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Music from the soundtrack to a horror-comedy podcast that Wood was commissioned to compose for in 2020. "At the height of the pandemic, podcasters Mayfield & Belov approached Will Wood to commission him to compose for an upcoming show entitled ""Camp Here & There."" The podcast had not been recorded yet, and as if that weren't enough, Wood couldn't read sheet music. However, Wood accepted the challenge and began to teach himself new methods of writing that would allow him to compose music note-for-note in ways that his days as a bandleader had not yet prepared him for. M&B provided notes and concept art they had developed so Wood could learn about the stories and characters, and he dug into his own life and used that and what he learned about the show as inspiration for what started as simple background music and eventually became a collection of both score and original songs. This album contains both instrumental music and four original songs, including "Yes, to Err is Human, So Don't Be One." and "Your Body, My Temple."

Recorded in one night in 2017 "The Real Will Wood" is a raucous live album accompanying a concert film of the same name. "The Real Will Wood" is a genre-bending mockumentary concert film co-created by Will Wood and Chris Dunne (Life in the World to Come, Revelator). The soundtrack and concert video were recorded in one night in 2017; the band was strung out and bigger than ever. Until recently, this raw and high-energy live album has had only limited releases, as has the film.

Kein zeitgenössischer Italiener war in der Zeit nach dem Ersten Weltkrieg als Instrumentalkomponist so erfolgreich wie Ottorino Respighi mit seinen vierstimmigen symphonischen Gedichten „Fountains Of Rome”,
„Pines Of Rome” und „Feste Romane”. In diesen Werken erlebte die Programmmusik eine großartige
Wiederbelebung. Besonders bemerkenswert ist Respighis Kunst der Instrumentierung, mit der er Orchestermusikern wie Richard Strauss und Maurice Ravel Konkurrenz machte. Er bediente sich einer aus
vielen Quellen destillierten Musiksprache, einer Art „Euro-Impressionismus“, der modernistische Einflüsse
nicht ausschloss.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Beethoven begann mit der Komposition seiner Dritten Symphonie, kurz nachdem seine zunehmende Taubheit und seine Selbstmordgedanken öffentlich bekannt geworden waren. Der „heroische“ Stil dieser Symphonie kann als musikalischer Ausdruck seines Triumphs über sein persönliches Leiden interpretiert werden.
Aber die Symphonie hat auch eine enorme musikalische Bedeutung: Mit der „Eroica“ erweiterte Beethoven
die symphonische Form und veränderte damit die Erwartungen an eine vierteilige Symphonie für die nächsten zwei Jahrhunderte.
Giulinis Aufnahme mit dem Los Angeles Philharmonic Orchestra gilt als Referenzaufnahme.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Manche Sensationen geschehen ohne großes Aufsehen, da sie fast selbstverständlich erscheinen. Ein solcher
Moment ereignete sich im Februar 1978 in der Berliner Philharmonie, als Herbert von Karajan die 14-jährige
Geigerin Anne-Sophie Mutter mit Mozarts G-Dur-Konzert dem Berliner Publikum vorstellte. Nachdem die
junge Musikerin ihre Feuertaufe mit Bravour bestanden hatte, strahlte der Dirigent und die Musiker der
Berliner Philharmoniker applaudierten begeistert – ein seltenes Ereignis. Ihre Mitmusiker und das Publikum
waren sich gleichermaßen bewusst, wie vielversprechend ihr Debüt gewesen war.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Petruschka ist eines von drei Balletten, die Igor Strawinsky während seiner „russischen“ Periode komponierte. Mit Petruschka zeigte Strawinsky seine neo-folkloristische Seite und brachte eine bunte Straßenmenge mit einem Zauberer und seinen Puppen, Händlern und Mumien auf die Ballettbühne. Damit zeigte
er der Welt, dass Jahrmarkt und klassische Musik kein Widerspruch sind.
Dies ist eine der wenigen Produktionen der DG, bei der parallel digital auf 2 Spuren und analog auf 8
Spuren aufgenommen wurde. Durch die Verwendung des analogen 8-Spur-Masters ist diese Aufnahme nun
zum ersten Mal in rein analoger Form erhältlich.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche und Verzerrungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Ivan The Tolerable returns with Chromophobia, an expansive new double album and his fourth for Riot Season after ‘Water Music’ & ‘Vertigo’ (both 2024) and ‘An Orphan Form’ (2025)
Chromophobia carries with it a deep personal history. The earliest recording sessions date back to 2018 at the IDI in Middlesbrough, engineered by longtime collaborator Nigel Crooks over the course of three weekends. The material was left unfinished for years, shelved for reasons that accumulated and compounded - until the tragic passing of Crooks in 2023. His unfinished work lingered, and the desire to complete it became a mission.
“In the end, I finished this record for Nigel, above all else,” says Oli Heffernan (Ivan The Tolerable). “It always annoyed him that it never got done.”

To bring the album to completion, the original stems were passed to producer Hugh Major (formerly of Benefits) in early 2024. Across a year of meticulous experimentation - countless versions, radical reconstructions, entire songs torn down and rebuilt - the album transformed into something wholly new. The final collection spans 14 tracks, reimagined from the ground up yet still anchored to the spirit of the sessions that began it.
“It’s a very different beast from where it started,” Heffernan adds, “but I think Nigel would really like it - and be glad it was finally finished.”
Chromophobia stands as both a reinvention and a tribute: a document of persistence, creative overhaul, and the enduring impact of a lost collaborator.

With a career spanning over 50 years, Earl Sixteen is one of the major artists in the history of Jamaican music. He has been produced by some of the biggest names in the business, from Studio One to Jah Shaka, Lee ‘Scratch’ Perry and Mad Professor. Earl Sixteen has always stood out for the accuracy of his performances and the smooth depth of his voice.

Today, in collaboration with Switzerland most active studio group of the last decade, The 18th Parallel, he presents his new single ‘My Son’, written by the genius lyricist Marc Ismail. The lyrics touch on the harsh reality of the younger generations in Jamaica who grow up in precarious conditions and, in some cases, have no choice but to turn to crime. Here, the elder's voice urges young listeners to take a hard look at themselves and weigh the consequences of their decisions.

The message is enhanced by Earl Sixteen's performance and the extraordinarily powerful rhythm section of The 18th Parallel. B side features a scorcher dub by Westfinga: 'Hear My Dub'. A masterpiece of contemporary roots reggae!

Rob Smith, RSD is not only a successful dubstep producer and pioneer of the Bristol sound, but also a very popular deejay travelling the world sharing his music. Coming from a reggae background and well-versed in sound system culture, Rob kept some of his best productions for his exclusive use when deejaying, the only way you would hear these gems was being played in one of Rob's sets. Fortunately, we've managed to persuade Rob to let Reggae Archive Records share these dubplate specials with a wider audience on a limited-edition vinyl LP. Compiled and sequenced in conjunction with Rob, the LP features nine tracks newly edited and mastered by Rob to enhance the bass playback on vinyl - it's cut heavy!
The tracks were recorded between 2006 and 2011, a time when one strand of dubstep heavilyembraced reggae and dub. Rob calls these tracks reggae infused dubstep and that's what they are, but Reggae Archive Records is a reggae label and this selection of dubstep tracks will most certainly appeal just as much to reggae and dub fans. Fusing dubstep beats, reggae samples, and seriously heavy basslines, this is a joyous celebration of musical cross fertilisation that has been tried and tested in clubs worldwide. In keeping with the dubplate origins of the tracks, we have designed the labels to replicate an old school acetate, while the sleeve pays tribute to seventies pre-releases albums with a replica stamp giving just the artist and title on a plain white sleeve with aged effect.

Fiat Lux return with Desire & Belief, their third album of new material this millennium, following their acclaimed comeback LPs Saved Symmetry and Twisted Culture. The trio—Steve Wright, Will Howard, and David P Crickmore—combine modern production with vintage synths and instruments rooted in their Polydor-era beginnings to craft ten tracks that span cinematic atmospheres, synth-pop anthems, and moody electronica. Tracks like "Clear Sky " and "Turn Me Around" offer hook-laden synth-pop, while "Summer Solstice " and "Am I Dreaming " delve into ambient and darker tones. Desire & Belief is a natural progression for Fiat Lux—retaining the spirit of their 1980s Northern roots in synth, goth, and indie, yet confidently stepping into new sonic territory for long-time fans and new listeners alike. RIYL: Blancmange, OMD, Scary Thieves, Tears For Fears

Active for 40 years, Nurse with wound is one of the projects of Steven Stapleton, materialized in a very wide range of hysterical noise over sound collages and cut ups, abstract music, soothing drones and surreal sound paintings, and more rhythmical and mechanical pieces, always inspired by Dadaism and Futurism, Krautrock, jazz improvisation, surrealism, never losing his main goal, that is having fun and enjoying himself.He has had many collaborators, a recurrent one in the 80s and 90’s being Current 93’s David Tibet, another noticeable one still at work with him is Andrew Liles.The main line of this unpredictable sound builder is hectic and uncompromised, his point of view is that everything is possible and applies it to himself. As a youngster he wanted to be an artist so decided he was one . He is not a musician, and says he has no interest in becoming one. Surprisingly, (or not!), the love of his life is building sculptures out of recycled and reclaimed materials, building things with anything, even junk. And sounds, we are a witness to it.With these very strange juxtapositions of styles and manners, female rap music and 50s and 60s lounge music having a special top priority in Steven’s tastes, and a creativity that has no bounds no taboos, with a taste of novelty every time, Nurse with wound will no doubt continue to surprise people listening to his works, and himself, as he wants to keep it fresh every time, mostly for him.

includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.

