dream that combined both of these tracks and loved how they blended together. This experience inspired him to create a new arrangement, "Zen Bungalow," which has become a central piece of the “Dream of the Egg” album.

The third track serves as an interlude, printed on a flexi disk attached to the middle of a picture book. This interlude transitions the listener into"Inner Garden," a bittersweet folk song that explores themes of love. The EP's narrative spans 20 minutes, culminating in the final title track “Dream of the Egg”. This piece features a delicate session between Tomo & Jonny, combining cello and guitar to create a spectrum of tones that evoke the imagery of a rainbow. The focus on smooth dynamics and meticulous play reflects an intent to convey a sense of physical trembling. This track sounds like the beginning of a new dream; as if the egg of one’s dream is about to hatch, bringing a sense of anticipation and wonder to the listener. Throughout the album, a variety of instruments come into play, drifting between notes and embracing the beauty of imperfection. By incorporating free-form sounds in a highly technological age, the record aims to reconnect listeners with the tangible, human-made quality of sound.

Special Thanks
Jonny Nash – Guitar

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

2026 Repress

Finally repressed. Excitement reverberates through the underground music scene as the legendary DJ Sneak gears up for his latest sonic exploration, the "Galactic Funk EP," set to drop on the iconic Phonogramme Records. This four-track masterpiece showcases Sneak's unparalleled ability to blend classic house vibes with cutting-edge techno elements, delivering a dancefloor experience like no other.This EP comes in a distinctive yellow vinyl, a bold choice that mirrors the vibrant energy encapsulated within the tracks.

On May 15, HULKOFF returns with his fifth studio album; Jotunheim - a towering new chapter that bends space and time, and throws you back to the very darkest void where the nordic sagas began - Etunaheimar. The first spiritual landscape known in the blood-memory of Fennoscandia, today referred to as Jotunheim - the realm of Giants. Founded by the former frontman of Raubtier, HULKOFF has dominated Swedish charts with multiple #1 releases, including Pansarfolk (2020), Ragnarök (2021), and Hersir (2023). As with some of the previous releases, HULKOFF once again drops a double album. With 20 tracks split across two discs -one in Swedish, one in English- the album invites the world into the frostbitten heart of the North, expanding the saga without loosing its roots. With Jotunheim, HULKOFF delivers what has become his hallmark: iron-hard riffs over folky melodies and thunderous drums. Often described as "Music for the Viking hearted", Jotunheim once again presents the established HULKOFF sound - Metal refined and enhanced by the primal organic sound from Talharpa and violin - wood, horsehair and steel. A symbiosis that is adding an earthy, ritualistic texture to the otherwise dark and heavy sonic landscape.

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

Formed in 2021, the band have been maturing since their very first single. Their live performances and sonic evolution have created an undeniable buzz over the years. Recent single Cognitive Dissonance suggests this new chapter is their best yet, this confident debut album is sure to be a crowd pleaser.

Noko is a Gda?sk-based (Poland) band operating at the intersection of jazz, electronics, and club music. Their sound grows out of improvisation, but instead of following a traditional jazz narrative, it focuses on trance, repetition, and the physicality of rhythm. The band's sound is built on a fusion of acoustic instruments-trumpet, saxophone, double bass, and drums-with electronics and synthesizers. The result is a dynamic structure that works just as well at jazz festivals as it does in a club setting. ?oko's second album is a sonic residue suspended somewhere between a jazz festival and a Berlin techno club. KO is a form of recycled jazz and electronics that opens up wide, cinematic landscapes for the listener. It's deeply physical music, driven by a trip-hop groove that keeps things grounded while allowing the mind to drift into less obvious territories. For this release, ?oko invited two outstanding artists who add a unique character to the whole. Novika brings her signature dreamlike calm, while the voice of Maciej ?winiarski appears in a song about death, closing the band's improvised journeys. This is a personal record the band wants to share with you.

