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Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

Bosco Sacro is an Italian quartet formed in 2020 by Paolo Monti (The Star Pillow, DAIMON), Giulia Parin Zecchin (Julinko), Luca Scotti, and Francesco Vara (both formerly of Tristan da Cunha, with Vara also active in Altaj).

Inspired by the sublime and restorative power of nature and its landscapes, and driven by a shared belief in music as a healing and liberating force, Bosco Sacro create immersive soundscapes where dreamlike atmospheres, slow-moving rhythms, and spiritual depth converge. Their music draws from ambient, doom, and trip-hop, transforming these influences into a deeply personal and evocative sonic language.
Ihabit, their second studio album is a captivating exercise in sonic existentialism and a bold departure from their previous release, Gem. Composed entirely live in their rehearsal room and recorded over seven days with producer Lorenzo Stecconi, the album captures a raw, collective energy. Across eight interconnected tracks, the band crafts a modern ritual of ego dissolution and rebirth, weaving a diverse sonic tapestry where the crushing weight of doom and slowcore meets the weightless beauty of dreamgaze, ambient, and trip-hop.

BOSCO SACRO are:
Paolo Monti – guitar
Giulia Parin Zecchin – vocals, lyrics
Francesco Vara – guitar
Luca Scotti– Drums

Minutiae is the first full-length release form Stockholm’s Ināra Quartet, made up of brothers Kasper (guitar, banjo, mandolin) and Mauritz Agnas (bass, cello), Johan Graden (piano, harmonium, synths) and Mischa Grind (percussion). Drawing on wide performance and composition experience in free improvisation, jazz, and composed new music, the quartet have carved out a unique niche where radical approaches to rhythmic organisation and group interaction are wedded to immediately accessible, folkish melodic and harmonic material. Unfolding briskly across eight pop-song length tracks, Minutiae places these folk fragments under a microscope, expanding them into intricate patterns of group interplay by turns austere and lushly psychedelic.

The quartet’s layering of independent rhythms, pulses, and tempi suggests a range of precedents, from Ligeti’s ticking clock textures to the pulse music of John McGuire, the repeating asynchronous cycles of The Necks, and the intricate irregular crosshatching of Banda music. Rhythm, harmony and melody shade into one another within each of the instrumental layers that overlap to form the music’s rippling surface. At points guitar, bass, percussion, and keyboards can seem each to occupy their own world, each player moving independently according to their own internal tactus, but attention to the details of group interplay reveals carefully planned collective movement. On ‘Klapparen’, strummed acoustic guitar chords and clinking percussion accelerate and decelerate in unison, washed over by floating synth lines. At other points, the quartet as a whole suddenly shift direction like a This Heat tape edit. Check the opener ‘Box Pieces’, where a brief percussion tag cues an unexpected cut from frenetic layering of percussive attacks undergirded by slow moving synth and bass foundations to a rumbling, locked-in dirge.

The eight pieces span a range of tones, from plaintive abstraction to surging minimalism. Touches of whimsy relieve any threat of over-seriousness: witness the wacky electric guitar glissandi that open ‘Tilting’ or the lovely, almost Pascal Comelade-esque fairground wobbles that begin the wayward journey of ‘Cadence: not even,’ before it stumbles into a totally different zone of spacious Paul Bley balladry sprinkled with banjo plucks. Recorded across two days at Stockholm’s Atlantis studios, Minutiae’s minutiae truly sparkle thanks to the careful mixing work of Ghosted drummer extraordinaire Andreas Werliin. A wonderfully approachable document of the richness of the next generation of contemporary creative musicians from Sweden, Ināra Quartet’s debut also looks back to 70s touchstones like Archimedes Badkar in its joyful embrace of musical collectivity.

The first release in the B.I.T. Productions 30th Anniversary 12″ Collection, BIT30-1 M-ULATE “M-Pathic E.P. 2025”. Originally released as a very limited white label 12″ in 1992 as a 3 Track E.P.,this 6 TRACK E.P. features: “M-Pathy (All Come Together)” K69 Dream Frequency Remix - uplifting piano house M-ULATE Anniversary Remake - breakbeat piano/rave Original 1992 Mix“ - Old Skool piano/rave A Need For Love” SARASOTA Anniversary Remake - uplifting piano house Stu Chapman Remix - breakbeat piano Original 1992 Mix - Old Skool hardcore Gold Coloured Vinyl, with a rounded anti-static inner sleeve in a black discobag sleeve.

