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This material was released digitally via Belgian label, Stroom as single tracks, as well as located on the Internet Archive as a free download in the form of 4 bulky sides (A,B,C,D) as it was originally conceived. Now available for the first time as physical, compact double MC-set via Tax Free Records.

Alepher “Dodges Aim” was made by iRiAi Verlag and TRii Compiler ca. between 2020-24.

To celebrate the debut release on his own label, Hindwood extols the power of intuition, which has served as his guiding force since his childhood.

Fueled by love and a deep connection to the cosmos, he blossomed as an artist, attracting a circle of talented artists into his orbit, such as Brique and Local DJ. This EP is a sonic journey through his inner awareness and the web of cause and effect: an exploration of the invisible threads that bind us all together.

#1 “Guts’ feeling”, is resonating with the heartbeat of the universe and the pulse of ancestral memory, use of tribal sounds and deep bass. Through this track, he conjures a world of duality, where the darkness and the light coexist in perfect equilibrium, revealing the beauty of both.

#2 On “Third eye awakening”, he draws on the primal energy of deep, trance-like, and energetic soundscapes, and weaves a sonic tapestry that transports the listener to a realm of heightened awareness and connection.. The whispers of his soul and the song of the earth, intertwined in a harmonious dialogue that speaks to the deepest part of his being.

#3 Captivated by the mystical powers of Third Eye Awakening, Brique delivers a hypnotic remix. Appropriating the distinctive vocals and pads of the original track, he has fashioned an ode to never-ending nights animated by his own hazy memories of losing oneself on the dance floor. The deep and organic bass combined with the looping and trance-inducing acid will shake listeners to their core.”

#4 The local dj remix finishes the EP with a more atmospheric allure of dub. With a deep, throbbing bassline that anchors the groove local dj sets the pace, inviting movement and dancefloor immersion where elements evolve all along the track and keep the listener engaged from start to finish.

Aim 2 Pleez was a label made primarily for N-Zo & DJ Invincible to have an outlet for jungle in the early days of the genre but they definitely leaned more towards the more musical side of the sound. The label didn’t last that long but the end result is that the few releases on the label are now very sought after, fetching absurd prices on second hand websites, and this EP is in particular demand.

They are two tracks of immense proportions, that not only appeal to the junglists but to breakbeat hardcore lovers alike. A proper crossover EP that has stood the test of time, sounding just as fresh today as it did back in 1994!

Up next on Pleasure Club we have some re-imaginings of Johnny Hunter’s lockdown summer jam U.K.AIM. For this we enlisted the skills of nu UK garage don ZeroFG, who turned in not one but two of his trademark low end workouts. We are also honoured to welcome one of the founding fathers of UK tech house, Mr Len Lewis, to the label who delivers a heads down late night take on the original.

The spirit of U.K.AIM lives on…

Aim 2 Pleez was a label made primarily for N-Zo & DJ Invincible to have an outlet for jungle in the early days of the genre but they definitely leaned more towards the more musical side of the sound. The label didn’t last that long but the end result is that the few releases on the label are now very sought after, fetching absurd prices on second hand, and this EP is in particular demand. They are two tracks of immense proportions, that not only appeal to the junglists but to breakbeat hardcore lovers alike. A proper crossover EP that has stood the test of time, sounding just as fresh today as it did back in 1994!

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021. For September 2021, we will be releasing the adored debut album from power pop punkers Cute Is What We Aim For – The Same Old Blood Rush With A New Touch, originally released 2006. Again this will be on 140g Silver Vinyl as part of the FBR 25th Anniversary.

FBR 25 Podcast

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

25th Anniversary Merchandise

We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.

Dominique Fils-Aim is a JUNO Award winning singer-songwriter from
Montreal who draws inspiration from soul icons of the 40’s and 60’s such as Billie Holiday, Etta James, and Nina Simone.
While her musical roots are grounded in early soul and jazz, her voice transcends contemporary urban soundscapes. Her sophomore record Stay Tuned!
won the 2020 JUNO Award for “Vocal Jazz Album of the Year” as well as the Felix prize for “Best Jazz Album” at the ADISQ Gala.
Her 3rd album THREE LITTLE WORDS is a startlingly self-reflective look at affecting societal change while reminding the listener that it is equality and love which feeds the soul and inspires us to do better. Fils-Aim has a disarmingly literal interpretation of soul music as music that comes from the soul, and the album pays homage to a plethora of musical genres that fed and nurtured her love of lyric-driven jazz and soul music.
Love and loving oneself is the common link throughout, and Fils-Aim is certain that love is the key that will provide us with a path to equality. We need to, and deserve to, fight for the right to love both ourselves and each other.

Pop Smoke was the leading figure in the New York drill scene that has been exploding globally for the last year or so. Tragically he was murdered earlier this year, and this album is being published by his team post-humously. His single 'Dior' has previously charted in the UK top 40. His music has been streamed over 1.5bn times to date. The album reached number 1 in the UK, spent 20 weeks in the Top 10 album charts and was confirmed as the UK's biggest debut album of 2020. Released as a Deluxe LP Set.

Am 15.01.2021 erscheint das posthume Debütalbum „Shoot For The Stars, Aim For The Moon“ des New Yorker Rappers Pop Smoke erstmals auf Vinyl. Das Album debütierte auf #1 der US Albumcharts und schaffte es auch in Deutschland auf #9 der Charts. Über 20 Wochen nach Release befindet sich das Album immernoch in den Top 5 der US-Albumcharts. Unter anderem sind 50 Cent, DaBaby, Lil Baby, Roddy Ricch, Future, Quavo und Swae Lee auf dem Album vertreten

Top Seller ! Cheezy Hardtechno dancefloor for the wasted cheeks !!

cream coloured vinyl, black poly-lined inner sleeve, heavy card outer sleeve, shrink-wrap and external sticker.