Islaja presents her new album ”Angel Tape”, her debut release on the new Helsinki-based label Other Power. Drawing inspiration from childhood epiphanies while listening to an alleged recording of angels singing, Islaja has crafted an album that stands out as a major work in her expansive and celebrated catalogue, which includes previous releases on labels such as Ecstatic Peace!, Fonal and Svart.


Islaja, aka Finnish artist Merja Kokkonen, describes her new album as a “counterwork” to her most recent albums, where the mode of composing was more song-based. This time around, she goes more in the direction of vast fields of sound where the human voice is a key ingredient of music that breaks free of strict stylistic guidelines and traditional song forms. Rough around the edges, atonal and otherworldly, "Angel Tape” is the result of a lifetime of inspiration from something beyond the immediate realm of our experience, an attempt to catch the elusive essence of musical otherness.


”As a child, I listened to the ’angel tape’ my mother played, and I never thought that the human voices I heard on it were angels singing. Instead, all the aural debris lying just beneath the surface caught my attention as I thought it was mysterious and something from a different world than ours, and so that was probably what was referred to as the ’angels’ so miraculously caught on tape”, Kokkonen explains. ”I think this was one thing that led me on this lifelong quest to find new sounds and forms in music.”



The tape she is referring to, a mid-80s church recording, was passed around in religious circles. Each time the tape was copied, it became slightly more distorted. It was believed that this recording of religious music had accidentally captured for the first time the voices of actual angels singing. The tape was rumoured to have originated in Kansas City and to have made its way to Finland.


Whereas Islaja has often thought of albums as being collections of recent songs presented together, ”Angel Tape” has a strong sense of conceptual coherence. The music comes from a place. That doesn’t mean that one must take a single path from one place to the next, as close listenings of the album reveal layers upon layers of not only sound but also of mood and meaning. From the human voice in its barest form, to the rising dense walls of sound moving and reshaping, ”Angel Tape” is a captivating album that unveils new contours with each repeated listening.

Brooklyn based baritone saxophonist Jonah Parzen-Johnson presents his new work "Imagine Giving Up" on Helsinki's We Jazz Records. The album, to be released on 17th January of 2020 sees Parzen-Johnson move into new domains of sound as he uncovers newfound energy and pulse in his music.

In addition to the sonically rich analog synth elements that accompany his earlier solo saxophone work, Jonah has layered heavily sound designed samples of his own saxophone to create truly one of a kind percussive snaps, reverberant basses, and warbling leads. At it's core, the music remains deeply devoted to almost vocal sounding melodic lines and patiently developed compositional ideas.

A compact set of 6 originals, "Imagine Giving Up" is Jonah Parzen-Johnson's most ambitious album yet. While taking a step away from the previous world of "ambient jazz", his new music stems from the use of drone-like sounds for baritone saxophone, a style which is uniquely his own. Electronics are blended in for good measure, creating a coherent vision of abstract jazz with depth. As with all of Parzen-Johnson's releases, the music comes with a deeper narrative which he will continually explore in live performance.

The manifesto for the album reads as follows: "Only a few people can really start over. Everyone else is left to struggle down the path they were assigned. The option to give up, to choose your own path, is power, and, hopefully, a call to action: take a risk to help someone." "Imagine Giving Up" by Jonah Parzen-Johnson, will be available via 'We Jazz Records' on violet and black vinyl versions, CD and digitally.

Helsinki's We Jazz Records presents "Ateneum 2019", part 2 of their ongoing "We Jazz Live Plates" series documenting the label's live activity. Recorded at the historic Ateneum Art Museum in Helsinki during spring 2019, the intense live compilation brings together three acts on the label's roster: Timo Lassy & Teppo Mäkynen, OK:KO and Alder Ego, each performing two tracks here.

OK:KO opens proceedings with their sound electrified by Toomas Keski-Säntti changing from piano to Fender rhodes, a little touch that opens up new avenues in their sound. The band who made a big splash with their 2019 debut album "Syrtti", present energetic new versions of the title track and the looping "Piik". Alder Ego, led by drummer Joonas Leppänen, shifts gears with a new deep version of their 2018 album track "Cubism", and add a new track "Mystery Room Nr. 6" into the mix. Timo Lassy & Teppo Mäkynen strecth out their compact tracks "Fallow" and "Goldenrod", which grow into new lenght and depth in the live setting.

"Ateneum 2019" released together with "Lonna 2019", We Jazz Live Plates vol. 3, is an inspiring example of the active and high quality jazz scene in Helsinki.

JAF Trio emerges on Helsinki's We Jazz Records with their debut LP on 3 July. The young Finnish-Danish band includes saxophonist Adele Sauros (of Superposition), bassist Joonas Tuuri (of Bowman Trio)
and drummer Frederik Emil Bülow. After a string of lauded live performances over the past couple of years (the band was awarded with the "We Jazz Rising Star" accolade at We Jazz Festival in 2017), the trio is now ready to present their first studio work.

Sound-wise, JAF Trio has an approach which brings the band very close to the listener, "loft jazz" style. The sax, bass and drums are right there at the forefront together, creating a remarkably strong presence. The original material of the band has depth and groove alike, at times leaping forward with giant steps, at times calming things down to really stretch time. The music is very melodic and rhythmic, as withnessed by single tracks "Ninth Row of the Fifth Floor" and "Dark Sparkle". There's a sense of playfulness in the repetitive riffing on "Something New" and an air of sombre melancholy on "Shades of Tomorrow".

"JAF Trio" will be released by We Jazz Records on 3 July on vinyl, CD and digital. The vinyl version comes in a heacy-duty "old school" tip-on sleeve. The cover design features the artwork "Red" by Finnish visual artist Maija Lassila.

Gothenburg trio Dark Horse present their new album "Listen", released by We Jazz Records on 13 November. The band, comprising of John Holmström (piano), Alfred Lorinius (bass) and Mårten Magnefors (drums) recorded their second album in a remote cabin by the ocean in Norway, owned by Holmström's family. The natural sound of the album owes a lot to the relaxed surroundings and the result is some high degree of improvised music turning into collective composition as the music unfolds.

The album recording took place at a very active spot in the trio's calendar, following extensive touring in Europe, Japan and their native country Sweden. The two days of improvising were edited down to highlights that easily fill an album's worth of quality listening and reveal what playing live brought to the three musicians: A natural ability to react to ideas, build on them and form coherent, compositional tracks on the spot. A task much easier said than done.

"We're a non-conceptual basement band all the way", laughs pianist Holmström. "We have been moving from free form music into collective composition and this is our pinnacle recording with that idea thus far. We just set out to play as honestly as possible and this is what followed."

A testament to the power of a fixed band unit developing over time, "Listen" comes across as a work by a group constantly keeping its nose to the wind when it comes to developing their music. The long-form opener "Allas Favorit" is a monumental piece building and releasing tension along its 12+ minute length. First single "Brutet Groove" assumes a fascinating, almost mechanic-sounding swing while assembling and reassembling the pieces of the puzzle, and the closing track "Fjäll-låten" gives us something of an ever-shifting sonic landscape in glorious colors, much akin to its name ("Mountain Song" in Swedish).

"That one Fjäll-låten includes some of the best musical moments of my life so far" confirms bassist Alfred Lorinius. "It's actually an edit of a 20-minute improvised sequence, and it has the real feeling of the band coming together and doing something new and fresh in the moment. I feel it's something you can revisit as many times as you like and there's always something to find in there."

Dark Horse formed in 2012 after Lorinius joined Holmström and drummer Mårten Magnefors to complete the group. Things quickly started taking shape musically from there on, but the group took their time in honing their craft with a method they now refer to as "tryout development". Their self-titled debut album appeared in 2015 and the current We Jazz album "Listen" marks the first internationally distributed release for the trio.The roots of Dark Horse lay firmly in the buzzing creative music scene of Gothenburg, Sweden, where the members have close ties with local establishments such as the legendary venue BrÖtz, and the city's vast scene of highly-regarded musicians.

In brief, "Listen" presents Dark Horse gloriously putting into use their musical philosophy what they describe "improvising as composing together".

"Listen" by Dark Horse is released by Helsinki's We Jazz Records on 13 November 2020 on vinyl and digitally. The vinyl comes in a heavy duty tip-on sleeve and the album design features the painting "Overwhelming Structure" by the Helsinki-based visual artist Maija Lassila.

