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YMO’s first overseas performances took place as special guests at The Tubes’ concerts held over three days—August 2, 3, and 4, 1979—at the outdoor Greek Theatre in Los Angeles, USA. “YMO LIVE AT THE GREEK THEATRE 08/04/1979” features the complete 7-song set from the final night, August 4.



Supervised by Haruomi Hosono, the recording was mixed and mastered from the original multi-track tapes by world-renowned engineer Goh Hotoda. The vinyl cutting was handled by Shinya Matsushita of “Piccolo Audio Works”, ensuring top-quality audio.

‘Live At The Greek’ is the debut live album from global pop sensations The Driver Era.

Fans can now experience the raw energy, passion, and talent that have made the band one of the most exciting and dynamic live acts in the music scene today.

The album was recorded at the Greek Theatre in LA and features live performance versions of hit singles through the ages, including ‘Afterglow’, ‘A Kiss’, ‘Fantasy’ & ‘Preacher Man’. This record is a testament to the power of independent artistry and the unbreakable bond between a band and their devoted fans.

"Live At The Greek" by The Driver Era comes as a 2xLP including a Booklet.

Ringo & his All-Starr Band recorded live in October 2019 at the iconic Greek Theater in Los
Angeles featuring Greg Rolie (Santana), Steve Lukather (Toto), Hamish Stuart (Average
White Band), Colin Hay (Men at Work) and Ringo, performing all the classic hits these artists
and bands have made famous such as “Black Magic Woman” (Santana), “Rosanna” (Toto),
“Pick Up The Pieces” (Average White Band), “Who Can It Be Now?” (Men At Work) and of
course “Yellow Submarine”, “Photograph”, “It Don’t Come Easy” and many more from the
man himself, Ringo Starr!

The show, which rolled over the open-air stage of the Greek Theatre night after night in the late summer of 1963, attracted fans as if on a pilgrimage to the mountains of Hollywood. Many who could not get hold of a map climbed the surrounding trees to be able to admire the Calypso man at least from a distance.

Also on the lookout and with sound equipment at the ready were the people of the company RCA, which released the eagerly awaited album the following year. Some of the songs like the wriggling "Zombie Jamboree", "Look Over Yonder" and the wonderfully dripping Schmonzette "Try To Remember" were previously only available as studio versions. Most of the other numbers were brand new and sounded for the first time in a sparkling live atmosphere, which is authentically reproduced on this record.

Here a laugh as a receipt for a casual saying, there a rumble of boards, then again concentrated silence of a spellbound listening audience - something like this only happens on stage.

For Belafonte connoisseurs, these recordings are regarded as the crowning glory of the artistically highly productive phase of the years 1959 to 1963. Of the many good albums, this is one of the best.

Personnel: Harry Belafonte (voc); Howard Roberts (cond); William Eaton (clavietta); Ernest Calabria, Jay Berliner (g); John Cartwright (b); Percy Brice (dr); Ralph MacDonald (perc), choir and orchestra

Monster grooves, driven by a perfect symbiosis of fiery oriental rhythms and the deep, relaxed heartbeat of the bass line, with virtuosic, intoxicating solos on bouzoukis, Farfisa organs, clarinets and violins. This is the sound of laika, Greek-oriental pop music from the 60s and early 70s that sets every dance floor on fire!

These 20 carefully selected songs serve as an introduction to this mind-blowing music for the non-aficionado, as it is the first album of its kind to be released outside of Greece or the Greek migrant communities. The extended and illustrated liner notes take you back to the heyday of Greek pop music and put this cultural movement into an historical perspective.

The first release of Blind Allies is a four track musical journey from scientific electro by DVS NME and acidic trip by Lectromagnetique on one side, explosive cut from Gosub and mysterious experiment of Cosmic Force on the other side will take you away to the dark side of electro world.

Having already explored the archives of a number of overlooked Greek composers, Into The Light is now turning its attention to the uncharted territory of Greek film soundtracks of the 70s and 80s - a boom period for mystical, transcendental arthouse cinema in Greece.

GOST: A Spiritual Exploration into Greek Soundtracks (1975-1989) is a passion project from the Greek filmmaker and composer Yannis Veslemes, that took years of engagement, exhaustive research and persistence. The collection features a mixture of rare, hard-to-find and previously unreleased material from musicians and composers including Yannis Kostidakis, Thesia, Dimitris Papadimitriou, Michalis Christodoulides, Stamatis Spanoudakis, Haris Xanthoudakis, Vangelis Katsoulis and Charlotte Van Gelder . All material is accompanied by detailed linear notes from the curator Veslemes, explaining the stories behind the tracks and the movies they first featured on.