,Splendor & Misery (Anniversary X)" ist die Jubiläumsausgabe zum zehnjährigen Bestehen des für den Hugo Award nominierten Science-Fiction-Opus des experimentellen Rap-Trios Clipping. Diese Deluxe-Ausgabe enthält ein überarbeitetes Cover, das Originalalbum sowie acht bisher unveröffentlichte Songs und alternative Takes. ,Splendor & Misery" ist ein afrofuturistisches, dystopisches Konzeptalbum, das die Geschichte des einzigen Überlebenden eines Sklavenaufstands auf einem interstellaren Frachtschiff sowie des Bordcomputers erzählt, der sich in ihn verliebt. In der Annahme, allein und im Weltraum verloren zu sein, entdeckt die Figur Musik im bebenden Rumpf des Schiffes und in den zwitschernden Instrumententafeln. Die Musik von Clipping zeichnet eine imaginäre Klanglandkarte der Decks, Gänge und Quartiere des Schiffes, während Daveed Diggs' Texte auf den Rhythmen reiten, die von dessen Triebwerken und Maschinen erzeugt werden. ,Splendor & Misery" ist eine der beliebtesten Veröffentlichungen von Clipping. Es schaffte es in zahlreiche Jahresrückblicke und wurde von der ,New York Times", Bandcamp Daily, CLASH, The Line Of Best Fit, The Needle Drop, Uproxx, The Observer und Stereogum gelobt. Im Jahr 2019 stufte Pitchfork ,Splendor & Misery" als eines der 33 besten Industrial-Alben aller Zeiten ein. Clipping feierte das Album im August 2026 mit dem ,Splendor & Misery Fest" im Knockdown Center in New York City, mit den Vorgruppen SPELLLING, Shabazz Palaces, ELUCID, Fatboi Sharif, evicshen und Maria Chavez.

London-based French artist, composer and vocalist Vanessa Bedoret returns with her second
album, About Time, released via Scenic Route.

Across 11 tracks, About Time moves between intimate vocal-led songs, glitching electronics haunting soundscapes and moments of catharsis. Bedoret’s classical training remains at the heart of the record, underpinning an approach that brings together spectral vocals, strings, guitar and experimental electronics with a striking sense of compositional clarity.

Written through a period of significant change in Bedoret’s life, the album explores transition and our shifting perception of time - how some moments disappear almost instantly while others seem to stretch indefinitely.

About Time follows Bedoret’s 2024 debut Eyes and marks a significant step forward for an artist whose work moves fluidly between classical composition, experimental electronics and songwriting. Alongside her solo work, Bedoret has collaborated with Astrid Sonne, Blackhaine , Space Afrika and Mark William Lewis.

Where other bands seem to be hellbent on pushing an energy of exhilaration, London’s premiere grief peddler’s SECRECY seem to be more interested in reminding us all what deep shit we are in. Their debut recorded outing captures the morbid and grandiose power of their successful string of London shows, refining the message to a promising and bewildering first release. Taking compositional cues from THE EXECUTE, SOUTHERN DEATH CULT, and THE CHAMELEONS, the room filling instrumentals carry a bleak and punishing prophecy of moral turmoil and hysteria, opting to drive the notion of post punk off a cliff through force of will alone. The sound is crisp and wide without giving up the austerity necessary to carry the prophetic sense of dire urgency in the vocals, driving and marching drums and bass lines carrying almost danceable guitar parts to climax. Soaring guitars over driving drums push the corpus to blistering movement, restrained by lyrics about fucking and dying, an Eros/Thanatos act delivered with a refreshing lack of irony or sarcasm. Lyrical influences from RIMBAUD and BAUDELAIRE abound, veering from the brink of poetry back down to primitive taunts and cries.

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

22, A Million is a record of dualities. First released in 2016, Bon Iver's third album found Justin Vernon reckoning with pain and love, suffering and redemption, omens and happenstance. Such ambiguity is the core of how Justin composes words: there are always two ways to see something. Inside a fragmented language of symbols and numbers is a sonic distillation of past years of turbulence and how to recover. Across ten songs, 22, A Million shattered expectations of what a Bon Iver record could be. Through different groups of friends—close, passing, new, old—he began to assemble proto-melodies, vague textures and specific moods from hundreds of hours of recorded improvisations. Songs like “22 (OVER S--N),” “33 ‘GOD’,” “715 - CRΣΣKS” and “8 (circle)” traded familiar structures for fractured electronics, pitch-shifted vocals and dense layers of sound. What initially felt like a radical departure has since become one of the most influential and enduring works in Bon Iver’s catalog. 2026 marks the ten-year anniversary of 22, A Million. To celebrate,


Bon Iver and Jagjaguwar will release a deluxe anniversary edition pressed on Frosted Silver vinyl, featuring new alternative artwork with soft-touch finish and spot UV gloss detailing. The package will include the original 28-page lyric booklet, represented here in 3x silver inks, with an additional 12-page full-color inlay booklet documenting the album’s creative process through previously unseen artwork and an essay penned by Eric Timothy Carlson. The Brooklyn-based artist’s visual work has shaped the Bon Iver world since 22, A Million and his visual language has become inseparable from the album itself. A custom 12-panel ‘inverted cross’ CD edition will also be available.