Following 2015's 'album of the year' The Habit of a Lifetime (And How To Kick It), ATIC Records is proud to present the next instalment in the AIM & QNC saga. The How It All Got Started Curt Cazal Remix EP boasts two instant classic re-workings from super-producer Curt Cazal (JVC Force, Strong Island), an all-new, Aim produced track, Lyrical Expert, and the all-important, DJ-friendly instrumentals. The EP is presented on delicious C.R.E.A.M. coloured 140g 12" vinyl with sleeve art by AFU.

Fresh deephouse three-tracker from Arnaldo on Aim.

On People of the Sun, Strickland blazes down that trail fully at the helm of his music—performing, writing, and producing with his outrageously able Twi-Life band on deck—even as he sonically and socially traces the African diaspora from present to past in an effort to unpack his identity. "I'm thinking about where we came from," says Strickland, "and how that clashes and goes hand in hand with what we've created here as Black Americans." The result is an album that's busy and beautiful, inventive and contemplative, an amalgam of influences from West Africa (griot culture, Afrobeat, percussion) and America (post-bop, funk-soul, beat music) performed in the key of revelation. Another facet that sets the album part is Strickland's lesser-known woodwind obsession with the bass clarinet, which adds its noirish hues to so many of these songs.

The return of Timothy J Fairplay sees tracks from his 2 EPs on Emotional Response remixed on one special release. Four favourite producers chosen to bring new dimensions to his brooding, shuffling electronics, featuring Scientific Dreamz Of U, Alessandro Parisi, Perseus Trax and Antenna.Part of the label since inception, the last five years have seen TJF's career explode with releases on Bird Scarer, Charlois and Hoga Nord, setting up the Crimes Of The Future label with Scott Fraser and releasing an album alongside Andrew Weatherall as The Asphodells. His EPs for Emotional Response saw some of his strongest, deep and dubbed out productions that marked their own terrain and these reworks have been a long term project. Starting with a trance inducing breaks-dub of Stories of Prison from Scientic Dreamz Of U and you understand why this mysterious producer has become a cult in his own dreamtime, as subs bump this vortexed revision to its own portal.
Next Alessandro Parisi implants his cyber-electro-harmonies to Aim For The Yellow Sector. Fairplay's late night drive-by is respectfully given a future-retro mix, gliding away from East London's dank streets to mysterious plains and beyond. Things take an analogue twist for the flip with Perseus Traxx showing his love for Chi town on his remix of Saco Bay. A bumpin' bass sets the motion, mixing the swirling original to basement vibes x 10. Win win win.
Kindred spirit and fellow Pinkman/Charlois member Antenna closes the EP with a deep retake of Night Ferry. After causing a stir with the killer Odessa EP and subsequent releases on Royal Oak and Beats In Space, a remix was a given. A mellow groove and optimistic keys is the perfect way to end this chapter of Timothy's music and await for new adventures.

Mysticisms’ Dubplate series reaches number 10 with the first in a series of specials, taking the genre blurring music of Persian and presenting updated remixes and versions by up-and-coming producers, as well as friends and family of the label.

Started as a sporadic offshoot of Mysticisms’ main releases, with the idea to highlight the wonderful sounds of dub influenced dance music, Dubplate has now become an integral part of the mission.

To start, South London’s Picasso joins the label, showcasing his declared abstract grooves and an EP of Dub and Tech House movers. While his productions aim for the dance floor, they are often characterized by complex rhythms and unconventional structures, prioritizing atmosphere and texture over traditional melodies.

Drawing inspiration from ambient, jazz, experimental influences and the heavy hand of dub, Sam “Andrews” McKay has crafted an EP of immersive “soundscapes”. Joining the legendary Persian (Peter Reilly) as co-selector, his retakes are all warped grooves, wide bass and dubby atmospherics.

Opening with Space Within Art, the street soul meets reggae rhythms are jettisoned, and a Dub House swing drives the track. The love, homage and vibration for Sound System culture remains, enchanting trippy reggae sampledelic vocals weaving in the brain.

Dunya 2 sees a shift, minds expanding. A jazz influenced breakbeat, harp, strings, building to a psychedelic swirl, driven by a dub bass in a clash, morph and glow.

The deep Digi Dub of D Dub Twist grows, warping the ‘JA riddim meets English hedonism’ in true Soundclash style. Touches of drone underlay, highlighting Sam’s experimental leaning, utilising Persian’s love of Eastern mystical samples to marry perfectly for a deep dub excursion.

The self-prescribed “odd-fellow” completes his versions, exploring his love of depth and abstract sound in closer, Jacob’s Dub. The warm roots vibrations in original form develop into a scatter gun House bumper. Dubwise, Lovers, Stepper, all merge around shuffling, trippy beats and skippy hats, Picasso’s groove is laid bare, driving the EP to finale.

Abstract the Mystery.

Aimed proudly presents its ninth release, welcoming Lithuanian artist Tourman to the label.

The EP features four dancefloor-ready tracks, each with its own distinct character, crafted to elevate the energy and transform any party into a full-blown celebration.

Tourman’s signature sound fuses nostalgic rave aesthetics, acid-laced grooves, and vintage drum machine textures. He effortlessly blends the spirit of '90s and early-2000s house with a sleek, modern progressive twist.

Having already made his mark on esteemed imprints such as SpaceWax, Trance Atlantyk, Pluto’s Plan, and Neptune Discs, Tourman continues to prove his ability to ignite dancefloors while captivating listeners with hypnotic soundscapes.