Swiss artist Lukas Traxel releases his powerful debut album One-Eyed Daruma on We Jazz Records, March 10. The trio features Traxel on double bass, Otis Sandsjö on sax and Moritz Baumgärtner on drums. Compact, deep, and organic to the bone, Traxel & co's sound echoes the innovations of rhythmically driven avantgarde jazz while keeping things moving at all times. There's both drive and freedom to this sound.
ONe-Eyed Daruma features eight new compositions by Traxel, who crafted the outline for the album while dealing with the loss of his father. The group came together after an open invitation from the Zurich jazz club Moods to present a new group. The trio of Traxel, Sandsjö and Baumgärtner creates a full, symphonic, and powerful body of sound despite the instrumentation without a harmony instrument. The trio functions as a collective where the boundaries between composition, melody, and accompaniment are in flux, while keeping the common goal of creating new music together in sight at all times. Traxel reports that after playing bass in various groups with guitar and/or piano, he wanted to create a counterpoint of sorts with his new group and specifically go about it with a more sparse setup. As One-Eyed Drama proves, the idea behind the trio dynamic is a strong one and the unit makes use of their extra space in creating evocative, moody, swinging creative jazz with a distinguishable fingerprint of its own.
Lukas Traxel says:

"The process of composing this music while dealing with the loss of a loved one resulted in a writer's block at first. The notes would just not flow out of my pen until I noticed a mysterious-looking figure in the right upper corner of my piano. It was a daruma, an eyeless figure that in the Japanese tradition brings luck and prosperity. According to the myth, the first eye must be drawn onto the figure while expressing a wish. The second eye can be added only if the wish comes true. My daruma is meant to stay one-eyed as my wish, strongly connected and intertwined with my now gone father, is not meant to be fulfilled. The feeling of unfulfillment and imperfection of life serves as a common thread throughout this album, right down to its title. In a similar fashion, a composition remains incomplete until it is interpreted by musicians, and given form as music. That being said, for me playing together with this trio symbolises the upside: the sense of fulfillment in music and life.

Our musical influences include the American composer and singer Caroline Shaw, Swiss pianist Colin Vallon's trio, and composer/singer-songwriter Gabriel Kahane. In addition, I have listened a lot to the trio albums of Jimmy Guiffre and Sonny Rollins. Besides that, my musical heroes like Charlie Haden, John Coltrane, and Keith Jarrett always flow into the music. Another very important influence in the music is the work of American visual artist Agnes Martin, in whose works the imperfection of a multiplicity of repetitions results in a lively big whole in the end. (See "Wild Flower")

Live, the trio takes a lot of freedom in interpreting this music, yet we have a deeper, almost pop-like attitude towards the live performance as an experience. For me it's always important to build a strong narrative with the band while on stage."

One-Eyed Daruma by Lukas Traxel is released on 10 March 2023 by We Jazz Records on LP/CD/digitally. The LP edition is shelved in an inside-out sleeve and pressed on white vinyl. The CD is housed in a cardboard digisleeve with UV lacquer finish.

Guitars On Life solves a nagging mystery about the fate of a musician who stood out as a singularly spectacular bloom even in the verdant creative fields of the San Francisco Bay Area at the turn of the century. After more than two decades of recording silence and about a dozen years away from the bandstand, Jack West is back, still immediately recognizable as a guitarist and composer but miles from the last stop on his ongoing musical journey. There’s poetic symmetry in discovering that his detour from life as a performing musician involved fruitful work devising innovative solar technologies, as he had similarly distinguished himself as an inveterately inventive musician. When we last heard from West he’d carved out a vibrant niche as a guitarist with a percussive attack and lustrous group sound. Wielding a custom-built eight-string acoustic guitar with uncommon rhythmic dexterity, he released six albums featuring his original tunes, mostly recording with his band Curvature (though he also played mesmerizing solo recitals). West’s knack for crafting glistening, minutely detailed soundscapes full of surprising twists and oddly inviting textures prompted NPR to describe his work as “a whole new sub- genre of jazz.” Drawn back to performing in recent years, West saw guitarist Walter Strauss at Berkeley’s Freight & Salvage in 2022 and suspected he’d found a kindred spirit. Intrigued by Strauss’s unusual approach to guitar, West “wondered what a musical conversation might sound like between two guitarists who had developed such uniquely different ways of playing the instrument.” An invitation to play together led to them writing the tune ‘More Guitar,’ the bravura opening track that launches Guitars On Life. Several months later they spent a week in Florida together writing intensively, resulting in most of the material for this consistently thrilling project.

If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.

Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.

In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.

Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.

“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”

For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.

LP presented on Crystal Clear vinyl.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

In 2008, accompanied solely by her husband, bassist Stephan Crump , and saxophonist Chris Cheek, she created reVisions in which she reimagined a collection of Stevie Wonder songs to offer social commentary on Barack Obama's historic rise to power. As much a testament to Chapin's unique artistic sensibility as a celebration of the enduring appeal and relevance of Wonder's songs, ReVisions, which also includes sensibility as a celebration of the enduring appeal and relevance of Wonder's songs, ReVisions, which also includes two self- penned numbers, puts a new spin on Wonder classics like 'Masterblaster (Jammin'),' 'You Haven't Done Nothin',' 'Higher Ground' and 'Village Ghetto Land.' Bolstered with new liner notes featuring a recent interview with Jen Chapin, ReVisions: The Songs Of Stevie Wonder is reissued in 2026 as part of the Chesky Original Masters series on 180g One Step Pressing Vinyl LP and Hybrid Stereo SACD

Colmillo de Leche marks a defining moment in Carín León’s artistic evolution, reimagining his sound and signaling the true beginning of a career rooted in authenticity and fearless creativity. Awarded the 2023 Latin GRAMMY for "Mejor Álbum Norteño", the album cemented his status as one of the leading voices in the new wave of regional Mexican music.

140g Black 2LP in widespine jacket with printed inner sleeves

The sunshine of Andalucía has come to the Bordello. The musical magpie that is Daniel Monaco arrives with just a hint of a Spanish accent and a daring record under his arm. Known for finding the intersections of boogie, disco, italo and house, Monaco is going that bit further with Manuel Rodriguez for the Flamenca EP. Melting the percussive drive of his machines with the spirit of Southern Spain, the four tracks on offer are a journey into a sound and style that is inspiringly original. Ruffled hi-hats and smooth basslines are the foundation for the title piece. The soul of the Sierra Nevada and the warmth of Granada pour forth through Rodriguez’s unparalleled performance. The claps of Chicago are reimagined as an interplay of melody and rhythm awakens; the traditions of Flamenco married with a modern groove. Talent and technique are coupled with pure passion in the intense instrumentation of “Fantasia” before the flip shifts with “Sìnteme.” The culture of Italy and Spain combine, taut string plucks peppered in handclaps before the Only Bee’s vocals descend. Ardent, the lyrics tell of our shared humanity through the dialect of Ischitella from the southern tip of Italy. The homes of our musicians are the inspiration for the finale. Blending the decadent splendour of Napoli with the old-world romance of Granada, Rodriguez’s guitar is the focus of “Granapoli.” Bitter-sweet, blissful and sorrowful, a lone beat wandering through the winding melody that twins these great cities. From Italy and Andalucía to Amsterdam, a 12” like few others.

Jadu Heart’s Wanderflower and Ezra’s Garden reissued together on vinyl for the first time.

Since their 2016 debut EP, Wanderflower, Jadu Heart has been slowly building a catalog of electro-pop, R&B, and psychedelic bops. The UK-based duo, consisting of Alex Headford and Diva Jeffery, now has roughly 30 songs that are a collective myriad of immersive soundscapes.

Jadu Heart's Wanderflower was a project released as part of a school project at The British and Irish Modern Music Institute in 2016. Diva described the project as a "story of two characters - Dina and Faro - who get cursed in a temple and every song in Wanderflower corresponds to a different chapter in their story." Their tutor sent the EP to Mura Masa who immediately took a liking to the duo and made them an opening act for his album release show. They were subsequently signed to his label and given the same manager.

The couple's sophomore EP, Ezra's Garden, is a continuation of Jadu Heart's now-signature DIY, psych-funk sound inspired by Jai Paul. The tracks are accompanied by a visual component on Youtube, as Spotify hadn't quite explored the necessity of visualizers yet. After the fantastical characters were introduced in Jadu Heart's first EP, the second EP explores the relationship between Dina and Faro when they are whisked out of the cursed temple and stumble upon a friend who takes them to a machine that shoots them through the galaxy.