Through her work across five Vastum albums, Leila Abdul-Rauf has been a sonorous contributor to 20 Buck Spin’s discography for more than 15 years now. Concurrent to that she’s also amassed an impressive body of solo work whereby she could showcase the full range of her multi-instrumental artistic and vocal talents. We now bring that part of Leila’s output to 20 Buck Spin showcasing her darkest and most confrontational material to date with new album ‘Andros Insidium’. On ‘Andros Insidium’ Leila draws us into a ceremonial descent, through the architecture of shadow itself. Unfolding like a ritual text etched in obsidian, each movement traces the violent and sacred geometry of transformation. The presence and wisdom of the feminine divine looms throughout, as an ancient and uncompromising force, in conflict with everything buried, exiled and made monstrous by the machinery of societal pressures and unrealistic expectations. The album delves deep into the dark vastness of the psyche of woman: wild, ugly, vulnerable and powerful. Sonically ‘Andros Insidium’ is a mutation of the cinematic dark-ambient, industrial and ritual folk expressed in prior releases, now sharpened into something far darker, more narrative and intimate. Leila’s vocal work becomes a new focus with a wider variety of styles and characters, exorcising the demons of patriarchal fragmentation and revenge fantasy as lived myth. In its most potent moments, ‘Andros Insidium’ suggests that wholeness is not purity or light, but the terrifying act of reclaiming everything that was discarded, and learning to speak with its voice. * New solo album of Leila-Abdul Rauf of VASTUM (also has played in Amber Asylum, Hammers of Misfortune, and others) * Dark and heavy mix of Dark Ambient, Industrial, Ritual / Neo Folk, Electronic

* FFO: Dead Can Dance, Diamanda Galas, Arcana, Amber Asylum, Jarboe/Swans, Chelsea Wolfe, Cold Meat Industry

NEW IDEA SOCIETY signs to Relapse and offers their new album, Fire on the Hill. The band has taken on differing shapes and forms over the years, but at its heart is the duo of Mike Law (Wild Arrows) and Stephen Brodsky (Cave In, Mutoid Man), a pair enraptured and united by the alchemical power of songwriting. With a connection that can be traced back to their high school years, between them exists an intuitive understanding that informs exactly what NEW IDEA SOCIETY is at any given point. Although the pair have come a long way since their earliest explorations in audio in the late 90s, the roots of their alliance were forged in those makeshift basement studios. For Fire On The Hill, Law and Brodsky took a more collaborative approach to songwriting than on previous releases. With Brodsky describing their process as “microscopic” and Law marveling at the particulars of the minutiae they pored over, the attention to detail and their meticulous approach to making adjustments in service of the work shines through in the cohesiveness of this collection of songs. With demos passed back and forth over months - Brodsky sending them in the early morning, and Law taking the evening shift - the songs evolved naturally; refining a chord progression, adapting a lyrical perspective, or in the case of the track Lantern, rewriting the words entirely. Thematically the album is about love, in its many forms. With each track detailing some element of navigating emotional relationships - the beauty, the pain, the loss and the hope - the duo have captured the immediacy and urgency of such feelings, tempered by a sliver of yearning that stops short of tipping into nostalgia. Now with years of experience to their names, alongside a developed vocabulary and extended sonic palette to draw from, they have created something specifically and idiosyncratically NEW IDEA SOCIETY. Fire On The Hill is them in full flight, at the height of their powers. Short: NEW IDEA SOCIETY signs to Relapse and offers their new album, Fire on the Hill. The band has taken on differing shapes and forms over the years, but at its heart is the duo of Mike Law (Wild Arrows) and Stephen Brodsky (Cave In, Mutoid Man), a pair enraptured and united by the alchemical power of songwriting. FFO: CAVE IN, MUTOID MAN, EMMA RUTH RUNDLE, HARVESTMAN, BIG BRAVE, CRIPPLED BLACK PHOENIX, JESU

Steve Louw’s 2026 album, Traces Of The Flood, is a ten-track sonic adventure where each track etches into your aural subconscious. Having retained his collaboration with career-long friend and critically acclaimed producer Kevin Shirley (Joe Bonamassa, Black Country Communion, Beth Hart, Joanne Show Taylor), Traces of the Flood celebrates his rich contribution and commitment to Steve’s talent. The musicians that appear on the past four records, from Headlight Dreams to Traces of the Flood, are a band in every sense.