Scruniversal never misses, no matter what he takes aim at, be it disco, jazz, funk or whatever else. Here, label head Scru's friends are assembled to edit and remix a fine pair of jams. The first is a curious one that marries clary 80s electro and hip-hop with a hint of Latin percussion and jungle bird calls, filtered spoken word and a taught bass twang. It's body popping bait at a slow, inviting tempo. Martem & Ferdi Ferreira then step up with 'Chumba Lala,' which has muscular analogue drums and grinding bass, snappy hits and old school house chords that all add up to a colourful wedge of playful, rigid proto-breaks funk.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

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

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

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

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

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

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

"Neulust," the latest EP from Neuzeitliche Bodenbeläge, introduces listeners to the talents of Joshua Gottmanns and Niklas Wandt. Wandt's captivating voice invokes a sense of nostalgia, reminiscent of the era when Thorsten Fenslau was active, infusing tracks with poetic recitations. Wandt's drumming harmonizes perfectly with Gottmanns' warm chords and captivating melodies. Together, they debuted on Zurich's Lustpoderosa label with "Neulust," aiming to redefine their musical connection. Their presence in the central European underground scene has been marked by releases on Themes for Great Cities or Bureau B, accompanied by their vintage German Wave sound and lively performances. Regular touring has been part of their journey. "Neulust," recorded with minimal intervention, delves into themes of love, estrangement, and consumerism, blending haunting electro, deep house, NDW, and Euro Dance Elements. The EP signifies a significant stylistic shift and stands as the band's most compelling offering yet in their ongoing musical evolution.

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

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

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

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

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

Special Thanks
Jonny Nash – Guitar

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

With Flame Folclòre, Cocanha continues reclaiming Occitan folklore as a living, political and embodied space. For Lila Fraysse and Caroline Dufau, folklore is neither decoration nor nostalgia. It is a site of struggle, where narratives, identities and imaginaries are constantly renegotiated. Drawing from fragments of traditional Occitan music, the duo composes, reshapes and rewrites. Ancient melodies intertwine with original texts in a contemporary language that echoes both subversive Occitan memories and present-day struggles. The voice becomes a chronicle of now, a way of inhabiting the present. Driven by hypnotic polyphony and the deep pulse of stringed tambourines, the album embraces a minimal, physical and grounded aesthetic. Repetition acts as propulsion, dance as function. Cocanha"s practice is collective by nature: to gather, to move, to fuel a joyful struggle around reclaiming the commons. Produced by Raül Refree, Flame Folclòre intensifies the dialogue between memory and transformation. Voices strike, revolve and respond, opening a circular space where folklore is no longer frozen but alive and burning in the present.

Equal Vision Records, Dine Alone Records, and The Flatliners are thrilled to announce the release of Cold World, the Juno-nominated Canadian punk quartet’s brand new studio album, arriving Friday, May 8. The album is available now for pre-order / pre-save / pre-add. Where 2022’s New Ruin wrestled with the inherited damage left behind by the previous generation, Cold World confronts that legacy as something more distant — a ghost, a fading memory. If New Ruin captured the rage of realization, Cold World lives in the aftermath of clarity. Welcome to the future. Leading the charge is first single “Good, You?”, a snotty, tongue-in-cheek anthem that takes aim at toxic masculinity and the all-too-familiar fear of opening up about our feelings. Fans can watch the Jeff Powers-directed music video on YouTube and stream the track now on all platforms. Light Grey Marble available limited to 250 Rude Records Exclusive.

High Focus Records are proud to present the latest collaboration from Verb T & Illinformed. ‘Stranded in Foggy Times’ both continues and completes the trilogy that began back in 2015, with ‘The Man with the Foggy Eyes’, before broadening the horizons with last year’s release ‘The Land of the Foggy Skies’. This final chapter returns to the same conceptual landscape as its predecessors, but also sees Verb T & Illinformed returning to a more classic approach to album making. In spite of its concept, the Foggy Trilogy is something of a personal outpouring for Verb T, with the original aim being to vicariously discuss the trials and tribulations that play a part in his life, including his struggles with chronic illness and the feeling of alienation from leaving his hometown, while also reflecting on the state of the world as a whole. Their approach to making the album meant taking it back to the most natural form, where the idea for the track would be outlined, Illinformed would make the beat, Verb T would write to it and then they would tweak and adjust accordingly. The result is 19 of the most finely crafted tracks to emerge from the UK shores this year. As with the previous albums, ‘Stranded in Foggy Times’ finds Illinformed moving away from the more rugged sound that has shrouded the British scene over the last few months, thanks to his collaborations with the likes of Datkid and Wish Master, instead providing Verb T with an arguably more mellow backdrop. From the string and piano driven introduction on ‘Legacy’, to the blissful head-nod vibes of the closing track, ‘Blind Faith’, the union between beats and rhymes sits at the perfect level. The album also boasts one of the most impressive guestlists of the year, one that is very much a product of both players’ worlds. Thanks to Illinformed’s Bristol connection, there are features from the likes of Res One, Datkid, Leaf Dog, Smellington Piff and Chillman, as well as some locally sourced cuts from DJ Rogue. While on Verb T’s side of the fence, we have features from Rye Shabby and Moreone, along with a collaboration that reignites the same creative spark he found in his early days, as King Kashmere steps into the booth on Feeling Strange. All in all, ‘Stranded in Foggy Times’ does exactly what it sets out to do, by drawing the trilogy to a close while also providing insights into Verb T’s personal world and the world at large. The fact that it also happens to be one of the strongest rap albums of the year is the icing on the cake

To celebrate the 10th anniversary of the iconically brutal-yet-stylish Hotline Miami, the head honchos at Devolver Digital, Dennaton Games and Laced Records picked up the phone and made the call to bring back two killer soundtracks to vinyl.

This Standard Edition of the Hotline Miami 1 & 2: The Complete Collection 8LP box set includes traditional black vinyl.

Every in-game track from Hotline Miami and Hotline Miami 2: Wrong Number is present and correct, including Castanets’ “You Are The Blood” (not previously available via the HM2 Steam soundtrack release.) 76 tracks remastered for vinyl will be pressed to heavyweight LPs that come in spined inner sleeves, contained in a rigid board lift-off lid box with spot UV highlight.

Also included in the box are two 12” art prints of the front and back cover pieces, and a 50 Blessings symbol felt slipmat and metallic sticker.

The box set features brand new eye-exploding artwork by long-time Dennaton collaborator Niklas Åkerblad — aka El Huervo aka Beard — alongside illustrator -IZMA-. El Huervo’s grisly covers depict contradictory accounts of a berserk face-off between Jacket and Biker, replete with entrails. -IZMA-’s disc sleeves explore scenes from the series’ lore, tapping into the violence, psychedelia and nihilism that pervade its characters and themes.

