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It’s not just since James Bond and the introduction of World Overshoot Day that we’ve known: The world isn’t enough. We need an Extrawelt! Arne Schaffhausen and Wayan Raabe have been tinkering with this celestial body for over two decades, and it seems to be slowly nearing completion. You certainly can’t accuse Extrawelt of lacking ideas. They are, so to speak, the legitimate descendants of the legendary planet designer Slartibartfast from Douglas Adams’ “The Hitchhiker’s Guide to the Galaxy”. No doubt, the downright insanely creative bossa nova-techno bastard “Honey Hunter” will be mentioned in the same breath as Slartibartfast’s award-winning Norwegian coastlines by future civilizations. The other three tracks aren’t half bad either. Take our word for it.
Nicht erst seit James Bond und der Einführung des world overshoot days wissen wir: Die Welt ist nicht genug. Wir brauchen eine Extrawelt! Die Herren Arne Schaffhausen und Wayan Raabe werkeln seit über zwei Jahrzehnten an diesem Himmelskörper und er scheint so langsam bezugsfertig zu sein. Man kann Extrawelt nun wahrlich keine Ideenarmut vorwerfen. Sie sind quasi die legitimen Nachkommen des legendären Planetendesigners Slartibartfast aus Douglas Adam’s “Per Anhalter durch die Galaxis”. Der geradezu irrwitzig kreative Bossanovatechno-Bastard “Honey Hunter” wird von künftigen Zivilisationen in einem Atemzug mit Slartibartfast’s preisgekönten norwegischen Küstenlinien genannt werden. Auch die anderen drei Tracks sind nicht von schlechten Eltern. Glaubt’s und werdet selig.
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Revered collaborators Lauer and Fabrizio Mammarella unveil their blinding 4-track EP 'Megamix' on Mammarella's own imprint Wrong Era. Black Spuma's latest offering traverses their honed realms. Dark and pumping, 'Megamix' stands as a bold celebration of Black Spuma's sound. Each track highlighting their signature chemistry, blending distinct influences into a seamless, forward-thinking journey. As they continue to push boundaries and redefine their sound, 'Megamix' cements Black Spuma's status as sonic luminaries.

YL Hooi returns with 'Running Around (83)', the project's first release since 2019's Untitled. Valya Ying-Li Hooi and Tarquin Manek finally commit a long road-tested live favourite to tape, welding together engine room doom, disembodied vocals, cryptic lyricism and a smouldering dub-techno bassline, recast and overdriven.

The hand-stamped white label 12" honours its roots with three heavyweight remixes. After corrupted audio files erased YL Hooi's recent live collaboration with Mad Professor, the Ariwa boss gives their encounter lasting form with a percussion-dripped halftime stepper featuring veteran Black Steel and new blood Karmelody.

The flipside immediately detours with Ulla's full-scale tear down and rebuild, layering woodwind, keys and subtle percussion into an improbably elegant convergence of ambient, minimal jazz and modern classical. John T. Gast's Midas touch then drags it into bardo dancehall territory, a rugged soundsystem destroyer that's scuzzy, screwed and wired with punk instinct.

With 'Songs For Tova' Dolly introduces a brand new producer called Afik Naim. This rough diamond was pulled out of a cave near Jerusalem. He has a cinematic experimental take on what you would call Techno but he is rather hard to classify to be honest. Exactly what we like, somebody who stands out with his typical sound pallet! Another perfect player on this 'Songs For Tova' team is the never disappointing Kassem Mosse with a killer remix to wrap up this high class 4 tracker!

2026 Repress!


Om Unit says of this release 'For me it's another milestone as a DNB fan.. Being allowed to come back to 31 again with another shadow boxing version, being one of only a tiny handful of people being allowed to remix this classic truly is an honour, let alone twice! Also working with Thing on "something ancient" was a real blessing not only because he's original and convincing with his own work but also I think he's like me, he does his own thing without adhering to too many of the insular rules that have made dnb such a closed room over the years, and so creating this cinematic piece just happened naturally and I really love the results.

2026 Repress

This 3-track masterpiece is a true testament to the Berlin-based DJ's exceptional production skills and deep understanding of dancefloor dynamics. From the hypnotic groove of the title track "Camarque" to the infectious basslines of "Mental Nutrition" this EP is sure to get your body moving and your heart pumping.

Uluru is back with another tasty 7”.

Making his debut on the label, Italian producer Mondocane jump into the dancefloor with a bouncy electro reggae tune.