Berlin-based Dutch-Italian composer and musician Aimée Portioli aka Grand River presents the new album Temporary, returning to the renowned Editions Mego label with her most expansive and focused LP yet.

Rooted in existential ideas of impermanence and flux, Temporary is a deeply emotive work centred on the rich interplay between resonant guitar work and innovative electronics. Written in the wake of profound personal grief and loss, the album sees Portioli infuse her music with a raw, expressive intensity anchored in this experience. Across eight strikingly melodic and affecting soundscapes, Portioli powerfully embodies a dramatic encounter with mortality.

Temporary reprises Portioli’s exceptional streak of material across acclaimed labels including Donato Dozzy and Neel’s Spazio Disponibile, Caterina Barbieri's light-years, Ghostly International, Tresor and Umor Rex. The LP represents the latest tour de force in her distinctive electronic practice. Alongside a raft of lauded releases, Portioli has devised visionary multichannel installations which dissolve the boundary between the art gallery and the performance space.

Her new album signifies a culmination of her work, imbued with the depth of Portioli’s artistry. Shaped by a paradigm shift rising from loss, the record reflects a contemplation of the human condition and the ephemeral nature of existence. Ruminating on the thoughts and experiences that have fed into the record, Portioli reveals a consequential recognition underpinning the record:

"Sometimes, when travelling in places far from home that I know I will most likely never return to, or while accompanying someone I loved towards the end of their life, I become intensely aware of the singularity of the moment, and of how precious and sad this feels at the same time. It carries a particular weight because it will never happen again in quite the same way. Through experiences like these, I have gradually come to understand the temporary nature of all things. They taught me that to live is to experience the present while already feeling the trace of its disappearance, something both painful and blissful." - Aimée Portioli, Grand River

The album is invested with a potent mood and momentum from the outset. Establishing an evocative tone with the subtle, pulsating synthesis, rustling undertow, and oceanic low end of 18 circles to heaven, Portioli gradually ascends through the incandescent modular majesty of Come to stay, and the turbulent, brooding guitar figures of The crossing of the body, the crossing of the mind. The album progresses through the rapturous electronic phasing of The little we last into the coruscating synth grandeur of Let me know when you’re pure, before a thrilling endgame.

Closing with the wavering harp runs, heavy percussive thud, and cataclysmic guitar discordance of Maybe I am dead and this is paradise, and the evanescent atmospherics and beautiful acoustic refrains of Work of ending, Portioli takes the listener through vast landscapes of sound and mercurial emotional states. Intimate and immersive in equal measure, the record traces a compelling sensory journey.

Each part of the album is part of a larger poetic sentence, with track titles forming fragments that together articulate a meditation on transience. From 18 circles to heaven and Come to stay through From the other side and Work of ending, they read like quiet statements about being human, about loving, losing, remembering and eventually fading. The record moves through these states as a continuous passage, depicting a poignant soundworld guided by temporality.

The awareness that our time is limited sharpens the value of what remains. Each encounter, each gesture, each fleeting moment becomes more vivid. Temporary lingers in the space where presence and disappearance coexist, where everything is already passing away and therefore becomes infinitely precious. Things matter because they do not last. Mortality does not diminish life; it intensifies it. In confronting these ideas, Temporary feels irrepressibly alive.

Composed, produced and mixed by Aimée Portioli
Production and mixing assistance by Luca Sammartin
Acoustic piano on Maybe I am dead and this is paradise by Andert Tysma
Mastered by Rashad Becker
Cut by Marta De Pascalis at Schnittstelle, Berlin
Artwork by Nicola Tirabasso
Layout by Riccardo Piovesan

EURO2086 is the DayVentura’s second EP; compared to “The Midnight Man”, released in February on Slow Motion Records (focussed on more modern sounds), this time gives more attention to his roots and focus on the 80-90s European electronic dance sound and style.

Robbie Williams and Miss Monique release their anticipated collaboration, 'Beauty In Us' via Cr2 Records.

One of the most talked-about unreleased IDs of the summer festival and clubbing season, ‘Beauty In Us’ is a soaring collaboration that blends Robbie’s vocals with Miss Monique’s immersive synths and progressive house production to euphoric, hypnotic effect. The collaboration has already built huge anticipation across the global electronic community, with Miss Monique giving the track its world premiere as the closing record of her Tomorrowland 2026 Main Stage set, before delivering a second standout performance during Carl Cox's weekly residency at Ibiza's UNVRS, where Robbie Williams made a surprise appearance to perform the track on stage for the duo's first-ever live performance together.