LP, Opaque Pink Vinyl, w/ download card

Mexico City’s Sunset Images emerge with their most daring and immersive work to date, Oscilador, arriving January 23 on Dedstrange. Known for pushing the boundaries of noise rock and psychedelic experimentation, the band plunges deeper into their raw, unrelenting sound—crafting an album that thrives in chaos, distortion, and hypnotic repetition.
Oscilador captures Sunset Images at a new creative peak: jagged guitars dissolve into swirling feedback, fractured rhythms pulse like machinery on the brink, and vocals echo through layers of reverb as if channeled from another dimension. The record balances intensity and atmosphere, offering both catharsis and transcendence. It’s a sonic free fall that feels at once destructive and redemptive—like watching a city crumble only to find strange beauty in the ruins.
The album title reflects the band’s fascination with constant motion and instability, the oscillations of sound and life itself. Across the record, Sunset Images embrace the extremes: minimal passages expand into walls of noise, meditative drones are shattered by bursts of primal energy, and every song teeters on the edge of collapse. This restless spirit makes Oscilador not just a collection of songs, but a visceral experience—one that mirrors the tension and electricity of Mexico City’s underground scene.
Joining forces with Dedstrange, Sunset Images step onto a global stage while staying true to their uncompromising vision. For fans of A Place To Bury Strangers, Sonic Youth, or My Bloody Valentine, Oscilador delivers the thrill of pure immersion—music that doesn’t just demand to be heard, but to be felt in the chest, the bones, and the subconscious.
With Oscilador, Sunset Images invite listeners to lose themselves in noise, distortion, and dissonance—and to find clarity within the chaos.

Ukranian raw black metal debut EP from Selvnatt.

Celestial, melancholic, romantic and heart-spoken black metal spiked with piano arrangements and melodic passages. Selvatt’s debut EP has taken the black metal world by storm and shows his raw, unbristled talent on display, showing he is a true force to be reckoned with. This is the extended edition of the EP featuring two extra bonus tracks, including the single "Pale Stars" with fellow Ukranian raw black metal artist FELVUM.

For fans of Këkht Aräkh, Draugveil and other romantic black metal acts

Available on pink vinyl, includes double-side lyric sheet

Emerging from the Ukrainian darkness in 2011, Kaosophia blend the raw energy of black metal with dissonant tones and emotionally resonant melodics. Their music is a sonic tapestry woven with intricate guitar riffs, powerful vocals, and haunting arrangements.
The band recorded their first demo “Towards The End” which was self-released by them in 2012 on a limited edition cassette.

2013 saw their first album “The Origins of Extinction” released on CD and cassette and the band followed up with many shows across Europe. 2017 saw Kaosophia expand and deepen their abyssal sounds even further with the monumental “Serpenti Vortex”, with lavish cover art produced by occult master artist Dávid Glomba, it rose Kaosophia to the upper echelons and forged their name as one the best and most formidable black metal acts in the scene at the time.

After a long period of silence, bloodletting and transformation, Kaosophia return with their darkest, most mature and powerful work to date. 2025 sees the return of Kaosophia with their new album “Beyond The Black Horizon”.
A dark and malevolent opus that explores themes of darkness, existentialism and the human condition. Delving deep into the complexities of the mind, the fragility of existence and Death itself.
Kaosophia preach orthodox ideas of Satanism in the most straightforward and ruthless form - total unconditional worship. Self-destruction as the overcoming of human essence and the cognition of pain to gain access to another level of reality's perception.
It is time to enter the end of days and venture beyond the Black Horizon…

Despite its title, Ratboys’ new album Singin’ to an Empty Chair is not defined by what’s missing. Rather, it’s the beginning of an important dialogue with a close loved one, vocalist Julia Steiner finds herself estranged from. The music on the band’s sixth studio album – its first for New West Records – fills the space that person left behind with 11 songs showcasing Ratboys at the peak of their powers — twangy, effervescent, as confident as they’ve ever been, and perhaps more emotionally interrogative than ever before. The four-piece Chicago band followed up 2023’s highly acclaimed The Window by reconvening with co-producer Chris Walla to begin tracking at a rural Wisconsin cabin before taking the songs to Steve Albini’s famed Electrical Audio studios in Chicago and later to Rosebud Studio in Evanston, Illinois. The results veer from bubbly power-pop on “Anywhere” to irresistible post-country on “Penny in the Lake,” along with heart-piercing ballads like “Just Want You to Know the Truth” and an exhilarating detour into the extraterrestrial on “Light Night Mountains All That,” which Steiner dubs the band’s mammoth “wormhole jam.” Singin’ to an Empty Chair also marks the first Ratboys album written since Steiner began therapy, which the singer/lyricist credits for the clarity found across the album’s unflinching examinations of relationship and self. Fittingly, as the album begins by extending a hand into the void, it concludes with a scene of serenity – all while weaving candid honesty, humor, chaos, and whimsy along the way. “It's not all doom and gloom,” Steiner says. “The experience of making this record definitely gives me hope for whatever happens next.”

Despite its title, Ratboys’ new album Singin’ to an Empty Chair is not defined by what’s missing. Rather, it’s the beginning of an important dialogue with a close loved one, vocalist Julia Steiner finds herself estranged from. The music on the band’s sixth studio album – its first for New West Records – fills the space that person left behind with 11 songs showcasing Ratboys at the peak of their powers — twangy, effervescent, as confident as they’ve ever been, and perhaps more emotionally interrogative than ever before. The four-piece Chicago band followed up 2023’s highly acclaimed The Window by reconvening with co-producer Chris Walla to begin tracking at a rural Wisconsin cabin before taking the songs to Steve Albini’s famed Electrical Audio studios in Chicago and later to Rosebud Studio in Evanston, Illinois. The results veer from bubbly power-pop on “Anywhere” to irresistible post-country on “Penny in the Lake,” along with heart-piercing ballads like “Just Want You to Know the Truth” and an exhilarating detour into the extraterrestrial on “Light Night Mountains All That,” which Steiner dubs the band’s mammoth “wormhole jam.” Singin’ to an Empty Chair also marks the first Ratboys album written since Steiner began therapy, which the singer/lyricist credits for the clarity found across the album’s unflinching examinations of relationship and self. Fittingly, as the album begins by extending a hand into the void, it concludes with a scene of serenity – all while weaving candid honesty, humor, chaos, and whimsy along the way. “It's not all doom and gloom,” Steiner says. “The experience of making this record definitely gives me hope for whatever happens next.”

Bluegrass band Big Richard makes music for the 21st century’s twisted cultural unease. Their Signature Sounds debut Pet, is a fierce, provocative, rejoinder to what troubles them and the world right now, and was recorded live to tape in order to capture the fervor of their live shows.

“Big Richard is so much about our energetic delivery, and so I think it's been really important for us as a group to figure out how to do that for a record,” says mandolin and guitar player Bonnie Sims. And figure it out they did. Pet delivers, successfully translating the supergroup’s live kinetic harmonies and string virtuosity. Unapologetically outrageous and provocative, the band’s name is a wink to the ‘big dick’ energy Big Richard is reclaiming from male bluegrass bands. Since exploding onto the Colorado scene in 2021, the four women have been on a wild ride, slapping as hard as possible on the festival circuit, working up their stamina on nationwide headlining tours, and leaving a wake of die-hard Big Richard Heads across the country swooning for their honest songwriting, chilling vocals, and fiddle-driven barn-burners.

“Our live performances are so raw and so gritty, and I think that our sound never really flourished in that digital landscape.” GRAMMY and Emmy Award-winning cellist Joy Adams says. “Recording live to tape we were all in the same room together, very close together, with a lot of mic bleed, etc. And the energy was insane. It felt so good to record this way. Even on the first day, we were like ‘wow, this sounds like our band.’ And to do something that's very real and gritty and has little mistakes in it just feels alive and human.”

Bless the Maker: the Great Houses of Laced Records and Funcom have forged a temporary trade agreement to bring you the expansive soundtrack for ‘Dune: Awakening’ on vinyl.  The hit survival game has garnered critical praise for its incredibly faithful and detailed realisation of the Dune universe - from its sprawling vistas to deep lore and political intrigue. The music is integral in recreating the atmosphere of Arrakis, conjuring not only its striking landscapes but the human experience of life on the planet.  Recorded live at Air Studios in London with The Chamber Orchestra of London, Knut Avenstroup Haugen’s soundtrack conjures a planetary sense of scale.

Arcing strings shimmer and twist weightless in the air like heat rising from the desert floor, while resonant brass evokes dawn stretching out across the sands.  The luscious acoustic instrumentation is enhanced and elevated by rippling electronics, capturing Dune's singular blend of science fiction and spiritual tradition.  Soaring vocal performances from Clara Sorace, Eurielle and Emília Rovira Alegre centre this sense of the sacred, pushing the soundtrack to ecstatic emotional peaks.  Black heavyweight double vinyl.  24 tracks from the acclaimed 2025 survival game.  Widespined outer sleeve  Printed, spined inner sleeves.  Bespoke sleeve artwork by Funcom.

After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in our previous volumes, this fourth instalment in the series "Cumbia Cumbia Cumbia!!!" comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double Vinylalbum

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

Liverpool-born, Glasgow-based electronic artist KAVARI announces PLAGUE MUSIC, her debut EP for XL Recordings. Having earned early and enduring support from Aphex Twin, Ethel Cain, Ninajirachi, Flume, and Yeule, the EP marks KAVARI’s most focused and uncompromising body of work to date; a release that sharpens her sonic signature, deepens her world building, and signals her arrival on XL with clarity and intent.