Flip it to find label honcho Smile Davis ready to “blow ya mind”

Father John Mistys bahnbrechendes zweites Album aus dem Jahr 2015, ,I Love You, Honeybear", ist zurück auf Vinyl, remastered und neu verpackt als Einzel-LP. Ursprünglich wurde es als Doppel-LP veröffentlicht. Das Album wird mittlerweile als Klassiker angesehen und enthält die Fan-Favoriten ,Chateau Lobby #4 (in C for Two Virgins)" und den Titelsong ,I Love You, Honeybear". Bei der Veröffentlichung erhielt ,I Love You, Honeybear" viel Kritikerlob, u.a. Pitchfork Best New Music, eine perfekte Bewertung von Exclaim! und begeisterte Kritiken von NME, Mojo, Q, Spin und anderen. Es wurde als eines der besten Alben des Jahres 2015 von Pitchfork, Billboard, The A.V. Club, NME und Stereogum gefeiert. ,I Love You, Honeybear" wurde von Josh Tillman und Jonathan Wilson produziert und von Phil Ek gemischt. Diese Ausgabe wurde 2024 von Adam Ayan bei Ayan Mastering neu gemastert. Diese zweite Ppressung kommt auf schwarzem Vinyl.

Father John Mistys bahnbrechendes zweites Album aus dem Jahr 2015, ,I Love You, Honeybear", ist zurück auf Vinyl, remastered und neu verpackt als Einzel-LP. Ursprünglich wurde es als Doppel-LP veröffentlicht. Das Album wird mittlerweile als Klassiker angesehen und enthält die Fan-Favoriten ,Chateau Lobby #4 (in C for Two Virgins)" und den Titelsong ,I Love You, Honeybear". Bei der Veröffentlichung erhielt ,I Love You, Honeybear" viel Kritikerlob, u.a. Pitchfork Best New Music, eine perfekte Bewertung von Exclaim! und begeisterte Kritiken von NME, Mojo, Q, Spin und anderen. Es wurde als eines der besten Alben des Jahres 2015 von Pitchfork, Billboard, The A.V. Club, NME und Stereogum gefeiert. ,I Love You, Honeybear" wurde von Josh Tillman und Jonathan Wilson produziert und von Phil Ek gemischt. Diese Ausgabe wurde 2024 von Adam Ayan bei Ayan Mastering neu gemastert. Diese zweite Ppressung kommt auf schwarzem Vinyl.

*COMES IN GATEFOLD 2LP WITH LINER NOTES*

The premise of this compilation is simple: music we’d like to hear at the airport.

The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.

Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.

Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.

In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.

When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.

The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.

As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?

We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.

We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.

Over & Even was a breakout album for Joan Shelley. Originally released in 2015 and recorded in Louisville, Kentucky - with Shelley and her then neighbor Nathan Salsburg on guitar. The record was an album of the year at NPR Music and in The Los Angeles Times. Rolling Stone called it, "a masterfully turned set of folk reflections" in their 4 star review. This expanded edition features 8 never before heard demos, performed and recorded solo by Shelley who shared them only with Salsburg so he could learn the songs.

Ariwa Sounds started in a front room in Thornton Heath, South London. Four tracks, some homemade equipment, and Neil Fraser, better known as Mad Professor, at the controls. That was 1980. Over four decades later, the label has more than 300 albums to its name and a legacy that stretches well beyond the reggae scene.

This compilation pulls twelve tracks from across the catalogue. Dub, lovers rock, heavy roots music, digital dancehall — it's all here. What ties it together is the Ariwa studio sound all going through Mad Professor’s desk.

Mad Professor is the backbone of it. Dub Me Crazy got him known and his production credits run from Jah Shaka and Horace Andy to Massive Attack, Sade and The Orb. The tracks here — the Dub Sampler, H2SO4, Disco Dude, Kathmandu Dub — show why.

The Jah Shaka collaboration Only One God is a landmark. Two of the UK's most important dub figures on one track. Dark and heavy roots music.

The Robotics appear twice — Hong Kong Flew! and Miss Mood. They are Ariwa's house band and have backed U-Roy, Lee Perry, Big Youth and more over the years.

Aisha closes things out with Can You Feel It. A track that crosses reggae, soul and boogie funk. Collectors have been after original pressings for years.

Starky Banton, Ragga Doll, Professor Doppler and Earl Lawrence complete the compilation. Exactly the kind of thing that reminds you how wide the Ariwa net was cast.