10 years on, neon-soaked indie hit Hotline Miami has become a cultural touchstone in a way that few video games ever achieve — and the electronic soundtracks for both series titles are held up as modern classics that have transcended gaming. At turns brutal and laid-back, pulsating and aimless, coked-up and checked-out, these two ultracool compilations were at the heart of the retro-’80s synthwave scene that swept the Internet over the 2010s.

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

HLZ delivers his debut album for Metalheadz with 'All My Life', a project shaped by patience, experience and a deep rooted connection to the label's sound. The album began with the title track, first played during Goldie's residency at XOYO before eventually making its way to the label, and it was from that moment that the idea of a full-length record started to take shape. Around the same time HLZ moved back to Italy, embracing a slower pace of life that gave him the space and focus to bring the project together. Rather than following a fixed concept, 'All My Life' grew naturally in the studio. HLZ approached the process with what he calls a sense of humble confidence, trusting his instincts while staying grounded in the culture that shaped him. The aim was simple: to make music that could last beyond the short cycles that often define modern releases. Across the album, HLZ moves between soulful depth with a classic Metalheadz twang, into moments that push beyond his usual territory. From the title track's unmistakable Headz spirit to more exploratory pieces like 'Roadblock' and the introspective 'Solitary', 'All My Life' captures an artist fully settled in his voice. More than anything, the album reflects HLZ's deep connection to the music and the sound that has influenced him from the very beginning.

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

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

OOH-sounds family members more eaze, pardo & glass join forces on a celestial album linking ambient neo-folk, fractured electronics and romantic escapism.

Referencing to Wim Wenders' 1984 road-movie drama masterpiece, 'paris paris, texas texas' is a strikingly cinematic tapestry of americana, resampled guitars, glistening electronics, subtle field recordings and processed vocals.

The beginnings of this project date back to the summer of 2022 when pardo and glass started recording some improvisations in a small studio with the aim of making an experimental guitar record. Over time, the drafts developed into mesmerizing slabs of guitar textures, simultaneously immense and intimate. No material was better suited for more eaze to add to the recordings her transversal and sensitive approach, linking the past and the present.

Ranging from gentle ambient folk to winding pedal steel passages, from twinkling electronics to distorted drones, 'paris paris, texas texas' is an album that's not just "atmospheric", it conjures its own unique atmosphere from thin air. Like a snake shedding its skin, the record slowly mutates from track to track - an epiphany, a transformation, a tangible and perceptible moment. Despite its distant trans-Atlantic origins, it evokes a warmth and intimacy that is hard to deny, an emotion that has perhaps been held back for too long. A landmark release in OOH's catalogue, capturing the magic of its curation and sensibility in one sublime record.

Mastered by Giuseppe Ielasi, artwork by incepBOY, words by Adam Badi Donoval

Losh is a series of parties held at the magical Chapala lake in Ajijic and Guadalajara, Mexico, aimed at preserving the essence of underground sound and its culture. The event has hosted performances by artists such as Satoshi Tomiie, Shonky, Priku, Arapu, Markus Nikolai and more. Now, Losh is exploring new horizons with the launch of its own vinyl label. The music for this second release features tracks by Tomodachi Club owner and Real Gang founder Miller, Head Honcho of Vatos Locos Héctor, Perlon legend Dandy Jack and one of Losh Team member James Bott.

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of BAPTHOMET’S BLOOD’s debut album, Satanic Metal Attack, on vinyl LP and - for the first time - CD formats. This marks the beginning of reissues of all of the band’s four albums. Originally released in 2006, the Italian act went all in with their pure and authentic love for the old metal scene of the 80s. The aim was never to reinvent the wheel and bring new influences into classic speed metal. These maniacs represented a new generation which wanted to continue and blast out heavy metal in the old way, with the same spirit.

- 2026 repress -

SHDW & Obscure Shape launch new label Mutual Rytm with powerful eight-track V/A "Federation Of Rytm I", featuring VIL & Cravo, Lars Huismann, Grindvik and more.

Favourites for many within today's modern techno landscape, Stuttgart-based pairing Marco Blasi and Luigi Urban, aka SHDW & Obscure Shape, continue to grow their profile and position as artists leading the current new wave of techno. Having launched their first label From Another Mind in 2014, releasing material from themselves alongside remixes from the likes of Rodhad, James Ruskin and Dax J, early December welcomes the arrival of a new project and a second imprint to the fold, Mutual Rytm.

Showcasing a new dimension of techno and electronic music, celebrating originality and innovation by combining timeless cuts from the past with cutting edge sounds of the present and the future, the label will serve as a breeding ground for new artists alongside established talent and legends from the scene. Opening the imprint in style, the label bosses head up the first-ever release and the first V/A "Federation Of Rytm I" as they welcome a selection of new and established talent.

"Since the beginning of the global pandemic, we have been diving deep into the roots of our music and working on the aesthetics of our sound. That's when we realized that now is the right time to start a new project which differs from FAM, in both musical and artistic direction. The project will showcase a new dimension that aims to channel the authentic perspectives of both established and up-and-coming talents. With our new label, we want to give all artists the opportunity of musical freedom and expression of their versatility as producers. It is an honour to accompany the young artists on their careers, to see them grow and to help them in their development as musicians." - SHDW & Obscure Shape

The duos rolling opener "Conquest Of Paradise" quickly sets the tone and builds to reveal a classy and slick offering, combining rich stabs with tough drums and sharp hats, while Invexis keeps the tempo high as he weaves escalating synths and pacy kicks across "Elektronenwind". VIL & Cravo combine on the jacking and lively "Apolonia Loop", as eerie synths work amongst warped vocals across a tweaked out peak-time effort, before Alarico keeps the energy levels up throughout the relentless funk of "I'm Into You".