The compilation celebrates the inventiveness and experimentation of Greek soundtrack composers in the ‘70s and ‘80s, by presenting a surprising mixture of musical hybrids that bridge the worlds of electronic and acoustic music, and compositions that bring together Western and Eastern musical traditions, in uniquely idiosyncratic ways.

Greek producer, Lex (Athens) returns to Delusions of Grandeur with a four-track excursion into the deeper, more playful corners of house music, bringing together dusty Chicago grooves, Mediterranean warmth, jazz-inflected instrumentation, and a little Italian cosmic weirdness along the way.

Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

An assorted mixtape-style collection of recordings from Constantin Brăiloiu's World Collection of Folk Music archive, originally broadcast on NTS Radio in July 2017, issued as part of DINTE's 10th anniversary series.

Comprising field recordings made by the pioneering Romanian ethnomusicologist of English, Irish, Gaelic, Norwegian, Breton, Japanese, Italian, Swiss, Basque, Fulah, Sardinian, Estonian, Georgian, Greek, Turkish, Judaeo-Spanish, Portuguese, French, Chinese, Russian, Hausa, Tuareg, Indian, Corsican, Ethiopian, Romanian, Walloon, Flemish, German, Kabyle, Bulgarian, Macedonian, Bosnian and Caribou Eskimo folk songs & dances.

A much needed repress of French ambient composer and lifeguard Roméo Poirier's cult debut record, Plage Arrière. Released with updated artwork, by London imprint Kit Records.

Plage Arrière is a deep sea meditation on a constellation of Greek beaches across three islands. Trumpets, echo-clicks and Harold Budd-esque shimmer piano whirl together on these sand-caked missives, tumbled and re-engineered by their surroundings like seaglass. Poirier evokes the sub-aqeaous ambitions of Jürgen Müller, or Jan Jelinek inspecting a coral reef.

Limited to 500 copies.

“I thought I knew you, but you are alien to me.”

Twelve years have passed since TWINS NATALIA’s debut album, “Destiny Room”, but Dave, Marc and Steve have never really stopped working on new ideas and projects, including the release of a mini-album from Marc’s solo project SHIBUYA STATION. This featured their first collaboration with Greek artist KRIISTAL ANN (also known from PARADOX OBSCUR), who provided the vocals for the track “Madness”. This led to Anna being invited by TWINS NATALIA to perform lead vocals on their cover version of KNOW’s “Knights of Pleasure”. The results were so pleasing that, from then on, Anna was persistently ’pestered’ to work on a TWINS NATALIA EP, which slowly morphed into a complete album entitled “I Died On Mars”. The album is a journey through electronic soundscapes and pure, dark ’80s minimal synth-pop, full of melancholia, haunting melodies, elaborate synth sound design and sequencing, ranging from neat to gnarly, and, of course, KRIISTAL ANN’s charismatic voice icing the cake.

“I Died On Mars” presents us with further surprises: TWINS NATALIA version of “The Dagger In Me” by ’80s Greek post-punk legends THE HANDS OF CAIN, as well as “A Different Hum” by PARADOX OBSCUR, a song that surely needs no further introduction. Anna has not shied away from specially re-recording the vocals for this version, while both versions have been given some distinctly Twins Natalia-specific additions and treatments. Furthermore, Anna has contributed her own composition “Find Me I A Fantasy”, so you’re in for a treat or two, for sure.

Mastering by Nikolas Haldoupis at SoundCave Studios Athens.

Graphic design by Steve Lippert with some original photography by Kriistal Ann.

Season Two continues with its fifth edition - a shift south this time, from KiF's English hedgerows to the island of Lutruwita, Tasmania, and the work of Soda Lite.

A gooseberry plant took root in the sand between the bricks of Alex's back patio - nutrient-deficient leaves and all - and fruited regardless. That's most of the appeal: "I'm drawn to species that survive in the interstices of human industrialisation." The husk itself carries the same idea, shielding the berry until it's ready to be let go.

Past Soda Lite records - Earthbound, Aqua Solar Cura, Vale & Stone - built outward from field recordings first. Here that flipped: you can't field-record a plant, only the noise around it, so only two tracks (Vibrant Matter and An Sí Gaoithe) carry field sound at all. The rest came from narrowing to a single species instead of the wider non-human world, and "trying to create and replicate sound and energy on the level of the plant and its perceptive world."

Two more things worth knowing. ‘Bryn Celli Ddu’ takes its name from a Neolithic burial chamber in Wales, aligned so the summer solstice sunlight reaches its back wall - the sun turning up again as its own recurring character. And ‘An Sí Gaoithe (Return)’ is a reworking of a Vale & Stone title, old fragments reprocessed into something new - "a bit like composting."