Sleeve design is by Trevor Jackson. One of the UK's most respected graphic designers. His work has defined the visual language of British music for thirty years. His involvement here signals exactly the kind of release this is. A serious serious catalogue and compilation of music, treated with the respect it deserves.

Ariwa sits alongside Greensleeves as the most important reggae imprint this country has produced. This compilation shows why.

JEN's debut album Any Questions? explores identity, self-image, and growing up in the age of social media through a powerful blend of pop hooks and alternative rock. Honest, energetic, and unapologetically personal, this debut captures the excitement and uncertainty of finding your place in the world. Pressed on violet-colored vinyl.

Das dritte Studioalbum von Holy Motors, ,Heaven's Night", verbindet die für die Band typischen westlichen Traumlandschaften mit eingängigen Pop-Melodien und New-Wave-Klängen, die für die estnische Band Neuland darstellen. Bemerkenswert ist vor allem eine neue Sanftheit in den Songs auf ,Heaven's Night", in denen Figuren vorkommen, die sich von den düsteren Sonnenuntergängen und der Outback-Melancholie des 2020 erschienenen Albums ,Horse" lösen. Wie die Band selbst sagt, ist ihr neuer Sound ,süß wie tropfender Honig, traurig wie Sommerregen". Zweifellos ist ,Heaven's Night" das bisher abwechslungsreichste Album von Holy Motors. Vom rasanten Galopp von ,The Last Ones" bis zum poppigen Herzstück ,Hellishly Hot" verleiht ,Heaven's Night" der Welt der Band eine neue Wendung - eine, die etwas weniger gespenstisch und dafür etwas gefährlicher ist.

Das dritte Studioalbum von Holy Motors, ,Heaven's Night", verbindet die für die Band typischen westlichen Traumlandschaften mit eingängigen Pop-Melodien und New-Wave-Klängen, die für die estnische Band Neuland darstellen. Bemerkenswert ist vor allem eine neue Sanftheit in den Songs auf ,Heaven's Night", in denen Figuren vorkommen, die sich von den düsteren Sonnenuntergängen und der Outback-Melancholie des 2020 erschienenen Albums ,Horse" lösen. Wie die Band selbst sagt, ist ihr neuer Sound ,süß wie tropfender Honig, traurig wie Sommerregen". Zweifellos ist ,Heaven's Night" das bisher abwechslungsreichste Album von Holy Motors. Vom rasanten Galopp von ,The Last Ones" bis zum poppigen Herzstück ,Hellishly Hot" verleiht ,Heaven's Night" der Welt der Band eine neue Wendung - eine, die etwas weniger gespenstisch und dafür etwas gefährlicher ist.

Welcome Tori Kudo back to A Colourful Storm with a new edition of Maher Shalal Hash Baz's Faux Départ, a document of a stateside tour that culminated in a recording session at the legendary Dub Narcotic Studio with a one-time ensemble of Greg Saunier and Chris Cohen (Deerhoof), Andrew Maxwell, McCloud Zicmuse, Arrington de Dionyso, Takashi Ueno, Saya Ueno, Naoki Otani, Akiko Hotaka, Masaaki Endo and Naoki Otani. Always spontaneous, never rehearsed. Music in and of this world, seemingly teetering on the verge of collapse.

"We flew to the US for a show with Red Crayola in Los Angeles and initially stayed at Rick Potts' house. There, I met up with The Curtains and hit the road in their car. We headed north, writing down every melody that came to mind. I slept in the gap between the wall and the sofa and got interrupted by a herd of cows along the way, but I finally arrived in Olympia and recorded all the melodies I'd written down, which became Faux Depart. There, I found McCloud, a noble beggar who was sleeping in the studio and playing the bassoon on the street." - Tori Kudo, 2026

"Chris Cohen, who played in Deerhoof from 2001-2006 or so, was an obsessive Maher fan. When our other band, The Curtains, was given a chance to support Maher on a West Coast tour, we got to see up close how Tori leads - often by not leading. He is an unpredictable, wild musical genius and card-carrying eccentric." - Greg Saunier, 2026

2026 Repress

In honor of the September full moon, 2017.

Early support from Cassegrain, Cio D'Or, Deepbass, Ness, Svreca, Patrick Siech, Antonio de Angelis, Arnaud le Texier, Exium, Iori, Kwartz, Nima Khak, Rasmus Hedlund, Retina.IT, Samuli Kemppi, Takaaki Itoh, Eric Cloutier, Wata Igarashi, Attemporal, Brando Lupi, Lewis Fautzi, Nobody Home, Sam KDC, Ovend and more.