The second half of the package sees Lars Huismann enter the fray with the no-nonsense, snaking grooves of "Hyper Dub", with Nicolas Vogler's "Sauva Bite" fusing hypnotic tones with straight regimented claps for an intense yet playful ride through sounds and sonics. "Your Dry Lips" switches up the aesthetic as Grindvik journeys down a wormhole of metallic percussion and warping low-ends, before closing the show with authority via Stigmata's grinding and menacing offering "Gestas".

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

2026 Repress

Juan Atkins and Moritz von Oswald - the two indispensable protagonists of the Electric Garden - plug back into the wilderness.
Transport' - the new full length effort of the Borderland collaborative project - brings together a new set of studio-refined sequences aimed at colonizing some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not 'on the grid'.

The Detroit-Berlin axis triangulates to a third point which, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz which cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making.

The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for sixty seconds in every minute.

Canadian minimal titan Akufen dominated the scene at the turn of the new millennium and has a fine back catalogue full of classics. Now the Montreal man is back with new music though and it's like he never went away - 'Breakin' Free' (feat Dominique Fils Aime) is a slow, smoochy sound with low-slung drums and r&b vocals, while 'You Naughty Scamp' is a little more propulsive as it rolls through deep house and bright, textured synth melody. 'Rubber Ducky' is another playful jam with jazzy top notes, sampled vocals cut up and smeared through the mix and languid bass funk. 'Sensitive People (With So Much To Give)' is another symphonic and soulful house sound.

2026 Repress!

The story begins in 2000 in Britany (France). Two guys decide to create a sound system with the aim of sharing their common passion for roots reggae and early digital. Rootystep (selecta) and MacGyver (operator) begin to collect records and purchase music equipment. They are quickly joined by Pupajim who becomes the MC, the singer and the dub builder. The Stand High Patrol first toured the land of Brittany, gradually moving towards stepper dub production emanating from the English stage. Fifteen years later, the sound is more present than ever. Stand High has created a true identity and has established itself as one of the essential sound systems of the French dub scene. In 2009, Stand High Patrol creates his own label "Stand High Records". In 2012, after releasing several records, the Dubadub Musketeerz present their debut album "Midnight Walkers", 13 exclusives & wicked tracks inna pure Dubadub Style. In 2015 the dubadub experience takes on new dimensions with their second album : "A Matter Of Scale". In 2017 they are back with "The Shift" a third LP totally dedicated to Boom Bap & 90s Hip Hop. Words, blue notes, boom bap and bad news: here comes "The Shift", the third album of Stand High Patrol.

IN 2017, TRYING TO MAKE BOOM BAP FROM THE 90s, INSPIRED BY JAZZ FROM THE 60s, MIXED WITH MACHINES FROM THE 50s

Lyrics, Boom bap and bad news: Stand High Patrol present their third album 'The Shift' and confirm their attachment to 90s hiphop.

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

Milkcrate Mondays always deal in unabashed dancefloor fun, but that never comes at the expense of style and quality in celebration of the party of the same name's open-minded ethos. On the A-side, Spinobi delivers a dancehall-leaning refix of 'My Boo', reshaping the familiar hook with punchy rhythm and bass weight. The flip belongs to Palomo, whose 'My Boo' cumbia edit turns the freestyle classic into a rolling Latin groove built for late-night sets. Mastered by resident DJ Satin, this is another gem that continues the collective's tradition of crate-digger creativity and genre-crossing selections aimed squarely at moving the room.

Shot Caller present 1000 Lamentos, a promising debut without artifice.

Three different cultures and paths converge here for stripped-down songs, unvarnished, where every element feels immediately exposed, the simplicity as its best. There is neither easy nostalgia to lean on—only instinct, balance, and a sensitivity that cuts through the whole listen experience without raising its voice, echoing some of the label’s most defining releases and hinting at a strong path ahead.

The structures are simple, almost primitive. Bass guitar, and rhythm move with quiet urgency, leaving space for what truly lingers: a voice that doesn’t demand attention, yet stays with you. Fragile, intimate, and deeply enveloping—as if each line could break or reveal too much.

1000 Lamentos doesn’t aim for impact—it settles slowly, and refuses to leave. A debut that will leave its mark on the scene.

The irreversible Monsieur Van Pratt is back with more edit magic on a new 12" that offers up a sharp transatlantic pairing aimed squarely at late-night selectors. He begins with 'What You Got', which is all tight groove science and polished uplift, before 'Disco Woman' retools a rare source into driving, peak-time tackle laden with soul. On the flip, Rob Castillo brings Afro-leaning firepower as 'Zig Zag Eoh' rides hypnotic percussion and loose funk swagger, while 'Good Time Woman' signs off with an irresistible strut. Potent weaponry as ever from this always naughty but nice label.

Second album of french incendiary fake big band Parasite Jazz. A krautrock, jazz-non-jazz, experimental album recorded along four seasons by three musicians (Alex Larsen, Tamara Goukassova & Théo Delaunay) from the french fringes ; members of Succhiamo, Diagonale des Yeux, Simple Music Experience, Violent Quand on Aime ... featuring Radio Hito, Kyle Knapp (Deliluh) & Hochiwah.



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After its first release in 2023, the tiny big band Parasite Jazz brings its public iterations to fruition with “♫”, a testament to an alternate reality, matured voyaging across France over the span of four seasons.



It sees the music flee through exuberant forests and steep troglodytes ; a parallel genre movie with a soundtrack of diluvian rhythms, mocking chants, jazz noir and voodoo accidents. In this shifting, autonomous world, the elastic orchestra—whose members Radio Hito, Valentin Noiret, Kyle Knapp, and Hochiwah keep on appearing and disappearing—plays for nocturnal secrets and feverish cavalcades.

Deeppa Records kicks off a new 7" series here that aims to pair emerging artists with established names from the label's artistic circle. The opening release introduces Tolyatti producer Pasadena with 'Vodichka Nice', a laid-back, groove-led gem that recalls 'Stepoing Into Tomorrow' era Donald Byrd with its seductive drums, squelchy slow-bass and soft-focus melodic wonder. It's already becoming a fave on the scene and on the reverse, respected producers Scruscru and Tony Lavrutz reshape the original with a remix that leans into deeper club territory, though keeps the bright melodies and inviting horizontal feel. Two sides, two moods, two essential cuts.