The moment became one of the defining highlights of the Ibiza season, generating widespread buzz across socials, cementing its status as one of the year's most anticipated crossover dance releases.

Speaking about the collaboration, Robbie Williams and Miss Monique said: "Our very special musical collaboration inspired by our different but equally defining experiences of electronic music and clubbing in Stoke-on-Trent and Kyiv... from the 90s to the 2010s. It feels right for now. It was a dream to perform it in Ibiza for the first time!" One of the world's most celebrated music artists, Robbie Wiliams continues an extraordinary run following the release of his UK No.1 album ‘BRITPOP’, while Miss Monique has firmly established herself as one of melodic techno's defining global stars through headline performances at Tomorrowland, Coachella, Ultra Miami, EDC Las Vegas and her Hi Ibiza residency, alongside a rapidly growing catalogue of acclaimed productions and remixes.

With ‘Beauty In Us’, two artists from different musical worlds come together to create an emotional, peak-time anthem that bridges generations of dance music culture, from the euphoric club scenes of the 90s and 2010s to today's global progressive/melodic movement.

· Vinyl-Exclusive Extended Mix.

· One of the most talked-about unreleased IDs of the summer festival and clubbing season.

· World premiere at Miss Monique's Tomorrowland 2026 main stage closing set Robbie Williams surprise appearance at Miss Monique's UNVRS set was one of the defining moments of the 2026 Ibiza season.

2026 Repress

DJ Stingray 313's INDUSTRY 4.0 EP is a sonic exploration into modern manufacturing concepts and the impact on humanity.
Moods and titles across the EP cover artificial intelligence (LARGE LANGUGE MODEL), the internet, and robotics (MULTI FUNCTIONAL ROBOTICS and SENSOR DATA) – all set to his signature high-energy, industrial, cyborg-style productions.
Together, the tracks on INDUSTRY 4.0 work as a striking and current introspective of humanity’s uncertain evolution, moving as fast as the technology it creates.

First solo EP by Houseworx Co-Labelowner Matthias Schildger with his M.S. alias.
4 raw house cuts for club and home entertainment.

2026 Repress

Industrial badman Sei2ure back on PRSPCT release with a huge 2 track vinyl EP.

Some say industrial hardcore is dead. If that were the case then this one is for sure the one to bring it back to life!

On the A side we have Send You To Hell. A 175BPM monster containing almost everything both Sei2ure and PRSPCT stand for. Driving pounding kick drums, catchy hooks and that perfect dose of snare drum warfare making this the perfect track to kill it on both Hardcore & Drum & Bass events. Huge track!

On the flip we have Push The Prozac. A 190BPM beast tune pushing up the tempo a bit without losing the groove and that dark Industrial vibe we love to death and have been missing so much.

Again another release on PRSPCT that is All Killer, No Filler. Enjoy!

Sciahri and Sublunar are truly proud to present the next chapter in the label's journey: Hadone's debut album, Kept What Remained. Known as the co-founder of TSSRCT alongside UFO95, and following his contribution to Veil Of Echoes II, Hadone returns to Sublunar with a body of work that fully showcases the breadth of his artistic vision. Throughout the album, he reveals an impressive ability to merge emotional depth, powerful rhythms and sophisticated sound design into a deeply personal and unmistakable sonic identity, further establishing himself as one of the most compelling artists in today's techno landscape. The journey begins with the ambient title track, "Kept What Remained", an atmospheric introduction that sets the tone for everything that follows. It seamlessly transitions into "It Was Never Really Gone", a deeply emotional piece with a memorable arrangement that lingers long after it ends, before "Red Hour" raises the intensity through driving percussion and a tougher sonic approach. The B-side opens with "The Enemy Within", an explosive combination of intricate sound design and powerful rhythmic structures. It is followed by "Claim Your Due", a more submerged and atmospheric composition whose versatility makes it equally effective across different moments of a set. On the C-side, "Nobody Hears The Warning" gradually builds momentum through hypnotic energy and striking production, leading into "A Gentle Kind Of Madness", where beautifully crafted synth work and meticulous arrangements create one of the album's most distinctive moments. The final side begins with "A Dog That Learned To Speak", blending contrasting synth textures and detailed effects into a constantly evolving soundscape. The album concludes with "The Quiet Refusal", an epic and powerful closing statement that perfectly brings together the emotional intensity, coherence and artistic vision of the entire record. With Kept What Remained, Hadone demonstrates that innovation doesn't require sacrificing identity. Instead, he delivers an album that is bold, emotionally resonant and unmistakably his own, confirming his place among the leading voices of contemporary techno.