Cut Rate is the debut LP from Detroit-based techno punk band Decliner. Written and recorded over the span of several years, the music reveals a sludgier, darker, and more industrial sound, representing a marked departure from their raw and thrashy roots.

Cut Rate is an album that lives at the edge of potential… a fever-dream where danger, uncertainty, and reckless hope collide. With dark humor, underdog grit, and flashes of raw beauty, it moves like someone risking everything — bravely, boldly, sometimes foolishly.

Intimate yet volatile, Cut Rate balances vulnerability and strength, chaos and tenderness. It unfolds like a roll of the dice, a shot in the dark, a chance that you can’t walk away from.

Produced by Steven Stavropoulos, the record delivers hellish, intricately designed soundscapes that establish the bedrock of each track. Tim Barrett’s guitar adds a dense layer of emotion throughout, elevating the music and further establishing the record’s stylistic ambiguity. Rob Luzynski’s vocals are at once tortured, brazen, and ridiculous, an anti-hero winking at the abyss, telling stories that no one should live by but that we all may learn from.

Corps Perdu emerges from Lamin Fofana’s ongoing practice of creating immersive and multisensory sound environments, informed and inspired by the historically rich texts of scholars and poets working in the tradition of Black Studies. The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present.
The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text.
Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to its eruption, and lets us listen to Césaire’s ‘flying seed dreaming very loudly’. The album’s track titles and narrative arc hum in and out and alongside Césaire’s poetry, mainly Césaire’s 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants—a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland.
The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we’ve heard Fofana craft on previous albums (think of the ‘Obscure Light’ pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire’s Corps Perdu begins with: ‘Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word’. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a ‘lost body’.

Naya Beat presents ‘Select Remixes and Reworks 2', a selection of new and exclusive dancefloor remixes featuring Thomaas Banks (Psychemagik), Dino Soccio (Pleasure of Love), Turbotito & Ragz (Naya Beat), and Woolfy vs. Projections. Putting a South Asian twist on the classic disco 12” remix format, Naya Beat have given some of dance music’s most exciting producers access to their storied back catalogue. Torchbearers of West Coast balearic, the California duo Woolfy vs Projections deliver an infectiously groovy electro funk version of Nainan Da Pyar De Gaya by Turbotito & Ragz and Say She She’s Piya Malik. Label cofounders, Turbotito & Ragz add some Naya Beat house flavour to Greek duo Boys’ Shorts Going Out Hoping To See You adding vocals by Australian Indian actress Pallavi Sharda. Thomaas Banks, one half of the celebrated UK duo Psychemagik, provides a scintillating dark wave remix of Tu Aaja by British Asian new wave pioneers Pinky Ann Rihal. And finally, Dino Soccio, head honcho of the LA-based disco edits label Pleasure of Love brings us a smooth as butter extended disco remix of Asha Puthli & Say She She’s recent classic Pawa! Cut to vinyl for the discerning DJ and listener by multi-Grammy-nominated Frank Merritt at The Carvery, the EP comes in a beautifully designed 12” disco sleeve with centre label cutout.

With her fifth solo studio album, Half An Owl And A Full Moon Rising, landing on Dekmantel Records, Steffi harnesses the energy of the dancefloor for a powerful, uplifting ride into the core of what makes this culture so transformative. From her years as a dedicated raver in the late 80s, through to her global tours, prolific production and ceaseless love for music in its many forms, Steffi's innate understanding of the dancefloor informs this new body of work. Key to all of this is the joy of the club experience: the high energy and the vibrational field that's created when the DJ, their musical selections and the dancers align on the same wavelength. The "Feel Factor" as she calls it. Even the title is a reference: half an owl meaning half a pill.

Each track is imbued with pure, unfiltered club energy. Steffi's approach with her albums is to start from scratch, working up and out from a core idea rather than compiling music from an existing collection, and Half An Owl And A Full Moon Rising is comprised of eight cuts, whittled down from over 40. Opening with 'The Rolling Wave', the album immediately transports the listener into a world of emotionally and physically moving soundscapes. Across all eight tracks Steffi weaves together potent drum programming with ethereal pads, strings, heartrending melodies and straight up grooves: honest, no fluff productions that are designed for a very specific purpose. Listening to cuts like 'Sweeping Leaps', you can hear echoes of the huge variety of house and techno Steffi has absorbed. The title track wraps you up in its scintillating rhythms and heady strings, while, midway through, 'Acoustics Of Space' fires on all cylinders with its dynamic tempo, relentless drums and euphoric pad work.