Soda Lite is the recording project of Alex Last, a gardener and composer working from Lutruwita on unceded Palawa land. Their music moves through field recordings gathered directly from the island's own biomes - coastline, forest, alkaline lake bed - alongside slow, warbling synth work, built less as backdrop than as document: proof of a specific place, at a specific time, being listened to closely. Past records have taken their titles and themes from geology and land relationships as often as botany - Aqua Solar Cura, Earthbound, Vale & Stone - so a plant with its own mineral-adjacent etymology (soda, found in dried alkaline lakebeds; lite, from the Greek for stone) suits the pairing.

Blume presents The Days Pass Quickly Immersed in the Shadow of Eternity, a new work by Lea Bertucci commissioned by the ZKM Center for Art and Media Karlsruhe and premiered in Karlsruhe in November 2025. Written for, and created in collaboration with, the flutist Norbert Rodenkirchen, it draws on his collection of Renaissance, Medieval, and Neolithic instruments, harnessing sounds that have been largely absent from the modern world. What does it mean to employ one of humanity's oldest known technologies, the flute, appearing in human hands tens of thousands of years before the advent of the wheel, within an experimental, electroacoustic composition that is inherently forward-thinking?

Since her emergence within New York City's Noise scene during the early 2010s, Bertucci has balanced a fierce dedication to the DIY ethos and immediacy of the underground with a refined sense of creative rigor and ambition, moving from brittle, challenging compositions for saxophone, electronics, and tape toward investigations of acoustic phenomena, site-specific resonance, and complex harmonic interplay. Following her return to the rural environments of Upstate New York where she was born and raised, her work has entered a more introspective phase, with an expanded instrumental, technical, and vocal palette that has found her increasingly composing for others, as on 2023's Of Shadow and Substance and on Fata Morgana, a work for organ released earlier this year.

The piece grew from a meeting with Rodenkirchen after a performance by the early music ensemble Sequentia, to which he belongs. Struck by his ability to conjure "spirits from deep within human memory, as a clarion call into the present", Bertucci began a series of conversations that led the pair into the studio at ZKM in the summer of 2024. Conceived for ZKM's 42.4 speaker system, grouped into 8 discrete outputs before being mixed down to stereo, the work aligns with the collaborative process she has honed alongside her solo efforts, in duos with Ben Vida, Lawrence English, and Olivia Block: a dialog with personal and responsive agency offered to both musicians.

It carries forward her inquiry into the fundamentally human aspects of listening ("I am looking for sounds that call from somewhere deep within the listener and that tap into archetypal human knowledge and feeling") and her investigation of psychoacoustic phenomena and otoacoustic emissions through a meticulous alignment of pitches and timbres. Where many of her most celebrated efforts played, and played with, the room, this one is rooted in an implied space: the flutes recall and blur the boundaries between the eras and environments in which those instruments were originally played, from acoustically engineered Renaissance and Medieval halls to the naturally reverberant caves of the Neolithic, and those of the present.

Bertucci is not the first to bring ancient sound sources into experimental music: Harry Partch's instruments drew on Greek, Chinese, and Japanese precursors, Alvin Curran regularly plays a conch shell, and Walter Maioli has spent decades working at the borders of experimental music and archaeology. Her piece occupies a more rarefied position through its hybridity, combining advanced technology with archaic sound sources while sidestepping the exoticism and romantic primitivism that can hobble such efforts. Compared with its closest cousin, Phill Niblock's Four Full Flutes, where the instruments are manipulated beyond clear recognition, here the flutes remain recognizable and embrace the layers of history they carry. The result is an electroacoustic work that largely forgoes the auditory signifiers of the idiom: it could easily pass for a live ensemble, and only attentive listening reveals that it could only have been made through advanced technology.

As Rodenkirchen's playing interweaves with Bertucci's computer-facilitated arrangements of flute samples, ranging from pulsing clusters to dense combinations of sustained tones, timbres, and distances, the piece draws connections with folk and spiritual traditions across human history: Medieval polyphonic ecclesiastical music, Sardinian canto a tenore, Pygmy vocal music, Buddhist chant. By conjoining one of our earliest known technologies with our most advanced, Bertucci proposes that our tools are not the message, but rather the unending continuum of humanity itself. Issued by Blume in a highly limited vinyl edition of 300 copies on transparent light blue vinyl, with newly commissioned liner notes by Bradford Bailey.

"ABYSSUS stand as one of the most significant forces within the Greek Death Metal scene, having forged their path since 2011. Drawing profound inspiration from genre-defining pioneers such as DEATH, OBITUARY and BOLT THROWER, the band preserves the unadulterated spirit of old school death metal while imprinting their own distinct identity.