Francesco Messina is perhaps best known for his split album with fellow composer Raul Lovisoni, Prati Bagnati del Monte Analogo, originally released on the seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina helped reshape the world of modern composition with an organic rawness and haunting beauty.

In November 2023, Messina performed Prati Bagnati live for the first time in Milan, Italy – along with pianist Michele Fedrigotti, who appeared on the original LP. The concert was a tremendous success and led the composer to further reflect upon the music he made over 40 years ago. From his home piano – a hundred-year-old Schimmel with magnificent resonance – new pieces began to emerge out of these meditative sessions.

As Messina says in the liner notes, "The idea of making a new album wasn't the driving force at all; what mattered was trying to reconnect with the 'freedom' I had experienced back then while creating that music. I started over without haste or deadlines, simply trying to find a deeper, inner connection."

W.25TH / Superior Viaduct is honored to present Le api dell'invisibile. From the hazy drone of "For Florian" and the title track to the gentle swells of "Letter for an Absent Friend," the album is a lush amalgam of new age and ambient minimalism that is vividly reminiscent of Messina's earlier work.

The title draws inspiration from a famous reflection by Austrian poet Rainer Maria Rilke: "We are the bees of the invisible. We ceaselessly gather the honey of the visible, to store it in the great golden hive of the Invisible." It is a phrase that has long shaped the way Messina looks at his music – transforming lived experience into sound, making audible what normally eludes the eye.

The fourteenth release on Early Morning brings Roy Rosenfeld back to the label for the first time since its second. The two years in between have not had a quiet stretch in them: new singles every few months across 2025 and 2026, and a touring year running from Mexico City and New York through Paris, Barcelona, Ibiza and Amsterdam to Montreal, Santiago and Buenos Aires. He is back in New York on the day this record goes global, and in Amsterdam for ADE later the same month. What arrives here is two long-form pieces, 15 minutes and 15 seconds together, both built on patience and both written for rooms where there is time to stretch out.
New Life takes its time. A full minute passes in suspended texture before the groove arrives, and when it does it carries the weight of everything that was withheld. The track moves in patient cycles, stepping away briefly at its midpoint before opening into an extended central passage where the rhythm withdraws and the harmony is left exposed. The return is the payoff, and Rosenfeld holds it to the final bar rather than letting it fade.
Seven Three Eight begins where New Life arrives. It is in motion from the first bar, with no preamble and no easing in. The low end breathes in long swells beneath a top layer that keeps shifting, and two breakdowns punctuate the arc without ever surrendering the momentum. It closes at full stride, running the seven minutes and thirty-eight seconds its title names.
Two tracks, near identical in length and opposite in approach. EARLY014 is a record about pacing, and about a producer who trusts the long form to do the work.

16 bongo bashin' tropic-trashin' mambo-shmambo monsteros!!
Everybody likes a bit of LATIN. It's steamy. It's tropical. It's hot. It gets the dames a-dancin' and the guys pay attention. Those wild rhythms are the sound of sweat. It's the heat that can't be beat.

Now let me tell you about LATIN. Real LATIN, bangin' LATIN. Not the sweet soft stuff your mama used to play. I'm talkin' hard bangin' LATIN that's the real deal. The stuff that makes you move. The motion of the ocean. Hot, wild, sexy rhythms. Skin slappin' coconut crackin' conga crushin' caliente copana. And horns to die for!!

You got your rhumba, your mambo, you got your cha cha cha. You got your Cuban heat, Brasilian beat, colourful Colombian cumbia and pure fire from all those little islands in the Caribbean. You cut 'em, you chop 'em, you cook 'em on up with a slug of jazz and some downhome RnB and you got yourself the devil's own firecracker. It's a sauce like liquid lava. It's LATIN that's off the scale.

Now you add your mezcal, your Carolina Reaper, you add yourself whatever you want, and that right there is a volcano in a bottle. Krakatoa ain't got nothin' on this baby! Put the needle on the record, watch your dancefloor EXPLODE!

Nobody knows who Transpac is.

The project first appeared as an anonymous transmission: a folder sent through the network, containing music, instructions and a name - Transpac. No photograph. No biography. Just the request to use the name and let the music speak.

There have been several transmissions since. Still no interviews, no confirmed identity, no explanation of who - or what - is behind the name.

Some say Transpac is a person. Others insist it is a machine. A few believe it is simply a data packet that escaped the network and somehow learned how to make music.

The name itself offers a possible clue. TRANSPAC was once the name of a French public data network, launched in 1978 and built around X.25 packet switching - breaking information into packets and moving them across a network long before the Internet became what it is today.

Perhaps Transpac has been travelling ever since.

Packet Switching EP is the latest intercepted transmission: six packets of pure machine music, assembled somewhere between circuitry, communication protocols and whatever exists on the other side of the network.