Singer-songwriter Willis Alan Ramsey was 20 years old when he became the third signing to Leon Russell and Denny Cordell's Shelter Records – after Russell himself and the legendary J.J. Cale. The result was Ramsey's 1972 eponymous debut, a masterpiece of laid-back Texas country-rock, blues-inflected folk and outlaw ballads.

As a child, Ramsey was an obsessive radio listener – from Elvis and the Beatles to Delta blues, country and even classical music. By middle school, he had formed his first garage band and started writing songs. After a brief stint at the University of Texas, he took to the burgeoning coffeehouse circuit where he toured alongside folks like Townes Van Zandt, Jerry Jeff Walker and Keith Sykes. It was during these shows that Ramsey developed much of the material for his LP, a diverse yet coherent mix that revealed his varied influences.

Recorded in Memphis, Nashville and at Russell's home studio in the Hollywood Hills, the album features some of the era's greatest session musicians: Eddie Hinton on guitar, Red Rhodes on pedal steel and the rhythm section of Leland Sklar and Jim Keltner. A true songwriter's songwriter album, its tunes have been covered by Waylon Jennings ("Satin Sheets"), Jimmy Buffett ("The Ballad of Spider John") and, most famously, Captain & Tennille ("Muskrat Love"), but no cover can beat the originals from the wise-beyond-his-years Ramsey.

Though Willis Alan Ramsey has continued to perform regularly and write new songs, a second album is yet to be released. For years, whenever someone asked about it, Ramsey was known to answer "What's wrong with the first one?" The answer is, of course, absolutely nothing. In fact, it's perfect.

This first-time vinyl reissue reproduces the original lyric sheet. Includes new interview with Ramsey and liner notes by author Richie Unterberger.

David Norland is an Emmy-nominated English composer, known for his scores for drama and documentary, alongside his experimental choral and electronic music. Bringing stories to life through sound, he received critical acclaim for his debut solo album ‘Glam Tear Stain’ (2019) and is set to release follow-up album ‘La Source’ in June 2026 via Denovali Records.

Relocated back to his London home after many years in Los Angeles, and free from years of drug and alcohol problems, recent commissions for two choral works allowed Norland to return to the innocent origin of his musical world, and his experience as a parent prompted a lot of outward reflection. What kind of world are we leaving to our children?

Inspired by his score to the forthcoming silent black and white film ‘Carousel’ (2026), Norland found other music emerging that refused to be ignored. The film’s director opened the door to an entirely free scoring process – no temp music, no expectation, no guidelines, just pure intuitive expression. ‘La Source’ draws on this experience, alongside his childhood as a touring chorister, the honkytonk upright piano in the north-east London bedroom of his early 20s, his early recording experiments with a TASCAM 4-track cassette recorder, and his intense preoccupation with bells, flutes, stone architecture, and mysticism.

From the haunting, choral beauty of ‘E-Car Soul’ to the breezy album title track, Norland blends minimalist classical structures with electronics. A unified tapestry of blended voices, harmonies and textures, ‘La Source’ is a deeply emotional and melancholic journey for Norland. “In the end, I’m looking to find meaning through the music, like when I was a kid singing in choirs. But I get the most sense of meaning through transcendent experiences, rather than anything intellectual or dogmatic. I have to feel it, not think it. I’m trying to make work that’s luminous, wondrous, shimmering and strange, so I can keep having those experiences,” says Norland.

On his inspiration for the album, Norland adds, “I love making patterns in things and finding patterns. That’s why minimalism was so enticing to me, the patterns are so explicit. I love word play and anagrams. The big sadness coming through as I was making the record is this clarity over the future of my kids. Everything else is a complete distraction. This incredible nurturing planet and its ecosystem are being rapidly destroyed, and the forces destroying it are relentless and punitive. And they seem to be fine with consigning our children to live in an ever-more-hostile wasteland. You can’t pretend that’s not coming, if you do I think you’re lying to yourself. And perhaps eventually it will be the fact that people love their kids that will stir wider fear and action. It’s hard to think of anything more connected to the idea of spirit.” The result is the reflective, ecstatic, mystical and sad world of ‘La Source.’

Norland’s screen work includes the award-winning documentary Anvil! The Story Of Anvil (2008), directed by Sacha Gervasi, and since 2010, he has composed much of the music for US broadcasting giant ABC’s primetime news documentaries. His work for ABC is broadcast in the US and around the world on a daily basis.