From the very outset, ABYSSUS placed equal emphasis on studio output and live performance. A steady stream of EPs and split releases established their presence within the international Underground metal community. Their debut full-length, „Into the Abyss“ (2015), garnered widespread acclaim and marked a pivotal moment in the band’s evolution - leading to increasingly frequent appearances both in Greece and across Europe, often sharing the stage with renowned acts, like POSSESSED, SINISTER, SUICIDAL ANGELS and ROTTING CHRIST.

With renewed creative vigour and greater maturity, ABYSSUS unveiled their sophomore album „Death Revival“ in 2022 via Transcending Obscurity Records. Adorned with an arresting cover by the legendary Andreas Marschall (KREATOR, BLIND GUARDIAN, IN FLAMES a.o.), the album was met with universal praise, further cementing the band’s reputation for delivering unrelenting, yet masterfully crafted, death metal. More shows with a.o. ASPHYX, TANKARD, GRAVE DIGGER and THE CROWN followed.

Now in 2026, ABYSSUS return with their third full-length opus, “The Reign” - a ferocious testament to their artistic evolution. The album encapsulates all the core elements that have defined death metal through the decades: raw aggression, blistering riff-work, and a suffocating, commanding atmosphere. Once again, the visual narrative is entrusted to Andreas Marschall, whose artwork enhances the band’s sonic vision with striking intensity.

Relentlessly evolving, ABYSSUS remain true to their roots while continuing to push the boundaries of the genre. With a prolific discography and an ever-growing presence on the live circuit, they have rightfully earned their place as a formidable name within the global death metal landscape."

Breakbeat Paradise Recordings proudly welcomes back one of the undisputed heavyweights of the international funk and breaks scene, Basement Freaks, for another scorching edition of the Toxic Funk series.

The brainchild of Greek producer George Fotiadis, Basement Freaks has spent more than two decades building a worldwide reputation for infectious grooves, heavyweight beats and dancefloor-destroying funk. With releases on labels including Jalapeño Records, Bombastic Jam, Good Groove Records and many more, Basement Freaks has become a staple in DJ sets around the globe and one of the most respected names in modern funk.

Opening the release is Got That Funky Stuff, an irresistible slice of raw party funk packed with chunky breakbeats, killer basslines and soulful samples that are guaranteed to get any crowd moving. Flipping over, Life For Dat Sweet Ting keeps the energy flowing with another irresistible groove, combining vintage funk flavors, rolling drums and signature Basement Freaks swagger into a certified dancefloor weapon.

Whether you're a funk DJ, breakbeat selector or simply a lover of timeless grooves, Toxic Funk Vol. 25 delivers two expertly crafted cuts that showcase why Basement Freaks remains at the very top of the global Nu Funk scene. Another essential 7-inch for collectors and DJs alike, and another dose of pure funk from Breakbeat Paradise Recordings.

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.

A limited edition clear vinyl pressing for Vol. 1 of DINTE's critically acclaimed collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

Split#5 marks the fifth and final installment of the Split series on the Various Artists catalogue of Pi Electronics, pairing Spanish producer Hurtado and Greek producer Nikitas Grs. Despite their distinct approaches, Hurtado's industrial-leaning broken beat funk and Nikitas Grs' psychedelia-infused noise techno converge through a shared aesthetic of textured sound design, raw energy and dark atmospheres. On the A-side, Hurtado showcases his trademark production style through the driving cuts "Show of Force" and "Bad Company", while "The End", featuring vocals by Genevieve GV, reveals a more experimental side of his production. The B-side welcomes Nikitas Grs with two compositions that blur the boundaries between techno, trance and industrial music. The live version of "Susano" unfolds as a rolling, hypnotic dancefloor trip, while "Anoriotos" balances heavy rhythmic impact with an underlying sense of ambient nostalgia. The digital bonus track, "Pollinator 5000", reveals yet another facet of Nikitas Grs' sound palette: a relentless piece of noise-techno that rounds off the release with uncompromising intensity.

Hot on the heels of their new UK street soul-inspired LP ‘Feel In Motion’, Leeds three-piece Galaxians enlist Steven Julien (Apron Records), Boys Shorts (Phantasy Sound), Cervo (Banana Hill) and Vanity Project (Claptrap Records) for remixes of the album's singles.

Adopting his 808 PRINCE moniker, the London DJ, producer & Apron Records label boss Steven Julien beefs up World Apart with his unique live 808 programming, imbuing it with an urgent machinefunk groove in keeping with his consistently electrifying live performances & DJ sets.

Coming straight from the release of their ambitious debut album ‘What Does It Take To Make These Men Happy?’, Greek duo Boys’ Shorts create a heady club moment with their take on Lose My Head, cutting up Sinead Campbell’s vocal while zeroing in on the original’s undeniable bassline & piano melody.