Whilst the packets have been received, the sender remains unknown.

Synaptic Cliffs is particularly pleased to have brought Transpac into its network - a feat made possible, not least, by its principal operative, pdqb. Through communication channels inaccessible to ordinary Earthlings, pdqb was able to locate Transpac with remarkable ease and secure its transmission for the label.

The artwork, rendered in yellow and black and largely composed of binary code, echoes the visual language of the early machine age - a world of geometric systems, electronic signals and human beings beginning to communicate with machines. Created by the legendary Infamous Image Division.

Marwan’s debut on Gated finds the sweet spot between dub, deep, and ambient techno.

The focus is firmly on rhythm: layered percussion, spacious atmospherics, and slowly evolving textures that reveal a little more with every listen.

These are immersive, patiently crafted tracks that never lose sight of the dancefloor.

Tedere Onverschilligheid (which we think roughly translates as Tender Indifference) opens with evolving percussion and sweeping synth textures that gradually pull you under. Vrijheidsdromer settles into rolling bass, organic percussion, and subtle atmospherics, while Ik Ontdekte Sacramento Ezel begins with darker intent before opening into one of the EP’s more uplifting moments. Heldere Geest (Clear Mind) takes the scenic route, unfolding from fractured rhythms into a deep, hypnotic groove, before De Speech rounds things off with an expansive finale that feels equally at home closing a club set or carrying you through the last train home.

Five expertly crafted, highly mixable tracks that will slot effortlessly into deep sets, and quite possibly convince you that buying “just one more record” was always a sensible idea.

Yore Records presents: Craig Alexander - Phenomenal Woman / Across My Mind (12" Maxi Reissue)
Following his recent appearance on the label, Craig Alexander returns to Yore Records with a carefully curated reissue of two standout House Workouts: Phenomenal Woman and Across My Mind.
Originally released on earlier records, these tracks are now brought together on one 12" - each presented in two distinct mixes - capturing the raw, emotional depth of Chicago House in its purest form.
At the heart of this release lies Phenomenal Woman, a track that draws inspiration from Maya Angelou's iconic poem of the same name. Rooted in the African-American cultural context, the piece carries a subtle but powerful message of identity, strength and self-definition - translated here into deep, jazz-infused House music.
Across My Mind complements this with a more introspective tone, driven by warm chords, understated grooves and a timeless sense of space.
Together, these recordings embody what House music has always been at its core:
music with a message, shaped by lived experience, culture and emotion.
Stripped down, honest and deeply rooted, this is Chicago House in its most original and authentic form - a sound that continues to resonate far beyond the dancefloor.

Limited to 250 copies worldwide / no repress.

Wilba rolls into Haŵs with 'Kombucha in the Club' - four chunky club cuts dipped in acid, prog and sleazy late-night pressure. Built with proper low-end heft and a wicked grin, this one doesn’t hang about.

A1 opener 'Wrong Turn' sets things in motion with pulsating proggy goodness, restless energy and the repeating call of “Destination” guiding the trip into the unknown. 'Polly’s Acid Kiss' follows with squelching 303 lines and a sci-fi-esque vocal, pushing deeper into tripped-out territory without losing its punch. On the flip, 'Sin City' leans fully into the sleaze - rolling tech house, smoky vocals, wailing sirens and enough attitude to carry the small hours. The EP rounds off with 'Rejigging the Jig', which wastes no time laying down the damage: fat drums, elastic basslines and enough swing to pull the room sideways.

Heavy grooves, crooked hooks and just the right amount of mischief. Kombucha never sounded so wrong.

South African composer and producer Jason van Wyk is continuously honing his craft, with each consecutive release feeling like a clear evolution of its predecessor. Through his albums and soundtrack commissions, van Wyk’s technique at perfectly balancing melody and atmosphere is now more apparent than ever.
Inherent, his sixth aptly named album, finds van Wyk distilling his sound to where each note seems to have implicit cinematic intent, revealing intricate new details with every listen. Inherent features large swaths of warm, wispy ambient, ghostly piano and widescreen drone. Yet, at the very moment when all seems to apex, van Wyk presses on by mining his past endeavors in club music, neo-classical and scoring work to create something else entirely.
Distorted guitars, percolating synth arpeggios and poignant beat design propel the contemplative ambient sections into the light, bringing van Wyk’s sound into previously unexplored territory.

Following the massive, multi-platinum success of the global hit "A Bar Song (Tipsy)" and his breakout contributions to Beyoncé’s COWBOY CARTER, Shaboozey returns with his most ambitious work to date: the new concept album, The Outlaw Cherie Lee & Other Western Tales. Building on the genre-bending foundation of Where I've Been, Isn't Where I'm Going, this project cements Shaboozey’s status as a pioneer of New Americana through a cinematic outlaw revenge story with a tragic love at its center.