Cultivated Electronics Ltd For The Floor series began in 2022 and features split EPs available on vinyl (only) with Electro tracks aimed strictly at the dance floor, bringing together CE regulars and new artists. Volume 5 features Umwelt on the A- side and DJ MELL G x Unklevon on the flip, as well as a remix by label head, Sync 24 alongside Controlled Weirdness. New Flesh founder, Umwelt is known for his dark, industrial-leaning techno that blends dystopian atmospheres with driving rhythms. Here, the French producer delivers two hard-hitting cuts in Memoryscape & Morphing Sequence to open the EP. DJ MELL G from Juicy Gang Records brings a raw, high-energy fusion of electro, breakbeat and techno; fast paced and with bold sound design. She teams up with Unklevon who produces sleek, futuristic electro with crisp drum programming most notably for Boysnoize Records, on Get Down. While Sync 24 & Controlled Weirdness close out the EP with their tough and wonky rework.

HAVEN co-founder Keepsakes is finally back on his own imprint with 5 fresh originals filled to the brim with warped alien sound design, driving and grooving drum rhythms, and acerbic track titles fresh out of a twisted after-hours chat. Following on from releases in recent years on KAOS/OAKS, Turbo Recordings, Perc Trax, and Boys Noize Records, this latest EP maintains his signature toughness alongside his fun and quirky sound choices while taking his sound further in to jacking and groovy territory.

The EP launches with 'Vocoding Your Nan Out Of Existence' on the A1 - full of growling and tortured alien vocoder melodic experimentation combined with driving funky drum work and organic atmospherics, this slab of freaky techno weight is aimed directly at the most debauched of dance-floors. 'Get To Know It In The Flesh' follows up on the A2 with rolling, grooving rhythms and dramatic string stabs alongside outlandish synth melodies, looping vocals and eerie creatures lurking in the background.

On the flip 'Ready2BeginWot?' gets things jacking with swinging rhythmic funk and and ear-worm repeating vocal line in a fast house-inspired slammer. 'Hollow And Suited' follows on the B2 with its tribal driving drum work and mutating resonated vocals sitting alongside debased synth melodics for the most haunted club creatures. Finally, 'Corvid House' closes out the record with its swung and grooving drum loops, bird call sound effects, vocal hooks and euphoric pad bliss to finish off another plate of dance-floor degeneracy.

We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Whatever The Reflex is on at the moment, we want some - he's rolling out the jams left, right and centre across several different styles. For this drop, he has revisited his own revision: ten years after first dropping this and without countless plays from legends like Kerri Chandler, he retouches a disco-house fusion classic that rides big vocal hooks and smooth, breezy grooves. On the B-side he takes aim at another soulful gem and go-to DJ favourite with real invention. 'Nobody' has persuasive drum breaks and slithering synths that shimmer like heat waves and allow the acing, singalong vocal room to work its magic up top.

Macclesfield 3-piece Cassia make their extremely welcome return with the announcement of their most ambitious release yet in new studio album everyone, outside - out April 11th.

The album marks a bold new chapter, and recently served up a tropical-tinged first offering in ‘heat’ - with today serving a superb Round Two with the stomping, insatiable, hook-laden new single ‘friends’.

everyone, outside takes Cassia’s sound to new heights. Written fresh off the back of two years of relentless touring, the band channelled every ounce of their renowned live energy into the album, returning to a studio they built themselves in Macclesfield, after creating their previous album in Berlin. The journey provided an added twist, recording the majority of tracks live on TikTok, giving fans a unique, inclusive experience to be part of the process.

The album’s title is a metaphor for embracing your truest self and reflection of a band who are at their happiest outside. It’s a message that speaks to the idea of reconnecting with nature and Britain’s finest summers. As frontman Rob explains, “That title, ‘everyone, outside’ started as a song about how weird it is that we stay inside all the time when being out in nature always makes us feel better. Over time, it came to mean more than that - like a metaphor for being your truest, most natural self, unburdened, like when no one’s watching.”

Drawing influences from a host of genres and cultures, everyone, outside reveals Cassia’s venn diagram of global sounds and intimate storytelling. A trip to Mexico during the writing process injected the record with a new energy, while their time spent in their new space back home gave the band a freedom to try new instruments, new sounds, acquire new tools to hone their production skills - and to simply have fun and explore. “The time we spent in Berlin taught us so much, but coming back home to Macclesfield allowed us to really focus on making something that felt like it came from us. No distractions, just pure creativity,” says drummer Jacob Leff.

Cassia’s rise has been impressive. From their early days busking the streets of Cornwall to playing major festivals, touring the world and receiving critical acclaim from BBC Radio 1, Radio X, The Independent, Rolling Stone UK, Clash & many more, the band has carved out a unique niche. Their sound, influenced by the African music Rob’s father introduced him to, combined with the indie heritage of nearby Manchester, combines the positivity of bands like Foals and Vampire Weekend, with the jazz-tinged afrobeats of Fela Kuti and Ebo Taylor.

After signing to Distiller Records in 2018, the band gave up their full-time jobs and ventured to Bath to record their debut album, Replica. Tracks such as ‘Right There’, ‘Drifting’ & ‘100 Times Over’ have amassed millions of streams, seeing the band sell out multiple headline Tours both in the UK and Europe. Playing to a homecoming capacity crowd at Manchester’s O2 Ritz, as well as sold out headline shows at London’s KOKO & The Garage, the band have accrued a huge, loyal following and their live shows earned them a nomination for Best Live Act at the AIM Awards alongside Idles and DMA’s, as well as making them the winners of Reeperbahn’s Anchor Award in 2022.