Best known for his Banana Hill label & Manchester club night, Stockport’s Cervo brings the global rhythms and balearic wistfulness of his previous output to bear on his evolution of Fantasy, while Claptrap Records boss Matt Bruce AKA Vanity Project reimagines the track as a cosmic house chugger that further highlights the exceptional vocal performance Beccy Young recalling Madonna at her most iconic.

The package is completed with Gramrcy & John Loveless’s 12” Mixes of Worlds Apart and Fantasy, expanding and reshaping the album originals into pure dancefloor bliss.

Around The Sun is a 23-track anniversary compilation marking ten years of Batov Records, featuring artists including Mulatu Astatke & Hoodna Orchestra, Sababa 5, Satellites, Boom Pam, MOMO. and Mamman Sani. The collection reflects the label's catalogue across Ethio-jazz, Anatolian psych, Mediterranean disco, contemporary jazz, instrumental music and other globally influenced styles. The release includes two Batov edits, several tracks appearing on vinyl for the first time.

Rich Oddie of Orphx and Alex Pi of Pi Electronics introduce Anaxia, a new project arriving on Veyl with the 7-track LP “Maska”.
Built from raw electronics, stripped-down drum machines and a stark post-punk pulse, the record sits somewhere between industrial pressure and the ghostly minimalism of Suicide. It is direct but shadowed, physical but restrained, with vocals from Oddie and Pi cutting through the machinery rather than sitting on
top of it. Oddie’s background in Canada’s industrial underground and Pi’s long-running connection to the Greek electronic scene meet in a sound that feels tense, reduced and fully intentional. KAOSMOS and Florian Engerling add additional vocals, while remixes from In Trance 95 and Veyl regulars Years of Denial extend
the material into darker, more hypnotic territory. With “Maska”, Anaxia deliver a debut that feels fully formed: nocturnal, focused and stripped to its essentials. A natural fit for Veyl, the record draws a line between post-punk, industrial electronics and body music without overexplaining itself.

Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.

Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.

There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.

Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.

What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.


“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.


Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.


All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.

Tony Price returns with NAME?, a new LP on his Maximum Exposure label delivering 10 tracks of red-hot house music realness.

Following two releases in 2025, the brutalist cybernetic jazz reveries of Requiem for the Ontario Science Centre and the ferocious machine funk of Street Theatre, NAME? keeps its crosshairs aimed straight at the dancefloor.

NAME? showcases Tony’s undying affinity for the sound of New York City and New Jersey house: Tony Humphries’ cybernetic gospel dubs, the crude, Todd Terry-style 12-bit hip-hop explosives, the cracking garage swing of early Strictly Rhythm, Mood II Swing and Masters At Work, the psychotic bleep-funk bombast of the Bomb Squad, and the deep, ecstatic machine soul pioneered by the likes of Blaze and the Burrell Brothers.

Produced in his Greektown studio in Toronto using an array of drum machines and samplers, these recordings are pure Tony: rude, crude and elemental. House music stripped down to its core principles and defining primordial textures. No nonsense, no junk, no varnish, no nothing. Just the funk.

The Blue Aeroplanes have been delivering their distinctive brand of rackety sprechgesang for four decades now, and they are showing no signs of slowing down. Their new studio album, ‘Tales From The Silver Lounge’ is based on overheard conversations between the clientele of The Silver Lounge, a rather louche café/bar in an unnamed city on an unknown planet much like ours, and in an unknown time, though the decor tends to the late 50’s, early 60’s.
The identities of the members of the Silver Lounge are, of course, confidential.


This is the 14th Blue Aeroplanes studio album and the third with the current line-up, which is:
Gerard Langley: vocals
Bec Jevons: guitar, vocal and backing vocals
Mike Youé: guitar, vocal and backing vocals
Rita Lynch: guitar, vocal and backing vocals
Chris Sharp: bass and backing vocals
John Langley: drums and percussion
Ed Taylor: many different instruments and backing vocals
Wojtek Dmochowski: dance
Alexander Dmochowski guests on saxophone and clarinet, Will Diamond on violin and Steve Bush adds backing vocals.



After two best-of compilation albums were released by Chrysalis Records in 2025 (‘Magical Realism’: The Best Of The Blue Aeroplanes’ and ‘Outsider Art’: The Other Best Of The Blue Aeroplanes’), the band are now back firmly in a sort of present with a new album that features all the guitar-band flavours that anyone could need, with poems that cover name-doppelgangers, falconry terms, Don Marquis, postcards, Greek mythology, abandoned Teslas, the First World War and the surreal nature of music-hall jokes.