Building on the foundations of her 2022 EP Suture, PLAGUE MUSIC pushes further into darker, more uncompromising territory. Drawing from drum & bass, dubstep, and noise, the EP imagines a world in decay, reflecting a sense of global instability and emotional unease. KAVARI deliberately sidesteps EDM conventions, emphasising the genre’s intensity and impact while stripping away any sense of escapist lightness. Across the four tracks, sound design becomes a narrative tool: traces of human presence - breath, movement, and spatial textures - collide with abrasive electronic elements that blur the line between rhythm and experimental.

With PLAGUE MUSIC, KAVARI announces herself as a bold, visionary force in electronic music, pushing the boundaries of genre while creating work that is as emotionally gripping as it is physically powerful

DJ Normal 4 appears first time on the label with 10” record consisting different flavored genre tracks for the ears of the curious listeners, and die-hard music lovers. Tim has been creating electronic music for a long time and has appeared in some of the key music events around the globe. With a high level of skill and accuracy this artist is able to tackle music of many styles which also can be witnessed on this record. This is the second ten inch record the label has welcomed to its catalogue so you can imagine the level of excitement in the air. From the A side going into the electro approach right to the trance infused B side, this disc is guaranteed to feel absolutely correct in the record bag if these are the genres of music that resonates with you.

Originally released in 2005, this standout EP returns as part of the much-anticipated reissue campaign from cult New York imprint Drugsex — a label that quickly became a treasured name among heads who lived and breathed the underground. Born from the creative partnership between UK producers Rob Pearson and Simon Copleston, Drugsex carved out its own raw, hypnotic corner of the international tech house movement.

For the second instalment in the reissue series, label head Rob Pearson teams up with Daniel Poli under their Distant Strangers moniker — a project that, even back then, was whispered about among selectors for its deep, rolling grooves and stripped-back intensity. Both artists had already made their mark with releases on some of the most respected labels of the era — from Rekids and Swag Records to Evasive Records, Rescue Recordings, and beyond.

The pair’s first collaboration, the Lost Souls EP, became a highly limited, in-demand underground gem, pressed in small quantities and played by those in the know. This follow-up, crafted at Online Studios in Croydon, took their sound to the next level — two original tracks built for dancefloors that like things hypnotic, physical and uncompromising.

On the A-side, Virtual Morality is a slick and driving slice of tech house pressure. Crisp percussion, rolling low-end and a subtle but addictive hook make it a peak-time weapon that never goes out of style. Flip it over for Take Us In Deeper — a track that lives up to its name with a shadowy groove, atmospheric layers and a perfectly balanced push and pull that draws dancers further into the late-night haze.

Adding even more weight to the release, Adam Collins — known for his work with Omni AM and Euphoria Records — steps in with a remix of Virtual Morality on B2. His version injects an unmistakable acid edge, elevating the original into a tripped-out, floor-focused burner that fits as comfortably in a basement sweatbox as it does on a sunrise terrace.

Nearly two decades later, these tracks still carry the same raw power and effortless groove that made them cult favourites in the first place. This reissue isn’t just a nod to the past — it’s a reminder of why this sound endures.

All Nice Records returns with NICE005, the second release from label co-founder Bobby Dreams--a five-track excursion through deep, functional, and emotionally rich house music. Opening with The Signal, a peak-time piano workout laced with congas and classic Chicago house energy, the record sets an infectious tone right away. Let It Be Real follows with smooth, warm textures perfect for early or late hours. On the A3, Stranger Than Fiction delivers a pure 303 exercise--acid lines twisting and mutating over a tight, hypnotic groove. Flip the record for New Horizon, a hopeful, driving cut built for forward momentum, and Enter The Simulation, a deep, late-night closer with a touch of mystery and tension. Crafted for selectors, designed for the floor--NICE005 is house music for any hour of the night. All nice, all night!

Crowned Eagle is the powerful new album from Alpha Steppa and long-time collaborator Nai-Jah. Blending ten potent vocal tracks with ten heavyweight dubs, this double-sided journey is inspired by Nai-Jah’s Nigerian heritage: an exploration of ancestral wisdom, modern struggle and spiritual resilience. Musically, the album bridges old and new, weaving together roots reggae, dub, afrobeat and beyond, all through the unmistakable lens of Alpha Steppa’s signature style: deep, spacious and defiantly conscious. Following the success of their Streetdub video series across social media, which has reached millions and featured frequent high profile collaborators, Alpha Steppa and Nai-Jah are set to take their sound worldwide with a global tour in 2026.

"Alpha Steppa is paving the way for a generation who are keen to tread new waters." DJ Mag

“One of the most prolific and inventive dub producers around.” Wire

“A serious player in the sound system world.” Mixmag­

“Obliteratingly heavy bass.” Q Mag

Bangkok Impact - alias of Finnish producer Sami Liuski - helped define the early-2000s Italo-disco and electro revival. Missionary On Mars became an underground club hit across Europe with its spacey synths and retro-futuristic vibe, earning cult status among DJs. With Caro and La Musche his reputation for sleek, hypnotic grooves that bridged classic Italo influences with techno energy got cemented. Remastered repress for a new generation.

St. David Unleashes 'Deep House Damage EP' on Definitive Recordings.

Definitive Recordings is proud to present a brand-new four-track outing from Italian house innovator St. David, titled 'Deep House Damage EP'. Following his acclaimed remixes earlier this year for label classics like 'Good Music' (John Acquaviva, Dan Diamond, Alex D'Elia, Nihil Young) and 'Do It' (Las Americas), St. David now steps forward with a full EP that delivers nothing less than pure oldschool house fire.

The release opens with 'Touch Me (Sexy Hard Dub)', a shuffling house cut with a vintage edge, driven by a rolling bassline and a sensual spoken-word female vocal that sets a playful, club-ready tone. 'I Like It Deep' heads into deep house territory, pairing organ stabs and a steady oldschool beat with both male and female spoken-word phrases, creating a hypnotic, afterhours mood. On 'Dub Swagin'', the energy kicks back up with stomping drums, chopped samples, and filtered percussion. All wrapped in unmistakable 90s house flavor. Closing things out, 'Gonna Work It' is a peak-time smasher stacked with classic vocal samples and grooving organ chords that lift the track into euphoric territory.

Born in Bari, St. David (real name Davide Disanto) has carved a reputation as one of today's most authentic purveyors of oldschool house. Deeply inspired by the American house scene, his tracks blend groove, funk, and raw analog warmth, consistently topping vinyl charts and earning support from global heavyweights like The Martinez Brothers, Riva Starr, Jovonn, and Chris Stussy. He is the founder of Theory of Swing Records, a vinyl-only label dedicated to preserving the magic of 90s house. His music has been featured on Cinthie's DJ-Kicks and he has released on respected imprints including Snatch! Records, Body N' Deep, Heist Recordings, Skylax, and Let's Play House.

With 'Deep House Damage EP', St. David confirms his role as one of the most vital voices in contemporary house, channeling the spirit of the past into tracks made for the dancefloors of today.

Special Characters, the acclaimed deep house project hailing from New York, comes to uswith "Subsurface Incantations"-a sonic journey that pays heartfelt tribute to the classicgrooves and textures that defined house music's golden eras. This latest record is astatement piece for the Based Faith imprint, and features a captivating remix from Berlin'sIron Curtis, a favorite among DJs and collectors for his deep, analog-driven interpretations.Blending evocative pads, intricate drum programming, and his signature in transforming abassline, Iron Curtis's take on the B-side seamlessly bridges the timeless with the modern,making this EP an essential addition to any discerning selector's crate.
Committed to the art of vinyl culture, "Subsurface Incantations" will be pressed strictly as avinyl-only release, with no represses planned.

7", Transparent Royal Blue Vinyl
The track ‘Atrium’ was born during the Dream 3 sessions, on a day where it was just Claire and I in the studio. It wasn’t rehearsed at all before we started recording it. All I really had was the main guitar riff in drop D, inspired by the Rob Crow stylings of Heavy Vegetable and Thingy. The lyrics came quickly and received almost no editing. They circled around feelings of resentment, heartbreak and the idea that a sturdy love for oneself is necessary before you can truly love others. This release includes 2 B Sides from GOON’s critically acclaimed Dream 3 LP available on 7” vinyl for the first time.

A side offers two melancholious broken acid sounds... B side stands Acidcore, bloody solid and Hardfloor Acidcore

When I first started Future Retro London, primarily as a club night, the first event was meant to take place in April 2020, but due to the coronavirus pandemic, the date got pushed to June 2020 in the hopes that venues in the UK would have re-opened by that time. They very much were not re-opened by then and navigating the various lockdown periods that occurred meant the first event didn't actually happen until December 2021.

Dead Man's Chest was part of the original lineup intended for the first event but by the time it was actually able to happen, he had temporarily relocated to Portugal & it meant he wasn't able to make it for it. Various attempts were made afterwards to try & include him in events I was doing but nothing came together until I finally had him play the 2nd joint event I did with Distant Planet in December 2024.