Cassia will tour the UK in May 2025, playing songs from the new album and some of their biggest tracks - headlining Leeds, Bristol, a newly added night in Southampton, a special Manchester homecoming, Glasgow, Birmingham, & a huge show at London’s HERE @ Outernet - dates below & Tickets Here. The band will also take things Stateside this year for their first ever run of headline shows in the US & Mexico.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Jack’s House Recordings kick starts 2026 with a brand new VA featuring talent from all corners of the globe, with artists coming from Portugal, to Australia, the USA and Ibiza !

First up is Alex Arnout with “Baby Let You Know” which is another solid production giving punchy and techy energy with a baseline that will wake you right up when it drops in ! It’s dark, edgy, and has a powerful signature sound that is perfect for the big dance floors as well as your underground intimate ones. Alex is no stranger to the imprint, having been the first artist signed to the label which is about to celebrate it’s 10th year as an independent record label.

Next up, we welcome back popular and talented producer Carlo Gambino with “Time Of Need” which takes you through 6 and a half minutes of a lovely gritty underground groove, and vocal snippets of the track title throughout the arrangement with his warm and unmistakable signature sound.

Then we have AMO (um) & Mills with the more minimal track of the VA, “Therapy” This is a stripped back track but instantly memorable after just one listen. Driven by a simple kick, snare, haunting fills and a riding dark baseline, the track also presents a conversation between two Women having a slightly confusing conversation in a therapy session.

Last up, it is a pleasure to introduce and welcome USA’s Jordan Bernardo & Sharktooth from the Tasteless Thieves crew to the label with their excellent collaboration on the track “So Sorry” This is the light on the VA with this massively uplifting infectious groove. The track is giving skippy swinging beats, filtered vocals which tease in and out of the arrangement, and a great energy that takes you back to the early 2000’s era.

In a nut shell, this fresh Jacks Tracks VA offers 4 unique tracks that can serve any DJ at various points of the night, from warming up, a hands up moment, 3am pushing energy, and a perfect afterparty vibe too. That is always the aim with the Jacks Track VA series, to give vinyl buyers a bit of everything while maintaining talent and the nature of the underground.

In Hayk Karoyi’s music, the vibrant palette of the Mediterranean meets the deep layers of Armenian medieval culture. A composer, sound artist, producer, selector, and live performer, as well as a multi-instrumentalist specializing in Armenian woodwinds, Hayk channels his cultural identity intuitively, allowing memory, place, and subconscious expression to shape his sound. Coming from a mixed East Mediterranean and Armenian heritage, he has never aimed to define himself—or his music—within a single tradition.

Instead, his work exists as a continuous fusion: electronic music intertwined with ancient timbres, improvisation, and experimentation. His work has been presented in clubs, concert spaces, and international festivals across Italy, France, Spain, Germany, Armenia, Georgia, Uzbekistan, and Indonesia. He has appeared on festival lineups such as Terraforma Symposia (Italy), Stihia Festival (Uzbekistan), O3 Festival (Armenia), Nopa Sound Festival (Armenia), TKESHI FESTIVAL (GEORGIA) ,Urvakan Festival (Armenia), New East Festival (Barcelona, Spain), Suara Festival (Indonesia), and Un Week-end Festival (France).

“Yotqar” is a love letter to the artists and musicians who have shaped me; those whose music I’ve carried in my heart and those I’ve shared stages and moments with over the years. The album is deeply rooted in Armenian woodwind traditions, echoing voices of the masters I admire. Its soundscape stretches across a wide geography and draws inspiration from the mountains of Syunik to the streets of Anjar, weaving in local sounds, memories and emotions. Endless gratitude to my parents, and especially to my mother for the folklore melodies she sings while cooking, filling the house with warmth and history.” - Hayk Karoyi

A joke that doesn’t make you laugh is just a sentence. Music that doesn’t make you dance and feel is just noise aimed in your direction. To make a circuit where energy flows freely, you must have feedback. Without feedback, connection is absent. As Limousine Dream enters the Age of Aquarius, we open up. Instead of trying to grow, we let it grow. Instead of building a pyramid, we see a constellation where we are all stars, and every star can equally stand out and fit in. We invite you to join us, just like we want to join you. This is where we begin our Life Spiral.

"Beyond HEAVY METAL": the deluxe edition is a special 2LP zoetrope vinyl featuring live recordings from arena shows in the UK, US, and Japan, along with “from me to u (feat. Poppy)” Major Lazer Remix and “from me to u (feat. Poppy)” Jordan Fish Remix

Having celebrated its 15th anniversary last year, BABYMETAL presents a new style of heavy metal album created in collaboration with a new generation of friends encountered across the globe. A powerful statement of who the band is today, this album pushes toward what lies "beyond HEAVY METAL" and aims to change the course of history.

Available to own on special edition zoetrope vinyl. Limited quantities, available while stocks last!

Bound to break the new year in with all our might, we are excited to unveil our new baby, RYCX. Expanding the scope of our main catalogue to bottle what we consider pure techno quality with its idiosyncrasies and inherent untamedness, RYCX will serve as our platform of choice to embrace the more minimalist, dubby vibe of techno, focussing on tracks that sound more like a rabbit hole, trippier, psychedelic, and immersive, yet still powerful enough to fill a dance floor. Kicking off the journey is 'RYCX01' by Ruben Ganev, up with his debut solo release after contributing a track to our 2023-issued 'Heimat' VA. The music here featured packs the very defining qualities RYCX aims to engage its audience with: a raw, inspired, quality-driven combination of force and thoughtfulness, ruggedly honest yet built to meet the expectations of the most picky dance floors and home listeners out there. Ganev's quartet of stormy churners, cut from the most hypnotic cloth and eerily vibrant machine funk, has us diving deep into a throbbing furnace of charred dubs, steely industrial reliefs and post-apocalyptic atmospheres. A most fitting manifesto in sound, telling the beads of the sonic revolution in march.