“The Blue Aeroplanes? Not my cup of tea, but I can see what people see in them.” Mark E. Smith

The Blue Aeroplanes have been delivering their distinctive brand of rackety sprechgesang for four decades now, and they are showing no signs of slowing down. Their new studio album, ‘Tales From The Silver Lounge’ is based on overheard conversations between the clientele of The Silver Lounge, a rather louche café/bar in an unnamed city on an unknown planet much like ours, and in an unknown time, though the decor tends to the late 50’s, early 60’s.
The identities of the members of the Silver Lounge are, of course, confidential.


This is the 14th Blue Aeroplanes studio album and the third with the current line-up, which is:
Gerard Langley: vocals
Bec Jevons: guitar, vocal and backing vocals
Mike Youé: guitar, vocal and backing vocals
Rita Lynch: guitar, vocal and backing vocals
Chris Sharp: bass and backing vocals
John Langley: drums and percussion
Ed Taylor: many different instruments and backing vocals
Wojtek Dmochowski: dance
Alexander Dmochowski guests on saxophone and clarinet, Will Diamond on violin and Steve Bush adds backing vocals.



After two best-of compilation albums were released by Chrysalis Records in 2025 (‘Magical Realism’: The Best Of The Blue Aeroplanes’ and ‘Outsider Art’: The Other Best Of The Blue Aeroplanes’), the band are now back firmly in a sort of present with a new album that features all the guitar-band flavours that anyone could need, with poems that cover name-doppelgangers, falconry terms, Don Marquis, postcards, Greek mythology, abandoned Teslas, the First World War and the surreal nature of music-hall jokes.


“The Blue Aeroplanes? Not my cup of tea, but I can see what people see in them.” Mark E. Smith

2026 Repress
The Greek artist comes back with a fully realized EP this time, that goes deeper into his personal world. This is not pointless or flashy music. It has soul and character.

It is music that you can listen the personality of the artist beneath the layers and sound design.
Another strong statement from a producer who is quietly building his own language.

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

Eric Cloutier's career has always been defined by a certain kind of relentless, monastic discipline. With My Friend The Abyss (PALINOIALP01), Cloutier continues to bridge the gap between the selector and the creator. The album title itself suggests a reckoning with the internal-a realization that time is the only distance between an artist and their masterpiece-resulting in a body of work that feels less like a collection of tracks and more like a hard-won transmission from the deep.

Forged in a crucible of stress, chaos, and loss, the LP eschews the easy loops of his earlier output for a far more complex architecture. While Cloutier's signature hypnotic pulse remains the bedrock, the record expands into a startlingly broad lexicon: the dub-wise weight of "Havittaa" and the tribal intensity of "Desassossego" sit alongside moments of fragile ambient beauty. Perhaps most surprising is the inclusion of "Ligrothism," where Cloutier explores the broken rhythms of drum and bass, proving that his obsession with "Palinoia"-the Greek term for perfecting an act through obsessive repetition-has led him to a place of total creative fluidity. This isn't just club music; it's a masterclass in atmospheric tension.

2027 Repress

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

Seven - a number steeped in mystery and meaning, woven into the very fabric of time and space. Throughout history, the number seven has stood as an immutable symbol: from the days of the week to the alchemical metals, from the kings of Rome to its seven hills. An archetype that unites astronomy, myth, and ancient civilizations, finding its deepest expression in Rome.
According to legend, the Eternal City guarded seven sacred relics, the Pignora Imperii, objects whose possession ensured divine protection, prestige, and political authority. Ovid referred to them as the "pledges of power": testimonies of Rome's Trojan heritage and its connection with peoples such as the Sabines, Etruscans, and Greeks. These artifacts, now lost, were:
I. Lo scettro di Priamo
II. Il velo di Iliona
III. Il Palladio
IV. Le ceneri di Oreste
V. Lo scudo ancile
VI. La quadriga di Veio
VII. L'ago di Cibele
From this mythology emerges the new project by Lykos Records: a narrative journey in seven chapters, each dedicated to one of these relics, unfolding through the various artists releases corresponding to catalogue numbers 7, 14, 21... up to LYKOS-XLIX.
Chapter I, "Lo scettro di Priamo" LYKOS-VII, is dedicated to the symbol of Troy's power, brought to Latium by Ilioneus on Aeneas' command as a pledge of alliance and reconciliation. It is said to have been kept on the Palatine Hill.
To inaugurate this journey, seven Roman artists - PixFoil, DJ Red, Brando Lupi, Luigi Tozzi, Feral, Sunday Bath, and Worg - will give life to a sonic mosaic celebrating the musical heritage of the capital. Their tracks will form a collective work that bridges generations and diverse artistic visions.
Each double vinyl will feature an original illustration by Roberto Mulliri, wrapping the entire front and back cover and included inside as a poster.
Within the Pignora Imperii lies the strength and power of Rome, witnesses of the city's epic saga; likewise, Lykos Records weaves its destiny into the history of these sacred Roman objects, becoming a messenger of their enduring legends.