He runs a label called Western Lore which I've featured on previously, with 2 different remixes I did of Plastic Face by Response & Pliskin, as well as a track featured on the first Blunted Breaks compilation. It only made sense to eventually work on a joint label project as his label is a key figure in the current wave of jungle music, plus I hadn't put any music from him on Future Retro London yet so now I can finally tick him off the list!

Big up to Dead Man's Chest for his work on the collaborations & for his involvement in making this release a reality.

Excellent Drum & Bass Album. 4 tracks on a 2x12'' : Make Me Feel, Activ8, Rude Block, Undefectible love.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

Following the overwhelming response to the Warner remix series produced by Joe Claussell, with copies disappearing in hours-another Stella remix package steps forward. This is not part of the Edits & Overdubs series. No loops. No shortcuts. Like the previous release, Ashford & Simpson’s “Stay Free” was rebuilt straight from the original 48-track 2-inch multitrack tapes, resulting in two fully realized remix versions designed for the floor. The A-side delivers a 14+ minute deep, extended journey-patient, evolving, and powerful, injecting new life while honoring the soul of the original. The B-side flips the script with an Alternate Instrumental, stripped back and ready for late-night moments. Cut, tested, and refined on dance floors worldwide over several years, these versions have already proven their weight in real club settings. Pressed on green vinyl, housed in a heavy Japanese-style cardboard sleeve, and accompanied by a Warner-style disco promo one-sheet and bumper sticker-a nod to the golden era of 12” promos.

Limited to 300 copies. Similar to the Deodato Whistle Bump 12” - No repress. No extras.

After “Comme Jean Reno”, Flora Fishbach unveils a new extract from “Val Synth”, due for release on Sept. 12. On “Des bêtises (pt. I)”, she continues her 80s vein with a Europop / FM sound inspired by Niagara. On a production by M. Declerck (Justice, Kavinsky), the singer reveals her radiant and popular side: she sings “Tout ce que je fais, c’est vraiment pour te plaire” like an acid candy.



La Machine (Sept 18) sold out in just a few days, Zénith and tour all over France starting in 2026!

Following his acclaimed releases on Violent Cases 006 VC006 and “Arriving In Nebula” VC10.2, as well as the magnificent launch of the sublabel Mysteries with his track “Ether” on Mysteries #1 [MSTR1], Austrian producer Van Der Wiese returns to Violent Cases with a new chapter in his sonic explorations. “Vestiges” unfolds as a deeply atmospheric EP with four tracks that balance melancholic introspection with subtle euphoria.
Each track feels like a fragment of a memory - traces of rhythm and emotion woven together in a delicate balance. Layered sound textures, immersive basslines, and shimmering harmonies create a mood that is both physical and reflective, inviting the listener to float between pulse and perception.
The release is designed - once again very impressively - by Darkam, who was inspired by the track “Haniwa.”
Her illustration captures the mysterious and organic spirit of the EP and offers a visual counterpart to its haunting emotional depth.
With “Vestiges,” Van Der Wiese defines his unique position within the contemporary Tekno scene - precise yet emotional, restrained yet resonant.
A release that lingers long after the last note has faded away.
And above all, this is because Pozek, as mastering engineer, has succeeded in delivering a very balanced EP.
A must-have for all good collections.
Each EP comes with 2 posters, a digital download code, and 2 artwork stickers.

2xLP gatefold jacket (recorded in Side A, B, C, and no music recorded in back side of Side D)

Soundtracks including the scores used in the film, including the main theme “The Promise of the World” sung by Chieko Baisho who is a voice actress of the main character, Sophie.

Marie Davidson Returns with Club-Ready 12” ‘City Of Clowns (MDJ Tools)’ — Featuring Soulwax Dubs on DEEWEE

Utilising their inimitable remixing style, Soulwax pump up and strip back Davidson’s ‘Push Me Fuckhead’ and ‘Sexy Clown’ for maximum dancefloor effect. The release also includes an electrifying contemporary version of 'Sexy Clown,' co-produced in the studio with Pierre Guerineau and tailored for Davidson’s acclaimed 2025 live performances.

This latest release follows Davidson’s 2025 album, a record that saw her expand her artistic language through a fusion of 90s Detroit techno grit, fired-up circuitboard breakbeats and skewed club minimalism. As with much of her work, the album used music as a means to navigate her place in the world — as an artist, as a woman, and as an entertainer. Conceptual yet emotionally raw, Davidson continues to push the boundaries of electronic music, creating work that is both deeply cerebral and disarmingly human.

With both Soulwax and Marie, sharing a commitment to bold, physical sound and restless reinvention, ‘City Of Clowns (MDJ Tools)’ stands as a natural meeting point — a late-night dialogue between two of modern electronic music’s most distinctive voices.

‘City Of Clowns (MDJ Tools)’ will be released digitally on October 31, with vinyl following early December.

Changes In Air ist ein wunderschönes, langsam fließendes Stück in fünf Teilen für elektronische Orgel, Klavier und modulare Synthese. Es ist das dritte und letzte Album der kanadischen Komponistin Kara-Lis Coverdale aus dem Jahr 2025, nach From Where You Came (Frühling) und A Series of Actions in a Sphere of Forever (Sommer), und vervollständigt eine exquisite Trilogie von Werken, die ihre lang erwartete Rückkehr zur Musikaufzeichnung feiern.

M-Plant's 2026 schedule starts as it means to go on with a blistering, adrenaline-charged Techno EP from the minimal master, Robert Hood.

Robert Hood's minimalist approach helped define Techno's evolution in the early 1990s, as he's continued to push a stripped-down, hypnotic sound. His solo work, marked by precise drum programming and deep grooves, has become hugely influential across modern Techno. While he continues to innovate through projects like Floorplan (with daughter, Lyric) here he returns to his roots on the "Soul Sonic Force EP".

From A-side opener "Insurrection" that blends a tough peak-time Techno sound with sweeping strings, to the reverberating tonal "Black Ops". Then flip to the AA-side for the relentless pared down groove of "Soul Protector", before "Warfare" with its layered precision. This is classic Hood in action; unparalleled.

Glade brings Ramiro’s atmospheric touch into sharper focus, presenting a fluid collection built around momentum and understated detail. Across the three tracks, he shapes a patient narrative that rises gradually, guided by crisp percussion and warm tonal shifts that open each track into expansive, late night territory. The result is a cohesive journey that reflects his instinct for movement, letting the melodies and rhythms unfold naturally.

“This EP is made up of three tracks, all designed to resonate on the dancefloor. ‘Glade’, ‘Jebel’, and ‘Norte’ each contain organic nuances, but together with their synthesizers they achieve a main-set feel that works very well at key moments in a set. The drums and percussion play a major role in making this happen, as they ensure the groove never fades or if it does, that its drop is striking.” – Ramiro Drisdale

Damian Lazarus reveals the eighth chapter of Crosstown Rebels acclaimed annual ‘SPIRITS’ VA compilation series.

The latest instalment sees the label founder once again curating a carefully balanced lineup of emerging voices and established names, with the eight-track collection set for release on 30th January 2026.

Since its inception in 2017, Damian Lazarus’ SPIRITS series has become a trusted barometer for the year ahead, spotlighting forward-thinking artists and cutting-edge club music from across the global electronic landscape. With ‘SPIRITS VIII’, Crosstown Rebels continues this tradition, delivering a refi ned yet adventurous selection that moves seamlessly between hypnotic house, melodic depth, and late-night energy - building on the momentum of previous volumes and capturing the label’s unmistakable essence.

Opening the release, Raz Alon sets the tone with ‘Hey It’s Me’, a warm and immersive opener that draws listeners in with emotive touches and fluid groove work. Lost Desert follows with ‘Ultima’, leaning into trippy, melodic-tinged sensibilities as tumbling rhythms meet expansive atmospheres and subtly evolving motifs. On the flip, TIMANTI ventures into a captivating voyage with ‘Warrior Spirit’, pairing swirling synths with hazy melodies, before STEB delivers ‘House Of STEB’, a groove-led cut packed with personality, swing, and club-ready flair.
The journey continues with Yuvèe’s ‘Set The Fire’, featuring FADO, a hypnotic and vocal-led track that balances emotional weight with understated rhythmic pressure. Ekoboy then ups the intensity on ‘Lose Control’, combining crisp percussion with infectious momentum designed for peak-time moments. On the final stretch, MADI brings a reflective buy playful touch with ‘Around Me’, weaving lush textures and subtle dynamics into a deeply absorbing listen, before JUAAN closes the compilation with ‘Bass Cliente’, a punchy and bass-forward finale that rounds things out with raw club energy.

With its continued ability to champion new talent while welcoming respected artists into its orbit, Crosstown Rebels remains a vital force within electronic music. SPIRITS VIII stands as another clear statement of the label’s vision, reaffirming its role in shaping the sound of contemporary house and techno.