The narrative follows Cherie Lee, who, after witnessing her sheriff father’s murder by the Bootcut Boys, abandons the badge to hunt the gang down one by one. In the heat of her vengeance, she falls for an outlaw—not the killer, but a man guilty by association. While he seeks redemption through her love and she seeks a cure for her darkness, both find that violence is not so easily escaped. When her lover kills the real murderer in her name, he proves that bloodlust doesn’t end; it only evolves. In a devastating final act, Cherie chooses her vendetta over her heart, killing the man who loves her most and fully becoming the very monster she set out to destroy. Gritty, soulful, and narratively daring, The Outlaw Cherie Lee is a bold evolution from one of music's most dominant current forces.

NOTON is pleased to announce the release of LICHTSTIMME and SCHATTENSTIMME by Alva Noto: two soundtracks for a film that never existed.

The starting point is E. T. A. Hoffmann's The Sandman: a world where perception and reality drift apart, and the question of identity remains unresolved. Recognition, in Hoffmann, is never quite secure. The doppelgänger is less a figure than a condition, the point at which the self can no longer vouch for itself.
The first record, LICHTSTIMME begins in an open, almost weightless sonic world. Something still appears untouched. The music carries a sense of proximity, clarity and trust. But this sense of certainty does not remain. Gradually, the proportions begin to shift. Sounds lose their definitiveness; familiar structures become strange. The music begins to question its own surface. What initially appears as light already contains the possibility of its shadow.
With the second record, SCHATTENSTIMME, the instrument enters the sonic space. The pieces were recorded together with percussionist Rainer Römer and the Ensemble Modern. A central role is given to the Sixxen, the extraordinary metallic percussion instrument originally developed by Iannis Xenakis together with Les Percussions de Strasbourg and instrument maker Robert Hébrard for Pléiades. Its resonances, unusual microtonal structure and distinctive timbre make it an instrument that resists being placed within a familiar musical context. Complete Sixxen sets are extremely rare and require highly specialised construction.
The instrument appears only on the second record. Its absence from LICHTSTIMME and its arrival on SCHATTENSTIMME are structural. It behaves like a shadow: present only when something else has already changed. With its appearance, it is not only the sound that changes. The entire musical space seems to shift its character. The Sixxen's metallic sound becomes the unfamiliar. The unfamiliar becomes a counterpart.
The two records follow an inner movement: from light to shadow, from trust to doubt, from identity to doppelgänger, and back to a harmony that is no longer quite the same. What emerges as an independent, personal sonic language has been transformed by the journey. The unfamiliar has not disappeared. It has become part of the self.
LICHTSTIMME and SCHATTENSTIMME are records about the instability of the familiar. Something is always almost recognisable and never quite confirmed, in the story, and in the sound.
Album art designed by Carsten Nicolai & Nibo.

Synaptic Cliffs proudly welcomes Annie Hall for her label debut. With the Future Sports EP, she once again expands the boundaries between machine funk, speculative sound design, and forward-thinking club music. Delivering her signature fusion of IDM, electro, fractured breakbeats and experimental electronics, she sculpts a metallic, high-definition vision that feels as though it has been transmitted directly from centuries ahead.

Future Sports imagines the sonic landscape of sport in the year 3024. In a future where society has paradoxically stripped itself back to the essentials, aesthetics have returned to the elegance and restraint of the 18th and 19th centuries. Amid this cultural shift, fencing has emerged as the defining global sport, elevated from historical discipline to mass obsession.

Throughout the EP, the sounds of these future arenas become musical raw material: the sharp clash of advanced foils, the resonant impact of engineered protective gear, the tension of ritualized competition, and fragments of other, unnamed sports from a distant age. Annie Hall transforms these imagined athletic acoustics into intricate rhythmic structures and futuristic melodies, allowing the machinery and choreography of competition to shape the record's sonic identity.

The result is a vivid soundtrack to a world yet to come - precise, kinetic, and unmistakably futuristic, where sport, technology and sound merge into a singular vision. Future Sports is both a speculative narrative and a club-ready statement from one of electronic music's most distinctive voices.

As a special bonus, the EP features an animated picture label. When played at 45 RPM and viewed under a stroboscopic light operating at 9 Hz, the artwork comes alive, revealing a hidden motion sequence. Blurring the boundaries between sound, design and optical illusion, this kinetic visual layer extends the EP's futuristic narrative into the physical realm, transforming the record itself into an artifact from the year 3024.