In 2012, he was the music supervisor for Hitchcock (2012) featuring Anthony Hopkins, Helen Mirren & Scarlett Johansson and in 2017, he teamed up once again with Gervasi for the score to November Criminals starring Chloe Moretz and Ansel Elgort. The following year, he composed the score for the Emmy-nominated HBO film My Dinner With Herve, starring Peter Dinklage and Jamie Dornan.

Norland will be performing the score of Carousel later this year, and the score itself will be a forthcoming release on Denovali. 2026 will also see the release of documentary All Permits Secured, a valentine to the history of EDM, featuring Norland’s score.

"Things are looking better than ever for GENERATION STEEL! The quintet from Wetzlar/Germany, has reinvented itself on all fronts and is set to take the music world by storm with its upcoming third studio album, Steelmachine.

With the addition of guitar wizard and songwriter Thilo Herrmann - who made his debut in 1985 on the FAITHFUL BREATH classic “Skol” and has written heavy metal history throughout his career with RISK (including “Ratman”), RUNNING WILD (including “Black Hand Inn”, “Masquerade”), and GRAVE DIGGER (including “Ballads of a Hangman”) - bandleader and guitarist Jack the Riffer now has a living legend by his side.

There has also been a change behind the mic: from now on, Swedish vocalist Mike Stark - who currently sings for the Argentinian band FEANOR and the Swedish group STORMBURNER - is setting the tone. His powerful, high-pitched yet dynamic voice gives the new tracks an absolute seal of quality.
GENERATION STEEL stands for authentic, traditional, '80s-influenced heavy metal, combining the styles of ACCEPT and JUDAS PRIEST.

The ten neck-breaking tracks on the band's third full-length album were produced by Piet Sielck (IRON SAVIOR), who has previously refined classics by GAMMA RAY, GRAVE DIGGER, HEADHUNTER, STORMWARRIOR and BLIND GUARDIAN.
The cover artwork, designed by Gyula Havancsak (who has also created artworks for POWERWOLF, ACCEPT and BLIND GUARDIAN, among others), is equally eye-catching.

Anyone who loves honest, traditional German metal will quickly embrace “Steelmachine”, because the quintet not only takes us back to the '80s, but also shows just how timeless true metal is. Ten home runs, including the four singles “Steelmachine”, “Witches Cross”, “Wings of Fire” and “Fields of Pain”.
Stay Metal – Stay Steel!"

Omasta step into their own voice with “Hits Different”, marking a new stage in their evolution as musicians and storytellers.

Following their debut “Jazz Report From The Hood", which proved a major success and brought attention to Omasta as one of the most distinctive groups emerging from the contemporary jazz scene, the musicians return with their second album, “Hits Different”. The record develops the language established on their debut, pushing it into new territory and shifting the perspective from that of the protagonists themselves to that of a narrator telling the story.

While the debut album was a story about the lives and emotions of the band’s members, “Hits Different” adopts the perspective of a narrator, giving the album a more cinematic structure. As on the first record, the story is never told explicitly. The track titles merely point the way, leaving space for listeners to bring their own emotions, imagination, and experiences to the music. Each track becomes another scene in a story that moves through a broad spectrum of emotions, from happiness and excitement to anxiety, tension, and disorientation. It is a story that allows everyone to create their own interpretation, but its ending leaves no room for doubt. There is no happy ending here.

Kito Jempere has spent more than two decades building a universe of his own, with releases on Mule Musiq, DFA and other influential labels, alongside remixes from Ewan Pearson and others. With Other People’s Aesthetics, that universe finally opens outward. After years of protecting his own musical language, Kito lets the outside world in—embracing the sounds, artists and scenes that have shaped him, from house and techno to Aphex Twin, Warp, Ninja Tune and Omar-S. The result is a personal universe merging with the world beyond it. The album opens with “Change For Now,” a collaboration with longtime friend Lipelis (L.I.E.S., Public Possession, Running Back), marking a friendship that has grown over the past decade. “Teaser,” originally released on Mule Musiq, returns in a new album “Dub” version, with fewer vocals and a stronger garage-house feel—a direct statement of love for David Lynch. “OPA” looks back to Kito’s original half-jazz, half-drum’n’bass sound and the Uniquetunes era of the early 2000s, alongside the music he absorbed from CDs by Amon Tobin, Squarepusher, Skalpel and The Cinematic Orchestra. “Listens To Selected Ambient Works Once” is a direct homage to Aphex Twin, given a Warehouse-style treatment for bigger dancefloors. “I’m Not A Doctor, Either,” featuring mishinuki—previously heard on Green Monster in its Moloko homage—builds towards an epic, euphoric string finale. “Kobayashi Porcelain” closes the record by combining memories of Usual Suspects with Moby-like atmosphere and an Omar-S-type beat. The release of Other People’s Aesthetics will be followed by a Japan tour in December 2026 and Kito Jempere’s ongoing residency at Honeycomb Hi-Fi in Dubai. Early support from: Ata, Reznik, Horse Meat Disco, Vladimir Ivkovic, Tim Sweeney, Max Pask, Rich Thair of Red Snapper, Ame, Ellen Allien, Benji B, John Tejada, The Blessed Madonna, Hard Ton

Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.

Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”

Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”

“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.

Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.

“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.

Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.

Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”

Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”

“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.

Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.

“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.

"Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."

Gold Nugget Vinyl, limited to 400 copies. "Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."

It's an honour and a privilege for Vinyl Fanatiks to be able to repress one of Tango's remixes. And half of the royalties of the track will be sent to his family. So supporting this release not only adds fire to your record box but also a few quid to Tango's family.

A cracking release and boy what a remix he delivers, total luxury and decadence which showcases the incredible vibes of Dave's original mix but adds that Tango rolling goodness too. A double winner! On the flipside Fantasia is remixed by Dave as Midi Magic(al).

[a] a1. Calm Before The Storm [Tango Remix]
[b] b1. Fantasia [Midi Magical Remix]

2026 Repress

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.

When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.

There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.

Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”

Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.

Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

Those albums that never age, that never cease to surprise with their innovative freshness_listen after listen_defying the years that go by. Released in 2016, Heimat's debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman. To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl. What a beautiful object this is, celebrating_alongside Armelle and Olivier Demeaux_ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives. Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape. A fine achievement indeed!

For the last decade and change, Lazarusman has steadily worked his way towards becoming a seminal voice in electronic music. In that time, he has left no genre untouched, bringing his brand of metaphysical, pun-heavy, imagery-driven, uplifting poetry to audiences across the globe.

These exploits have earned him a 2021 Grammy nomination and countless chart-topping records with some of the most remarkable producers in the industry.

His debut album, Skin, is an exploration of identity. Lazarusman questions his place in the world, reflecting on growing up in a now-free South Africa. The album touches on colourism, racism, faith, love and the existential crisis of existing in a divided world.

The album is also a celebration of the many genres that inspire his poetry from deep, tech and Afro house to breakbeats and jazz. But it is equally a celebration of the word, and the power it carries.
“A man is only as good as his word.”This quote epitomises Lazarusman’s honest approach to an album that reflects the last 15 years of his career. With productions from FKA Mash, Stimming, Dwson, Boogie Vice, Zitow Mowa, Axone and Johannes Brecht, Lazarusman presents a kaleidoscope of sounds.

DJ support by Keinemusik, Stimming, Acid Pauli, Xinobi, Stavroz, Xique Xique, Paco Osuna, and many more.

2026 Repress

Even if Ancient Greek isn’t part of general knowledge anymore, the word mega is. Hence, you might admire our modesty to say that Roman Flügel’s first outing on Running Back in 2022 is perfectly headed. Greta, large, mighty and somewhat the love- or brainchild of his earlier Garden Party and the previous D.I.S.C.O., Mega pulls out all the stops: hi-nrg melodies, circus bells, cowboy funk and honey hooks at 140 beats per minute. While it is nearly impossible not to take this bait or decorate it with the Bobby-O medal of honor, Roman proves one more that you can be catchy and classy at the same time.
Rules on the other hand, puts some of these stylistic devices in reverse or down-tempo mode and feels like brushing your teeth after an extended feast or the perfect hors d’oeuvre.
Completing the picture with Film 1, Film 2 and Film 3, Flügel flexes his freethinking muscles and lands in-between art school new wave bands and soundscape science. Music that is masterly made, magical in its impact and perfectly described with a misquoted line from Get The Balance Right: it’s never predictable.