The Greek artist AgainstMe shows his personal vision of techno in 4 tracks where we will touch those moments that often we experience on the dancefloor between darkness and light !

Five years after their radiant debut Ufo Bar, Italian cinematic funksters Banda Maje are back with Costa Sud to take us deeper into their land of ‘Salifornia’—a Southern province of sun-drenched coastlines and decaying buildings where dreams of exotic escapism sprout and bloom.

Once again, behind the eight tracks in the album—and behind the wheel of the fiery red Alfasud on the cover—is composer and keyboardist Peppe Maiellano. He has meticulously tailored each piece to his virtuoso partners in crime: a 'family' of exuberant musicians spread between Salerno and Naples, all bound by deep-rooted ties to the region and a shared belief in the grit of independent artistry.

The Costa Sud (South Coast) imagined by Banda Maje is a shimmering ribbon of sun-baked asphalt stretched between the sea and the ancient pine forests of the Gulf of Salerno. It is a land of enchanting but wounded places, where the grace of Ancient Greek civilization sits in a restless silence alongside the scars of rampant building and neglect. “But if truth is beauty and beauty is truth,” Maiellano explains, inverting Keats’s famous line, “with the right eyes, you can find beauty and poetry even under a layer of moral and material filth."

Conceived and recorded entirely in the South, the album nevertheless looks beyond the horizon. While Neapolitan funk and golden-age Italian soundtracks remain the double helix of the band's DNA, this album welcomes new influences from across the ocean, weaving Italy, Brazil, Africa, and contemporary sounds into its unique vision of the 'global South.'

Side A is an immersion into Salifornian territory and its myths: from the carefree instrumental disco-funk of the title track, which sublimates local contradictions into enveloping cinematic atmospheres, to the mellow groove of “Baia”—a fusion of Neapolitan funk, afrobeat, and disco that pays homage to Salerno’s famous beach, squeezed between millennia-old sea rocks and mountains of shipping containers. The band’s heartfelt sense of belonging shines in their fresh soul-disco version of “Mo…” (a 1981 cult classic by Neapolitan legend Peppino di Capri) featuring Maiellano’s own vocals, while the reimagining of Tonico 70's “Jet Lag” celebrates a fraternal partnership with the Salerno-based rapper/producer, charting a musical itinerary that unites Brazil, the States, and Salifornia through evocative grooves, sharp synths, and Gianfranco Campagnoli’s exquisite trumpet.

On Side B, the sound becomes even more eclectic with the samba-funk warmth of “Samba Maje”, where Mediterranean melodies and lush vocal harmonies marry jazz-funk arrangements and disco-inflected Brazilian rhythms. The next track, “Africana”, is dedicated to a legendary dolce vita nightclub on the Amalfi Coast (and its founder Luca Milano); here, a rhythmic mantra incorporating tribal African elements blends with synths that evoke RAI television themes of the late 70s. The journey concludes under the sign of the silver screen: the disco-funk elegance of “Black Glamour Girl” (from the early-80s road-trip comedy In viaggio con papà), a tribute to the compositional genius of Piero Piccioni, and “Lovebossa”—an easy-listening homage to the "Cine Bossa" atmospheres that characterized so many Italian soundtracks of the 60s and 70s, finally carrying the listener ‘ncopp’ ‘e nuvole (above the clouds—which is basically Salifornian for "somewhere over the rainbow").

Available on LP and Digital from 15 May 2026.

Fuse leans further into its proposed aesthetic of biting club tracks with a brand new release by Cirkle. ‘Infinity Drift’ balances powerful sound system sound design with lush ambiance, creating standout moments on a dancefloor with a taste of nostalgia. These tracks explore the richness in themes that techno can have when made by someone who’s spent years meticulously crafting it. ‘Skyland’ asserts itself first with impressive pace. Swift chord stabs open and close to create waves of excitement and craze in the track while percussion shuffles along to add impact; Cirkle is an artist of all rooms and dimensions. Shrill sound design cuts through the stereo field creating a wormhole in the middle of rhythmic determination. Tension balance and anticipation are his specialty and every transition whips his dispersed elements into singularity in the EP, specifically the title track. A truly musical piece that embraces the crowd with vintage warmth, ‘Infinity Drift’ tones down the dissonance in exchange for something closer to astral exploration. These larger than life themes are never lost on dancers and serve to unify the dancefloor into an organism instead of pushing sound system violence. This is a theme that is omnipresent in Cirkle’s music and carried through into ‘Stimulus’. Here, the Greek producer dips into the hypnotic bordering on psychotic, stretching arpeggios and delays across drum transitions and time. The dimension of ‘Stimulus’ matches the preceding tracks with ease, but stands out in its effect, rolling a powerful synth through reliably tuned percussion. For the final track, ‘Impulse’ sees Cirkle prioritizing the importance of drums. Pressing hard on the drive of the kick, rides and filtered claps squeeze their way out of the low end to create an infectious groove. Stabs of ethereal pads envelope the rest of the EP, leaving space for the rest to breathe. Bumping along the way, Cirkle lands the EP with class, cementing himself further as an artist whose knowledge of the dancefloor creates a singular experience.