For two decades, Hudd Traxx has stood as a pillar of underground house music – a label defined by longevity, taste, and its ability to bridge the old school with the new. To mark its twentieth anniversary, the revered UK imprint presents ‘20 Traxx From The Hudd’, a specially curated, all-new twenty-track compilation handpicked by label founder Eddie Leader.

The compilation brings together a global, star-studded lineup of artists who embody the Hudd Traxx ethos: soulful, inventive, and uncompromisingly underground. Contributions come from Groove Armada, Seven Davis Jr., Chez Damier, Cinthie, Jovonn, Oliver Dollar and others, offering a snapshot of the label’s wide-ranging influence. From the silky deep house depths of Black Loops’ opener ‘Soul to Soul Communication’, to the unmistakable analog warmth across Cinthie’s ‘Hudd House’, to the raw, stripped-back energy of Seven Davis Jr.’s ‘Infrasound’, the collection captures the many deeper shades of house Hudd Traxx has championed for twenty years.

Founded in 2005, Hudd Traxx has served as a trusted home for pioneering artists such as Nightmares On Wax and Matthew Herbert, guided by Eddie Leader’s consistent curatorial vision and unwavering commitment to craft. As a producer, his releases on Classic, Robsoul, and Balance Alliance have been supported by Laurent Garnier, Josh Wink, Disclosure, and many more. ‘20 Traxx From The Hudd’ isn’t just a celebration of the past; it’s a fervent reminder that Hudd Traxx remains as relevant and vital as ever.

With an ever-growing horde of rappers clamoring for attention, manifesting a successful long-term career in hip-hop has become an almost supernatural achievement, reserved for artists with near-mystical talents. Atlanta emcee Tha God Fahim embraces this role, positioning himself as a divine warrior with lyrical powers transcending this earthly realm, battling dark forces with tactical ingenuity and relentless dedication. This artistic vision has become even more vivid in recent years, culminating in the wildly creative series Hyperbolic Time Chamber Rap with acclaimed producer Nicholas Craven. Inspired by the anime phenomenon Dragon Ball and its conception of a dimension unconstrained by the rules of time, Fahim and Craven just concluded the ambitious endeavor with a staggering fifteen volumes released in only eight months. Taken collectively, Hyperbolic Time Chamber Rap forms a vital entry in Tha God Fahim's catalog, blending gritty narratives of hustle and hardship with intergalactic rhyme wizardry. Fahim's stratospheric ambitions are elevated by exquisite production from Nicholas Craven, known for his work with Roc Marciano, Mach-Hommy, Westside Gunn, Conway, Boldy James, Pink Siifu, and more. This first ever vinyl pressing of volume 3 contains

Powerfull nice grooves from a series that might be beer named: "Acid folk renaissance " – as most of the work here come from the 70s, and a lot from those great years of the UK and US scene where it also seemed like there was plenty of folk in the music as well! A few of these cuts are downright acid , and all are filled with great instrumenta&on – in an approach that's a nice change from some of the more familiar Brit and US manners of the same genera&on. The &tles include, among the others: Nirvana’s Nova Sketch , Fi.y Foot Hose’s Rose, Pyranha ‘s Clepsydre , Kaleidoscope’s Keep your mind open, and more .

180 Gramm schweres, schwarzes 3-fach-Vinyl im Klappcover mit 20-seitigem Booklet und Download-Karte

Finnish-born, New York raised, and now Melbourne based Jani Ho has crafted a distinctive sound that can only be described as machine music with undeniable soul! Jani's hardware-driven live performances and studio productions are legendary and has earned him global recognition with multiple quality releases on the highly acclaimed soiree records. His contribution for the dolly TS series draws those direct lines with Detroit's soulful machinery techno and echo's the perfect union of rhythm and emotional depth, touching the deepest territories of techno.

COLLECTING ORDERS FOR REPRESS

Third release for Musek with another various artists showcasing the wide musical approach of the label. On the A side, label heads Francesco Farfa and Hamsa offer their remix of a minimal wave hidden gem by Swedish 80’s band Art Fact. On the B side, Hamsa teams up with Luca Piermattei for a deep and introspective techno cut. Roberto Manolio closes the EP with a powerful classic Acid track to keep the energy high on the dancefloor.

2026 Repress

Dam Swindle's new 'Backyard Galaxy' EP is an ode to house music and the classic Swindle sound.

It's only been a few months since Dam Swindle released their highly acclaimed album "Open" and already the boys are back on Heist with a new release that takes you right back to the dancefloor. Where they've spent the better part of the last 3 years writing their album with all its sonic explorations and collabs, this new EP sees the duo return to their roots of club-ready house music. The 'Backyard Galaxy' EP comes with 4 high-energy house tracks made in their Amsterdam studio that have been road-tested all summer.

EP opener "Feel it much?" has all the ingredients of a classic Swindle heater, with warm pads, rich organic percussion and tons of soul. There's a simple and effective vocal running throughout the track that blends nicely with the classic house elements and electronic textures that are layered throughout the track. There's an effortless flow to this track and it comes as no surprise that it has been a highlight in their sets this summer.

The EP title track 'Backyard Galaxy' is an up-tempo Latin-themed jam with a hint of old school techno. The synth stabs hit you just right and the modulated vocal chops are a lovely boost for the build ups and add a touch of swing to a track that already has a tight groove. Add to that a huge breakdown and drum roll and you've got yourself a track that'll light up any dancefloor.

On the flip, we're moving into garage territory with the shuffling vibes of 'Rhythm Baby'. The current popularity of the genre is not missed on Dam Swindle, but when you look closely, you'll see this track is full of elements that the duo have built their legacy on. The vocal chops, transposed key samples and swing are all on point and work just as well below, as above 130 bpm if speed is your thing.

The EP closes with the NY-style house cut 'What you give', which reminds us of Dam Swindle's remix of Cinthie's Heist hit 'Won't U take me' with its lush organs and moody keys. It's perhaps the most classic house track they've made in a long time and you can hear they had a great time recording this. It's playful, vibey and catchy. Just the way we like it.

Dam Swindle might have delivered one of the standout cross-over albums of 2025, but on this EP the message is clear: Once a househead, always a househead.

As always, enjoy the music and play it loud!

Much love,
Heist HQ

In 2017, at Documenta Kassel (but in Athens), I invited José Jiménez Bobote, a remarkable gitano artist from the Tres Mil Viviendas neighbourhood in Seville, to record a series of actions in specific locations in the Greek capital. Ancient Greece and modern Greece. I wanted him to draw sound from the city, to strike it as only a flamenco artist can, with his feet. To hit the ground and make it moan, ring out with noises evoking significant moments in history: from Diogenes the Cynic and the Apostle Paul’s sermon at the Areopagus to Rosa Eskenazi’s resistance to the Nazi-German occupation, and the ups and downs of police Inspector Costas Haritos’s survival at the European Bank during the PIGS crisis. Bobote struck the ground and Athens responded, sending back echoes of the past, in an exceptional anachronistic exercise. In flamenco it is possible for several times to sound simultaneously.

We took seventeen hours of footage, and water from many wells.

I then shut away producer, musician, and friend Raül Refree with this material so that he could take the long titles and use them as scores, turning them into mere songs. It was very important to think in terms of songs. The tracks had to have the capacity to be songs, the kind of thing one whistles while absent-mindedly walking down the street. Generally speaking, the scores—that is, the texts—defended the use and abuse of the loose coins that people carry around in their pockets. Loose change as a kind of everyday fetishism against big financial capital. Pistis! Refree managed to coax that distinctive unity of songs, their bright catchiness, from the amalgamation of sounds that would, in other hands, end up being labelled concrete music. Peter Szendy would be pleased and grateful. Being able to sing under one’s breath something that others consider simply noise.

Seven songs, yes. And if you get the chance, take a stroll through Athens with them: the locations are clearly defined. If not, then let Athens fill your home with all its ancient wisdom, boring into your ears like worms, making holes in history.

Listen, and, as people used to say, turn up the volume!

Pedro G. Romero, Santa Marta, Colombia, November 2025

Comes with booklet with song lyrics written by Pedro G. Romero. Limited edition of 250 vinyl records.

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


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


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

ROTCIV is back with his new EP ‘Memory’, which marks the 20th release on Beartrax’s label Melodize. Throughout the record, the Berlin-based and native Brazilian producer explores his signature dark, mysterious, and atmospheric vibes shaped by the underground and queer club nights and dance-floors that fuel his sound, refined by over almost 30 years behind the decks.

Maintaining Melodize’s specialized sound deep-rooted in moody electronic principles, the EP opens with ‘Memory’, a piercing, dark, synth dynamic alongside rich tonal textures in both harmony and melodies alike. Unapologetic, yet calming and reminiscent of a slow drive through the winter nights; cold, yet bold, sharp, and comforting.

First to remix ‘Memory’ with a nostalgic, synth-heavy 80’s remix is Frankfurt-based DJ, producer, and visual artist Chinaski. Integrating his signature bold synth hooks into the track, Chinaski knows how to roll in with longing sentimentality. The remix features a bouncier approach with re-envisioned acoustic percussion and catchy synth arps, along with an eery dark disco feel.