Ascension on Wax returns with its sixth release, welcoming back label co-founder Lavan for Soul Baby EP Inc. K15 Remix. A four-track, 25-minute journey through deep, soulful and jazz-influenced house music.
Rooted in the warmth and musicality that have become central to the Ascension on Wax sound, Soul Baby is an honest, straight-up house record made for the soul. Across three original productions, Lavan explores rolling grooves, hypnotic harmony and atmospheric synth work, balancing classic house sensibilities with a distinctly UK influence.
Completing the EP, K15 takes on "Zoning" with a stunning rework that introduces UK broken-beat rhythms and additional Rhodes keys. His signature futuristic deepness brings a fresh rhythmic dimension to the track while retaining the soul and spaciousness of the original.
The Soul Baby EP feels equally at home in a DJ bag or spinning on a living-room turntable. Timeless, soulful house music with a strong sense of identity.

byt’ continues its eclectic journey with the third release in its catalogue. This chapter sees the return of Telva, shifting into a new frequency with a story born between 11.11 and a full Taurus moon back in 2024 in Berlin. The composition recorded in a single take, is articulated through a dreamy, electronic, minimal house, and vocal infusion. Left as romantic and unrestrained as the artist’s reverie, it is preserved in its raw form to protect its intimacy.

“Every record I make is a guide towards a better understanding of all that I can be. 11:11 is a fragment of a special spark I experienced, which peeled back another layer of myself enriched by the lessons along the way, until finally holding it in my hands today. What started as an epiphany on Heideglühen’s dance-floor unfolded into a kiss of destiny, a fleeting delirious love affair, and a quest of passion that hugged my memory, compelling me to revisit my early days. An endeavor of surrender, no matter how unknown, unconventional or uncertain it all may feel. To finally have the courage to let it be messy, raw and true, so that I stand naked once again, while daring to honor the absence of order as part of the magic and mystery of life.” - Telva

Phonogramme Is Super Happy to Announce the Repress of “Holding On" by Dj Steaw, Featuring the Original Plus an Exceptional Remix by the Legendary Ron Trent. Originally Released in 2012, "Holding On" From Dj Steaw's Debut Ep Was Instrumental in Launching Both the Label and Dj Steaw's Production Career. Now, With Ron Trent's Masterful Touch, This Remix Ep Offers a Fresh Perspective While Honoring the Original's Essence. Complemented by Two Additional Tracks From Dj Steaw, This Release Is Set to Make Waves Once Again. Don't Miss Out on This Timeless Classic, Revived for a New Generation of Listeners....

This limited-edition remix of popular Hong Kong singer KENDY SUEN, featuring exotic breakbeats by top producer K.U.D.O, of Major Force
Productions, which relaunched in 2025, is now available in clear vinyl and special packaging!

This 7" remix of popular Hong Kong singer KENDY SUEN, by top producer K.U.D.O, of Major Force Productions, which relaunched in 2025,
is now available in a special edition!
KENDY's exotic vocals evoke danceable breakbeats over a dreamy sound reminiscent of the jungles of South Asia. A must-have limited edition
for all DJs from this club music legend! Mastered by Bernie Grundman Mastering

Nu Vision is a modern salon for visionary leaders, fighting for their art, standing by truths, defending voices, honoring progenitors, whilst pushing forwards towards a new paradigm. The band all have their own stories and extensive discographies, records released on labels you might know, gigs played in places you might have attended but none of that matters. This is a new beginning. A group. A collective.A movement. Nu Vision is a band in the classic do-you-believe-in-alchemy sense. Equal parts rhythm, damage, and deep feeling. Their friends at DFA noted that the album “sounds like Depeche Mode scoring a Michael Mann montage: brooding,motorik, and shot through with black-and-blue beauty.” this idea is taken further in the first video from the album for track one / side one “Time” that launches the project publically along with the albums announcement. The palette of ‘The Seed’ is defined and refined in the best way. It’s an album that opens up many pathways. Brisker, freakier tracks like “Shadow In The Dark,” “R U Serious?” and “Humanity” run towards a softer finish with “Somedays” and the seven-minute, eyeliner-smearing closing ballad, “Lullaby Garden.” These are proper songs made with vintage machines, with a sound that carries obvious influences. ’ The Seed’ pulses forward as the body of the beast is turned inside out, wearing a beating heart on its sleeve, honoring those who left us too soon - DAF’s Gabi Delgado, Nitzer Ebb’s Douglas McCarthy, Depeche Mode’s Andrew Fletcher, and Sandwell District’s Juan Mendez. It’s important to note the emotional core of ‘The Seed’ album is the song ‘Synchronicity’ that is filled with both love and regret, the story of losing a friend without properly making amends. It is unquestionably heartbreaking, but is also delivered with a pang of hope, the feeling that with so many sunrises caught, so many additions and subtractions in life, a perspective has been gained. This is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A New Vision