The Hexcastle is an atmospheric debut that blends lo-fi black metal with medieval-inspired dungeon synth, creating an album that feels less like a traditional collection of songs and more like an immersive ritual or sonic environment

Three years after their debut, French Azken Auzi return with Infernua, a dark and powerful journey into the depths of occult doom and sludge. Forged through years of live activity and creative evolution, the album reveals a band that has fully embraced its identity, delivering heavier riffs, deeper atmospheres and a more mature songwriting approach. Crushing grooves meet haunting passages as Azken Auzi explore the darkest corners of the human soul, balancing oppressive heaviness with moments of eerie tension and hypnotic flow. From the album's thunderous opening to its more ethereal closing moments, Infernua unfolds as an uncompromising sonic ritual that pushes the band's sound into darker and more immersive territories.

For fans of Monolord, Electric Wizard, Darkthrone, Weedeater, Beherit, Celtic Frost, Crowbar, Mayhem, YOB.

Coinciding with the band’s European tour in June 2026, High Roller Records re-releases “Rat God” (2021), “Fearsick” (2022), and the “Panic Prayer” EP (2023) by US death metal powerhouse Inhuman Condition.
Formed in late 2020, Inhuman Condition unites three seasoned veterans of the genre: Jeramie Kling (Overkill, ex-Venom Inc., ex-Massacre) on vocals and drums, guitarist Taylor Nordberg (Deicide, Umbilicus, ex-Massacre), and Terry Butler (Obituary, ex-Death, ex-Six Feet Under, ex-Massacre) on bass. With roots deeply embedded in the legacy of classic Florida death metal, the trio quickly established a reputation for delivering relentless, and unapologetically old-school extremity infused with modern precision and songwriting clarity.
The group’s debut full-length “Rat God” introduced their signature blend of crushing mid-tempo grooves, razor-edged riffing, and commanding vocal presence. Praised for its clear and powerful production, dynamic guitar work, and unmistakable homage to early 90s death metal, the album delivered headbanging anthems such as ‘Euphoriphobia’, ‘Crown of Mediocrity’, and ‘Planetary Paroxysm’, marking Inhuman Condition as a veritable force carrying the tradition forward.
With “Fearsick” (2022), the band sharpened their attack while staying true to their core identity. Featuring artwork by Dan Goldsworthy and produced by Jeramie Kling, the album expanded the sonic palette with atmospheric touches, crushing riff sequences, and memorable hooks, thus cementing the band’s status.
The “Panic Prayer” EP (2023) showcased three new tracks and a cover of Blue Öyster Cults ‘Godzilla’ alongside raw live recordings capturing the band’s ferocious stage energy.
High Roller Records’ 2026 re-issue campaign offers fans the chance to rediscover the early catalog in premium physical editions, celebrating the recordings that established Inhuman Condition as a modern standard-bearer of classic death metal intensity.

Cosmic Journey is the new album by Little Lion Sound, bringing together the sound system's most significant releases from the past two years. The album embodies the DNA and artistic evolution of Little Lion Sound, reflecting a deep love for reggae and sound system culture, as well as a strong ability to build bridges between generations and territories.

Born from sound system culture and firmly rooted in reggae, Little Lion Sound has developed an open and modern musical vision over the years, blending contemporary reggae with hip-hop influences while always preserving the essence of the genre. Cosmic Journey perfectly illustrates this approach through a coherent and immersive soundscape, driven by deep basslines and meticulous attention to textures and arrangements. The album also stands out for the richness of its collaborations, bringing together iconic artists and rising voices from the international reggae scene. From Jamaican foundations (King Kong, Capleton) to new generations, passing through Brazil (Jô), London (Brother Culture), and Trinidad & Tobago (Queen Omega), each contributor brings their own color, energy, and signature. The project also highlights collaborations with producers from France, Costa Rica, and Jamaica, further enhancing the diversity and balance of the album.
Cosmic Journey is a true invitation into their musical universe. A celebration of creativity, authenticity, and the collaborative spirit at the heart of sound system culture, this sonic journey is designed as a complete experience where tradition and innovation meet, uniting established artists and emerging talents.

Tracklisting:

An instrumental counterpart to ‘Man Kill Man’ by Lone Ark meets The 18th Parallel, ‘Kanata’ marks the debut solo release of Japanese saxophonist extraordinaire Yuko Arakawa.