On the B side, Rotciv kicks in with ‘Trintage’, which gives a sinister sensation with its hypnotising bass synth lines alongside contrasting, choir-like pads. Seeping with articulate poly-rhythmic synth arps, Trintage guides the listener to be indulged into a dream-like state on the border between both digital and analogue soundscapes, blurring the lines between fantasy and reality.

Next up is New York-based and founder of Samo Records, Facets, who takes on the next remix for ‘Trintage’ with a more electro-grunge techno approach consisting of heavier four to the floor kicks in company of Rotciv’s hypnotic textures. Having shifted the synth melody rhythmically, a sense of space and tension is created within the soundworld of this track. The play between gritty bass-end synths along with softer, textured high-ends helps emphasize the groove injected into this remix.

One last remix of ‘Memory’ by Melodize’s own label founder, Beartrax, rounds out the EP. Available exclusively via digital bonus, Beartrax features his deeply hypnotic aesthetic by driving in ethereal synths alongside cosmic arps and slow-rolling rhythmic and pulsating groove lines.

Junun is the debut collaborative album by composer Shye Ben Tzur, Radiohead guitarist Jonny Greenwood, and the Indian ensemble the Rajasthan Express. Originally released in November 2015, the album was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Jodhpur, India. Radiohead's longtime producer Nigel Godrich worked on the album, creating a 2LP/CD release. World Circuit is set to reissue Junun on 16th January 2026, marking the album's 10th anniversary. This special edition will be available as a 2LP Gatefold Yellow & Orange Marble vinyl and a CD digisleeve. The album features Ben Tzur's compositions, which incorporate devotional Sufi qawwal musicians singing in Urdu and Hebrew. Greenwood contributed guitar, bass, keyboards, ondes Martenot, and programming, aiming to use chords sparingly and instead focusing on North Indian ragas. The recording process sought to capture the ""roughness"" of Indian music, avoiding the high fidelity often found in world music recordings. The making of Junun was also documented by acclaimed filmmaker Paul Thomas Anderson, offering an intimate look at the creative process and vibrant daily life during the album’s production. His film, also titled Junun, debuted at the New York Film Festival in October 2015. Junun (an alternate spelling of ""junoon,"" meaning ""mania"" or ""the madness of love"") received widespread critical acclaim—including Album of the Year honors from The Sunday Times, who called it “one of the most inspired releases of the year” and “intriguing, sinuous, and essential listening”. The group also supported Radiohead's 2018 Moon Shaped Pool tour, performing under the name Junun.

"Fostic Brewlaxation" is an instrumental remake of the infamous ATCQ track with a solo mute horn (in the style of Miles Davis) & vibes to transform the track into a jazzy party instrumental while keeping the same feel of the original track. The flip-side pairs up another instrumental remake with a dancehall acapella in harmony with the music to make it the perfect track to accompany the OG in your record crates.

Nick Holder’s Iconic ‘Dance, Dance, Dance’ Finally Arrives Digitally with New Remixes from Jason Hodges and Trackheadz.
Definitive Recordings proudly presents a long-awaited milestone: the first-ever digital release of ‘Dance, Dance, Dance’ by Nick Holder’s Fruit
Loops project, originally released in 1995 and repressed countless times on vinyl since. This timeless house anthem, a pure expression of discodriven groove, now returns remastered and refreshed — accompanied by two brand-new remixes from fellow Toronto house legends Jason
Hodges and Trackheadz.

The original version of ‘Dance, Dance, Dance’ captures the raw magic of mid-90s house — a stripped yet irresistible jam that fuses classic 70s
disco sampling with a deep, rolling bassline and a straight house groove. It’s simple, it’s soulful, and it’s pure disco-house sexiness.
Jason Hodges delivers a playful rework that modernizes the cut while keeping its soul intact. His remix adds shuffled percussion, chopped vocals,
and a subtly reworked bassline — injecting a fresh rhythmic twist that stays true to the track’s roots while enhancing its dancefloor punch.
Trackheadz then takes the track into deeper territory, layering lush synth chords, organ lines, and sweeping strings over a steady, hypnotic build
— a masterclass in musicality and atmosphere for the late-night crowd.

A true veteran of Toronto’s house scene, Nick Holder rose to international acclaim in the late ’90s and early 2000s with releases on Definitive,
NRK, Stickmen, and Studio K7, shaping the sound of deep and soulful house. As the founder of DNH Records, he’s been a driving force behind
countless underground classics, including ‘Da Sambafrique’, ‘Trying to Find Myself’, and ‘Summer Daze’.
Jason Hodges, another staple of the Toronto underground, is known for his tough yet groovy sound that bridges New York swing and Chicago
grit. Having remixed the likes of DJ Sneak, Derrick Carter, DJ Heather, and Kaskade, Hodges continues to be a name synonymous with timeless,
floor-filling house. Trackheadz, helmed by Kaje Trackheadz, brings decades of experience in blending sweet strings, soulful brass, and deep club
energy. Responsible for underground staples like ‘Our Music’ and ‘Feel’, he has remixed everyone from Todd Terry to The Sunburst Band, and
continues to expand his vision through Trackheadz Records.

Nearly three decades on, ‘Dance, Dance, Dance’ still grooves as hard as ever — now revitalized for the next generation of house lovers.

Viktoria Tolstoy, celebrated for her expressive voice, emotional storytelling and cross-genre artistry, seamlessly blends jazz, pop and original songs.
Her standout tracks ‘Autumn Breeze’ (4.6M streams) and ‘Calling You’ (6.5M streams) have reached millions of listeners worldwide.
Collaborations with top Scandinavian and European jazz artists, including Nils Landgren and Esbjörn Svensson, have positioned Viktoria as one of the leading female voices in European jazz.
Jacob Karlzon, renowned Swedish pianist and composer, is recognized for his virtuosic technique, cinematic soundscapes and inventive harmonic language.
Their collaboration began in the mid-1990s, forming one of the most enduring and successful partnerships in Scandinavian jazz.
Their music bridges Nordic lyricism and modern jazz sophistication, appealing to both jazz and a wider crossover audience. A trusted name on the European scene, they continue to tour internationally and attract strong streaming and media presence.
Their new duo album reflects and renews that bond - an intimate conversation shaped by time, friendship, and change. The world has shifted since their last recording and so have they. Yet their shared musical language endures - evolving, deepening, and gathering new shades of emotion. There is a rare ease between them: two Artists who no longer need to explain, only to listen and respond.
The result is music that feels unforced, sincere and alive - born of trust and the courage to explore the unknown. In the end, it’s the simple beauty of reunion: two musicians meeting again, with everything they’ve lived and everything still to discover

Super Mazembe's "Greatest Hits," serves as a definitive collection celebrating the band's remarkable contributions to East African music. Released in 1986, this compilation features a carefully curated selection of the band's most iconic tracks, encapsulating their vibrant sound and the infectious energy that made them a household name. Highlights include fan favorites like "Shauri Yako" and "Kasongo" each track showcasing the band's skillful musicianship and unique ability to blend traditional rhythms with contemporary styles. "Greatest Hits" not only pays homage to their illustrious career but also introduces new audiences to the timeless music of Super Mazembe, solidifying their legacy as significant figures in the African music scene. This LP remains a cherished collection for both long-time fans and newcomers alike, capturing the essence of a band that defined an era and continues to inspire musicians and music lovers across generations.

Belia Winnewisser and Fatuma Osman have known each other since childhood, a friendship rooted in shared afternoons of music and late 90s/early 00s girl core. Their first joint debut EP Vertex, released through the Swiss label Light of Other Days, emerges as both a continuation of that bond and an exploration of process, weaving together collective memories with their present-day musical language.

Resisting polished closure, the record circles around the idea of limerence in sound: suggesting rather than declaring, outlining atmospheres that leave room for the listener’s imagination to fill out the blanks. Across its five tracks Belia and Fatuma oscillate between the personal and the universal, immediacy and nostalgia. The opening track Emerald rises like morning light; fragile, blissful, and quietly radiant. Covering Madonna’s 80s single Angel feels natural and slots seamlessly into the EP’s arc: as a defining pop presence of the last four decades, she embodies less an idol than a subtle compass. Surrender, the first track on the B-side, draws you into the club, vibrating between vulnerability and release. Each step extends their vision further, revealing a cohesive body of work.

Vertex holds opposite poles in tension, creating a space where vulnerability and intensity create dialog. What lingers is a realm of possibilities: a conversation between two friends and collaborators who understand that sound can be as much about what is left out as about what is expressed. Vertex documents their progression, marking a milestone without concluding it.

After 8 years, 2 albums on BureauB and different small releases RVDS comes back to his roots and releases these 3 Acid Bangers:“Too much Acid” which has 4 TB303 Basslines in one match, which can remind on some Emanuel Topp tracks, then there is the Acid Electro track “Schluckauf” (Hiccup) which expresses hiccups in sounds, the last track “Acid Busline 242” is very soulful and has recordings of the busline 242 in London.

AboutBlank produces here 3 majestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM hardfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.