2024 Restock

A mix of post-Tropicalia Brazilian rock and some of the more soulful elements filtering through the country's music in the early 70s  and one of the most enigmatic albums by this unique singer! Sergio's got a sound that's incredibly hard to describe  at once sweet and melodic, but also kind of twisted, in an intimate singer/songwriter mode. The production of the album is compressed with a number of post-Beatles touches that make it sparkle like work by Caetano Veloso in the mid 70s, or some of the Peruvian rock by groups like We All Together  and hearing the record gives us the same sort of excitement of new discovery as when we heard their best work. Titles include "Rulzito Seixas", Viajei De Trem, "Pobre Meu Pai", "Labirintos Negros", "Filme De Terror", and Lero E Leros E Boleros

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

2026 Repress

TRON: Divergence (Companion-Album zum Soundtrack)
Mit „Tron: Divergence“ veröffentlichte Nine Inch Nails das Companion-Album zum Soundtrack des aktuellen TRON-Films Tron: Ares, dem neuesten Kapitel des legendären Sci-Fi-Franchise, das 1982 mit Tron
begann und 2010 mit Tron: Legacy fortgesetzt wurde. „Tron ARES: Divergence“ vereint neue Songs und
Remixes. Darunter Tracks, die im Film selbst zu hören sind und zusätzlich neue Interpretationen von einer
stilistisch vielfältigen Riege an Kollaborateur:innen. Mit dabei sind u.a. Boys Noize, The Dare, Pixel Grip
und Chilly Gonzales, die dem digitalen TRON-Universum ihre ganz eigene klangliche Handschrift verleihen.
Das physische Album wird am 5. Juni erscheinen.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

2026 Repress

Portuguese techno mainstay Dextro drops cultured EP 'Covil Dos Abutres' for his label debut on Mutual Rytm.

Dextro has been immersed in electronic music and DJing since the early 90s. In the decades since, he has become synonymous with a sound deeply rooted in simplicity and authenticity. Fuelled by a passion for his craft, his production process is guided by intuition and spans a diverse range of styles, from tunnelling grooves to more potent techno with deep and hypnotic layers. He has held several key residencies and released on top labels like CLR and Missile Records, and he adds to those with a first outing on SHDW's Mutual Rytm with 'Covil Dos Abutres'.

The five-track 12" and eight-track digital EP has a sleek, stripped-back style, with wide-spanning corners of the techno realm explored. 'Covil Dos Abutres' is a deep space transmission with journeying, frictionless beats and deft sci-fi motifs that recall classic touches synonymous with the genre's pioneers. 'Correct Incorrect' keeps the pressure on with more rubbery, dubbed-out groves beautifully decorated with delicate melodies. 'Vida E Morte' is another sublime and hypotonic minimal techno sound with funk in the kicks and a freaky late-night spirit. 'Element One' again combines perfectly reduced drum groves with atmospheric pads and curious samples that keep you intrigued, and 'Beautiful Day' closes out with sonar-like synth pulses over the most skeletal but captivating rhythms. Digital cuts 'Time Line', 'Savana Urbana', and 'Diferencas' further explore the intersection of minimalism with cosmic synth designs that take you off into distant astral worlds.

RITUAL is a poetic and political gesture by Antonio Marotta: a sonor resurrection where archaic meets electronics. Drawing on Campanian roots and European club culture, the album blends the trance of Ritual with the ecstasy of the dancefloor.
Seven beats and seven loops inspired by the Seven Madonnas of Campania, where the drum remains the visceral beat that connects the earthly to the divine.
An act of resistance that delivers new life to tradition.
The limited edition Vinyl LP contains a special insert with the visionary graphics conceived by Andrea Maddaloni, the lyrics of the 8 songs and Marotta's personal manifesto.
Grab your copy before it's too late.

Written & Created by: Antonio Marotta
Tammorra, Chitarra Battente, Chitarra Elettrica, Voci, Scetavajasse, Castagnette, Tromba degli Zingari & Live Looping by: Antonio Marotta
Lyrics Transcription & Dialect Revision by: Alessandra Ruggiero
Mixed & Mastered by: Antonio Marotta and Peter De Girolamo
Mask Artwork by: Atelier Antise
Photography: Let's Pic Studio
Art Direction & Design by: Andrea Maddaloni
Club Consulting by: Alfredo Maddaloni
Produced by: Antonio Marotta and Maledetta Discoteca
Executive Production by: Maledetta Discoteca

4 Way Street is the second and live album by David Crosby, Stephen Stills, Graham Nash, and Neil Young. It was released in 1971 with the live recordings taken from the band's shows during their 1970 tour around the USA. The album reached No. 1 on the Billboard 200 and was awarded a gold record. This is the first 2LP reissue since 1986 and it contains two bonus tracks on sides C and D: the at-the-time unreleased "Black Queen" from Stephen Stills and a medley made up of “The Loner - Cinnamon Girl - Down By The River” performed by Neil Young.