A member of ZIONHILL SESSION—the collective led by Mr. Saito, who also lends his trombone to this recording—Yuko Arakawa channels a deep reverence for the legacy of Count Ossie and the pioneers of Nyahbinghi instrumental reggae. Her playing moves with a spiritual intensity, echoing the meditative roots sound of Cedric 'Im' Brooks, while igniting flashes of raw, untamed energy reminiscent of Sugar Belly. The result is a living, breathing sound—both grounded in tradition and reaching beyond it.

Roberto Sánchez delivers a deep Mutron Bi-Phase dubby mix that expands the sonic horizon of the track. True to its title, ‘Kanata’ (彼方)—a Japanese word meaning ‘far beyond’ or ‘in a distant place’—invites the listener into a meditative journey, drifting across time, space, and memory.

Setting the tone for the wider project, ‘Rage Days’ thrives on sonic deviation, weaving together junglist breaks, weighty basslines, melodic elements, and vocal chants. Speaking on the track, Mix’Elle shares: “For me this track represents how amidst the chaos, community, art and music become such important comfort zones for us to lean into when the world feels a bit mad.”

Reflecting on her contribution, BRAVA said: “It’s about my experience this past winter in London. Being broke, freezing, in high rent flats and just figuring it out as you go, but still ending up at the rave, dancing to breaks and bass where everything kinda makes sense for a bit. It’s also about the people within the DIY underground scene that I’ve fallen in love with, where everyone looks out for each other because we’re all in the same boat.”

‘Rage Days’ captures the urgency and unity of underground club culture, marking a soundtrack for navigating chaos, and finding connection on the dancefloor.

Swan is a warm, melodic, and emotionally direct album, blending guitars, pedal steel, and synths, with wry, heartfelt songwriting reminiscent of MJ Lenderman and David Berman- but with a distinctly antipodean voice. Fazed on a Pony is the alt country/indie rock recording project of New Zealand songwriter Peter McCall. Swan is his second full-length album. On swan McCall sings with emotional immediacy, warmth, and wit about living honestly in the face of inevitable uncertainty and disappointment. McCall's mix of wry humour, sincerity, and melodic instinct has drawn comparisons to MJ Lenderman, David Berman, and Sparklehorse. However, Fazed on a Pony lives within its own antipodean aesthetic and sound. Sonically, swan sees Fazed on a Pony expand from the Pavement-esque tuneful indie rock of previous releases to include pedal steel, fiddle, drum machines, and synthesizers. While there is a diversity of style, the album is rooted in the hallmarks of McCall's music: uplifting and catchy guitar lines that serve the song, paired with arrangements that feel both comfortable and surprising. Where the lyrics tell a sad story, the music betrays that it might just be okay in the end.

The creative bond between Atjazz and Fred Everything is a story decades in the making. It began in 1998 at The Bomb in Nottingham during a DiY label night—a label through which they both released music. That first encounter sparked a lasting friendship and a steady exchange of ideas that would continue for many years. While they collaborated regularly and remixed each other’s work, it wasn’t until the summer of 2022 that they committed to making a full-length album.

The project took shape during an 8-day stay at Martin’s (Atjazz) home in the Midlands of England, where they set themselves the challenge of writing one track per day. Their shared musical language allowed ideas to move quickly, with some tracks forming in under an hour. Over the next three years, the material was carefully developed alongside their respective album projects: Atjazz’s Starbase 17, Fred Everything’s JUNO Nominated Love, Care, Kindness & Hope, and All Is Well’s A Break In Time.

A final session in Montreal in 2024, coinciding with Fred’s 50th birthday, brought the album into focus. From there, the duo invited a select group of world-class collaborators, including Jorge Bezerra (The Joe Zawinul Syndicate / St Germain), Octavio N. Santos (SiR, Lupe Fiasco), Clyde Beats, Ernesto & The Basement Gospel, and Dominique Fils-Aimé.

The result is a personal, well-constructed record that draws on the spirit of 90s deep house while applying three decades of experience to a deeply rooted, forward-thinking sound. It is a sonic testament that honours their mutual love of synthesizers, beat making, and sound design.

It is a project that took 8 days to start, 3 years to finish, and 30 years to perfect.