Commissar Lag - Absolution EP (Earwiggle)

The 38th Earwiggle release comes from one of our favourites, and a debutant on the label, Serbian studio supremo Commissar Lag. The "Absolution EP" finds Lag delivering his playful vision of techno, dipping into the past while also pointing us to the future, all framed through an exquisite production gleam. Dense, rolling rhythms reminiscent of early '00s Stockholm techno, combined with a catchy repeating vocal sequence (one of Lag's trademark techniques) and rising sirens, result in the monster opening title track "Absolution". "Aim Without Mercy" is another club destroyer - jabbing keys, broken jagged beats, and a series of rising pressure points making it another winner. "The Blessed" meanwhile, shifts the mood from mental to majestic, with interchanging leads and reverb-drenched climaxes marking the big-room peak of the record. Rounding things off is Irish wunderkind Dylan Fogarty, who reimagines "Aim Without Mercy" through a deep and psychedelic lens, layering textural collages over surging, jacking
909s.

2026 Repress

An anthology born out of isolation and deep introspection, Sky Dust Drifter is a cosmic medley of sun-soaked AOR, psychedelic folk, and soft rock. This soundtrack was driven by the lonesome cowboy, a lockdown savior leaving me adrift in desert winds and dimly lit country bars.

Long-distance trades and masked meetups yielded a collection of private press LPs and 45s from ten different artists spanning 1973 to 1980. This seemingly random stack of records revealed songs living entangled in themes of hard luck, heartache, and the inevitable loneliness of existence. Adorned in cracked leather and chrome, this album is an aimless wander from the soil to the stars.

Featuring an unreleased English version of the compilation’s title track “Sky Dust Drifter” (originally released only in Hebrew), the record shifts from laconic afterthoughts to bold proclamations. From Michael Andrews’ blue-eyed soul assertion “Something Bad’s Better Than Nothin’,” to the searing electric guitars and bold synths of Sunburst’s “Special Lady,” Sky Dust Drifter thrives on solitude in a universe of unconditional self-rule where loneliness is not darkness but rather a blazing light of autonomy.

DJ Support: Dennis Quin, Benny Rodrigues, De la Swing, Archie Hamilton, Jamie Jones, Rich Nxt, Roger Sanchez, Ilario Alicante, Jon Cutler, Adriatique

Fabio Santos is a DJ and producer from Rotterdam whose sound is firmly connected to the underground. With inspiration from labels such as Dungeon Meat and Slapfunk Records, his music and sets combine raw rhythms, rolling basslines and a stripped-back energy that reflects the essence of the scene. Fabio approaches DJing with a focus on flow and atmosphere, building tension and release in a way that keeps crowds engaged from start to finish. His style is direct, uncompromising and always aimed at serving the dancefloor.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

After their previous Italian stop with Palmiz, the eighth release on the Ukrainian Aimed label comes straight from its co-founder, Cheise.

4-tracker Land Of Dreams EP is infused with the warmth of an Indian summer (like on “I Have A Dream”) and the energy that is enough to warm you even on the coldest winter days (like on “Land Of Fantasy”).

There’s so much “Energy” at the B-side, that you actually will need to “Get Up” to listen to it in full.

This EP aims to positively boost your subconscious thoughts while your body is captured by ravey energy. You wanna loose your skin and become a Mental Mamba? Than you should sometimes mirror your thoughts, and not only your body...

DJ Tjizza’s latest inception has been crafted to positively boost your subconscious state, whilst your body is captured by ravey energy

Being a musical playground for Dixon and Âme since the beginning of the label. Our Secret Weapons series symbolizes a constantly forward moving train of both artistic expression and musical exploration. With the aim of showcasing tracks that circled through the sets during the year and will do beyond. Part 17 finally available on 3LP.

Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!

Beyond Illusion EP is the debut release from Uruguayan record label Mettamaya. Four sonic explorations by Agu Alegre, Pi, Lightmaker, and Juanma Alegre, who contribute powerful yet melodic tracks that energize the dancefloor while also accompanying an intimate listening experience.

Beyond Illusion EP proposes a sound aimed at deeper, more authentic listening — a spiritual search for inner connection. A sonic journey to be experienced with full awareness.

Mettamaya is a label rooted in the ideas of compassion, illusion of reality, and transcendence. Its name brings together Metta — loving-kindness — Maya — the illusion of reality — and Meta — that which goes beyond. A platform dedicated to conscious sound and inner exploration.

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

Rooted in electronic music yet fueled with organic sounds of nature and acoustic instruments, Late Present explores sonic landscapes beyond Mirlaqi’s signature dance moves. Journeying between jazzy hip-hop, psychedelic downtempo and colorful ambient, the twelve-piece work aims at a thorough and sincere representation of the Swiss artist’s musical soul. With simple themes such as love and loss as well as a poetic approach to the inexorable coming of our end, the double LP is a reflection on the unicity of consciousness.

As always with Mirlaqi, talented and caring friends bring their energy and craft to the project. Antoine “Favi” Favennec’s sense of melody adds another level of emotion to Passager de la Terre, Velvet Love and Riddimer. Thomas “Nips” Abbet’s soft as silk trumpet sound delves deeper in the jazzy horizon of Caucasian Tree and Inter Lux. Augustin “Gus” Von Arx’s various percussion turns the heat up on Prendre le Soleil. Finally, Tim Spoerli’s uncompromised trumpet experience overwhelms Prendre le Soleil in glitters.

On the vocal level, Mirlaqi explores various dimensions of expression through spoken words and processed singing, as well as French and English vocals. In Passager de la Terre, Velvet Love and Prendre le Soleil, he receives passionate support from Alice Moeschinger and her touching yet strong crystalline voice.

Once again, fainek’s graphic and conceptual talent turns sound into vision with style. A true masterclass of artistic depth combined with visual clarity.

A multi-layered project to be savoured over and over again.

Paperbark is the ambient project of Jon Mulville, who has been shaping rhythmic and textural soundscapes since 2016. His music is rooted in memory, as a way to process emotional fragments. Guided by time spent in nature and created in response to a culture that often feels lacking empathy, his work aims to create space for reflection.

He has released eight albums, primarily on Seil Records, as well as Constellation Tatsu. 'Light Behind Me' marks his first CD release and only his second appearance on vinyl.