Gidia, the collaborative project of Giorgos Lemos and Kondaktor, deliver a bold release that marks a new chapter for both the artists and the evolving sound of REVOLT.
Born between global influence and local greek reality, Gidia operate at the intersection of club culture and street memory. Their sound moves freely across house, techno, electro and acid, drawing from West Coast grooves, disco-house energy, early Daft Punk aesthetics, boombox culture and the raw attitude of B-boys music.

In discotheques and dark rooms across Europe, Boys’ Shorts have earned the trust of the queer and wider clubbing communities as generous stewards of a timeless sound that, like themselves, never stops moving forward. The duo of Vangelis and Tareq initially met at an underground club in their native Greece. Sensing a rare sonic connection, the pair became friends, forming Boys’ Shorts to meet again and again, travelling from their adopted cities of Thessaloniki and London to appear as far afield as Berlin’s Panorama Bar and New York’s Le Bain, as well as supporting Goldfrapp and Hot Chip on tour. Their motivation? In their own words, “we make people dance!”

Following years of gradual, thoughtful studio sessions, and EP releases on tastemaking electronic labels including Phantasy Sound and Live At Robert Johnson, Boys’ Shorts establish their own imprint, ALL SORTS, in order to deliver a fantastically ambitious debut album, ‘What Does It Take To Make These Men Happy?’

The LP opens with the grandiose, cosmic vista of ‘The Space Between Us’, a classic passage of strings and synthesis, before the shared Boys’ Shorts vision falls back to earthier territory with deep groove of ‘Let’s Fall In Love’, mixing universal sentiment with a patient vision of human potential and the voice of Greek electronic pioneer, K.BHTA. ‘Come’ aligns with NYC’s Michael Cignarale, offering an excitable invitation to the mind and body sculpted by the way of a throbbing, warehouse-sized statement of nineties house sensuality. Channeling heroes Lowe and Tennant at their most introspective, ‘Short Life’ maintains the dance, yet dares to ask, “what if the parties aren’t enough anymore… Can you ask for something more?”

Out of the pet shop and straight into the strobe lights, ‘Disco Romantica’ makes true on the promise of its title, a lovelorn monologue giving way and slipping into rave stabs and whirring synthesis that looks forward to a memorable, emotionally-charged night ahead. Underpinning this feeling of anticipation, ‘Going Out Hoping To See You’ introduces the voice of Justin Strauss to Boys’ Shorts' musical world. A certified icon of club culture, spinning from The Mudd Club to modern day DJ booths, Strauss’s generation spanning experience of nightlife leans into the fundamentals of human connection and the pleasure of musical discovery, wrapped in irresistible chug.

Another transformative figure in club music, Fischerspooner’s own Casey Spooner dips into French for the Motorik cyber sleaze of ‘MECANIMAUX’, their own vocals pitching up and down with playful EBM abandon. ‘Montage’ offers a different kind of composition, conjuring an ecstatic club banger that finds inspiration in nineties indie rock motifs alongside the rave scene, while ‘Run’ promises to blow out sound systems before its weighty electro bassline succumbs to waves of glistening synths.

Such bombast into beauty perfectly sets up the record’s blissful conclusion; ‘The Stars Are Out For You’ is electro-pop so delicate as to heal aching feet (and mend broken hearts), while offering the final tender moments of the album as a form of tribute on ‘Untitled (For Mitsi)’. It’s a thoughtful ending to a thrilling trip through a shared passion for electronic and pop music in all its glorious potential. What does it take to make these men happy? It’s a pleasure to find out.

Assemble Music welcomes XDB for his first appearance on the label. Born and based in Germany with Greek roots, XDB (Kosta Athanassiadis) has been deeply involved in electronic music since the early 1990s. Known for his broad musical vision and refusal to be boxed into a single style, XDB has built a reputation through both his carefully curated DJ sets and hardware-driven productions. His sound draws from raw Detroit traditions, dub techno and deep house, favouring analog textures and stripped-back machine funk. On this three-track EP, XDB explores the darker edges of house and techno, blending classic Detroit influences with raw analog production to deliver a focused and uncompromising statement. With releases on respected imprints such as Sistrum, Ferox and Dial Records, this debut on Assemble Music feels perfectly placed and essential.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.