Lately, it feels like the world is one endless bad news cycle. Joshua Idehen isn’t here to pretend otherwise – but on the spoken word artist’s new album, I Know You’re Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got To Try, he provides a phenomenal sonic, poetic space. Made with his creative partner, musician Ludvig Parment, the album (out 6 March 2026) is an urgent but transcendent collection that holds you through it all, filled with grief, euphoria and hope.

I Know You’re Hurting… comes after the virality of Idehen’s track Mum Does The Washing, a wry and whipsmart poem examining how the world works (which started life as a Twitter thread), set to Parment’s spacious beats. The song has seen the pair propelled beyond Idehen’s wildest dreams this past year.

Across the album, that means uplifting choirs, cozy samples and exuberant, sometimes house-tinged beats. “I am personally drawn to music that transports you to a place, or scene or mindset,” says Parment. This is topped with ruminative musings on morality and human connection; about the longer loves in life – like friendships, family – that sustain us. These come from Idehen and Parment, along with a host of friends and collaborators, including writers Leone Ross and Charlotte Manning, and vocalist Amanda Bergman, to help expand on the topics of the record without sounding preachy. Similarly, there are musical guests including saxophonist Pete Fraser and Shabaka Hutchings on flute, each helping to imbue the album with a rich warmth.

Genre Is Death is an uncompromising noise duo made up of Ty V (guitar, vox) and Tayler Lee (bass, vox). Their sound is abrasive yet melodic, using heavy distortion, dissonant riffs, and reverberating vocals to create a wave of boldly hypnotic noise. The duo have been compared to the likes of Sonic Youth and Teenage Jesus and the Jerks, yet have managed to create a sound that is distinctly their own, avoiding mimicking the zeitgeist of decades before. Beyond the integrity of their music, Tayler’s intimidating glare, or Ty’s staggering gait, the duo share something truly inimitable— the overwhelming feeling that their music is a byproduct of the high esteem they hold of each other. The duo moved to NYC in August of 2023 looking for something more than their mundane suburban lifestyle of day drinking and playing doom metal in friends' basements…their move to NYC coupled with their desire to express something, anything, led to the inception of Genre is Death. The pair hit the ground running, playing anywhere and everywhere they could… however, it was only after a chance encounter with 80s noise forerunners Live Skull that the pair was introduced to the strange underbelly of NYC noise and began playing regular gigs with The Art Gray Noizz Quintet and Lydia Lunch. In 2025 the pair played New Colossus Festival, toured with Gogol Bordello, embarked on their first East Coast tour, and played gigs with Cherubs, Bush Tetras, and Jon Spencer. Their upcoming record was recorded with legendary sound engineer Martin Bisi (Sonic Youth, Swans).

Fresh from the critically embraced full-length LP/CD, Downward Staircase now arrives in a special remix release - answering the persistent calls from supporters of Joaquin "Joe" Claussell who have been demanding a 12" single. The wait is over.

Downward Staircase is an Afro-Jazz House composition crafted in a way only Joaquin himself can manifest. Layered with masterful percussion from a host of renowned players, the groove is both infectious and deeply rooted. The rhythm section drives with purpose, creating the perfect foundation for the stunning piano work of Joaquin's longtime production partner and favored pianist. The result is a powerful Afro-dance journey - spiritual, percussive, and built to ignite dance floors wherever it's played.

But that's not all.

Also featured on this EP is another Joaquin Joe Claussell remix titled Kwelo, featuring Afro-dance originator Mr. Jephte Guillaume. A collaboration rich in heritage and forward motion, it further expands the sonic landscape of this release.

This project has been over a year in the making - a true labor of dedication and persistence. We're incredibly excited for its release, and we know our loyal following shares that excitement. In many ways, it was your continued support that helped bring this record into existence.

Don't sleep.
.
Enjoy the Journey

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Killer Groove Records proudly presents the self-titled debut album by Italian cinematic funk trio Atabasca. A sonic journey where funk, psychedelia and desert groove merge into a timeless narrative suspended between rhythm and vision.


"Atabasca" marks the debut release from the cinematic funk trio, dropping March 27th on limited edition LP, CD digipack and digital formats, the latter featuring an exclusive bonus track. This is a project built on evocative imagery: each song unfolds as an open scene, an emotional landscape where listeners can step inside and write their own ending.

Lap steel, kalimba, percussion and guitars interweave with bass and drums, striking an original balance between tradition and experimentation that evokes unwritten soundtracks for worlds at once distant and familiar. The record navigates between melancholy and irony, tension and release, with a sharp focus on dynamics and sonic narrative.


Deserts, seas, imaginary villages, getaways, pursuits and collective rituals: "Atabasca" emerges as a collection of musical landscapes that unfolds through vivid, evocative imagery.

Jazz-funk, world music, afrobeat, psychedelia and the Italian Golden Age of movie soundtracks merge into a singular emotional geography: warm, analog and deeply human.

The musical journey opens with "Dune", a melancholic statement that leaves room for imagination, before igniting with "Kundela Mawedi" and its cascading lap steel over haunting vocal chants. "Paco" tips its hat to classic westerns, tracing a bandit's trajectory, while "Cameo" drifts back to childhood through minimal rumba and shimmering kalimba. The cinematic imagery continues in "Cacopoulos", a nod to Spaghetti westerns and Eli Wallach, built on raw drum patterns and distorted guitars. Intensity builds in "Khettara", where afrobeat rhythms and Middle Eastern textures intertwine, before "Hell Dorado" tears off in pursuit of the American dream's funk-fueled mirage. "Papambra" weaves hypnotic polyrhythms between kalimba and lap steel, while "Porpora" delivers a sensual, visceral tango of passion and tension. The digital edition closes with "Reprise", a sequel that stretches the album's central theme into an expansive, meditative interpretation.

The tracks were recorded in single takes, capturing the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the album at Velvet Room Mastering Studio in Brighton.

Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment. This is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals) and Valerio Pompei (drums, percussion, vocals).

Individually active for over twenty years on both the national and international scenes, the three Italian musicians came together in 2023 to create a project that merges experience, experimentation and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.

Atabasca's sound moves through jazz-funk, world and cinematic territories, weaving together afrobeat, desert and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


For fans of Khruangbin, Surprise Chef and instrumental psych-funk!

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

Superonda’s debut release, Aurora Spectralis, introduces the latest project from Mahatmos, a duo emerging from long-established practices in electronic music, sound design and composition for moving images. Released on 12” vinyl and digitally, the EP unfolds across four tracks of electronic ambient music shaped by atmosphere, con1nuity and restrained propulsion. Ambient textures open a broad emotional and spa1al field, while slow, insistent rhythms provide steady forward motion.
Superonda has created a space for Mahatmos to sharpen their focus on sound as material. Modular synthesis, analogue instruments and live processes techniques are balanced with precision and restraint, resulting in music that moves between progressive and hypnotic forms, informed as much by underground club culture as by cinematic composition.
Mahatmos is a Rome-based duo with complementary and deep-rooted practices. Gianluca Meloni brings a long-standing presence in techno and experimental music scene, with international releases and performances (as Laertes and as part of Modern Heads). Maurizio Loffredo contributes an extensive background in composition, production and sound engineering across popular music and film, with a refined sensitivity to timbre, structure and sonic narrative.
Superonda is a Rome-based label founded by artists engaged in deep sonic research and advanced technical exploration. Operating as an open platform, it connects collaborators working across recording, synthesis and composition, approaching music as a process-driven practice rather than a fixed genre. Each release stands as a distinct exploration, linked by shared sensibilities rather than formal constraints.
The physical edition of Aurora Spectralis is conceived as an extension of the work itself. Alongside a standard black vinyl pressing, a limited run of color and marbled copies has been produced, each one unique. Variability and tactility are embraced as part of the object’s identity, reinforcing the record as something to be experienced gradually, over time.

BRA (Big Room Ambient) is a new label dedicated to ambient and experimental sound, a space for open sonic exploration where electronics and distant musical traditions converge to create evolving soundscapes.

The label’s first release is Harmograph by Matteo Scaioli, a hypnotic and deeply organic work shaped by self-built synthesizers, experimental electronics and masterfully performed tablas. The album, with a run time over 35 minutes, unfolds as a fluid sonic journey, where rhythm and texture interact in a subtle balance between structure and improvisation.

With Harmograph, BRA begins its catalogue by looking toward unexplored territories of contemporary sound.

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.