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Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.

LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.

LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.

Five years in the making, ‘Lotus Rising’ is an alternative body of work presented by Subb-an, exploring his South Asian heritage, live instrumentation and a more introspective side of his production. Across a career rooted primarily in house and techno, the album finds him looking beyond the immediate demands of the dancefloor, opening up a more expansive and self-healing approach to his music.

The album brings together electronic production with live and organic elements, featuring contributions from London-based Indian classical sitar player Akash Parekar, vocalist and sound artist Kate Fleur Young, vocalist Anushree Datar, bassist Luke Weaver and Maribou State drummer Jonny Cade. The lotus represents growth and transformation, providing a fitting framework for a record shaped by a period of transition and reconnection. ‘Lotus Rising’ is released via Phonica Records Special Editions on 30th October 2026.

Tronic return with part 5 of the More Than Machine series going back to our roots, Electro has always been our passion, and we’re here to give it the massive spotlight it deserves. Our new VA brings together iconic producers Christian Smith / Wehbba / Ian O'Donovan and next-gen visionaries Alexander Kowalski / PJay for a master class in modern electro. Every track is a certified weapon, hand-picked to send shockwaves through clubs from Berlin to Tokyo.

Ella Langley, who has redefined the next wave of country music with her magnetic, unmistakable voice, and fearless songwriting, has announced her highly anticipated sophomore album Dandelion, out April 10 on SAWGOD/Columbia Records. Co-produced by Ella, Miranda Lambert and Ben West, this 18-track album, which features her #5 Billboard Hot 100 hit “Choosin’ Texas,” is one about growth, and carries a deeper symbolism of hope, healing, and resilience. In Ella’s own words: "I've thought about this record every single day for the last year and a half, and I'm so excited to finally say: 'Welcome to Dandelion.’"

New school meets old school on Visitors’ third release!

Returning with a second Various Artists EP, Visitors bring together two pioneers of an authentic tech house sound alongside a new generation of producers. Scene legends Pete Hurst aka Sloth UK and Adam Collins join newcomers Locky Mazzucchelli and Sweater for a versatile four-track offering. Acidic touches run throughout, alongside raw bassline house and broken techno rhythms, with the modern sounds of the A-side flowing seamlessly into some classic flavours on the flip. A versatile and highly playable EP that balances contemporary club energy with old-school attitude - four tracks made to fit your record bag and stay there

„Me and the Noise“ von Wasuremono ist das bislang ambitionierteste und klanglich vielschichtigste Album von William Southward, auf dem er schimmernden Indie-Pop, mitreißende Hooks und eine euphorische, groß angelegte Produktion mit intimeren und nachdenklichen Momenten verbindet. Nachdem Southward ein Jahrzehnt lang unabhängig in seinem Gartenschuppen in Bradford-on-Avon Musik geschaffen hatte, öffnete er den Produktionsprozess und holte Tony Draper für den Mix sowie Dick Beetham für das Mastering mit ins Boot – das Ergebnis ist ein kühner neuer Sound, der auf seinem melodieorientierten Songwriting aufbaut. Das Album knüpft an eine Reihe von Erfolgen an, darunter über 16 Millionen Streams für „Are You OK?“ sowie die Verwendung seiner Musik in „Heartstopper“ und im Trailer zu „Goodrich“, während Titel wie „No More Dancing“, „Is It Weird or Is It Me?“ und „Sleeping Out“ die Bandbreite seines Songwritings demonstrieren. Die Vinyl-Ausgabe erscheint auf schwarzem Heavyweight-Vinyl, wurde im Half-Speed-Verfahren gemastert und ist in einer Gatefold-Hülle untergebracht – damit ist sie eine hochwertige physische Ausgabe, die ein bedeutendes neues Kapitel für Wasuremono einläutet.

Just over halfway through 2026 and Craig Bratley’s ‘Return to Bass’ has already been cited as one of the albums of the year and a future classic. Here, two of the album’s standout tracks return in a variety of guises.

First up is “Everybody Pushing”, featuring the vocal talents of Thomas Gandey. Recently described as a “proper blissed out Balearic rave tune,” this release pairs the original with an instrumental version and a remix from the ever reliable 40 Thieves. Their remix takes Everybody Pushing somewhere considerably more psychedelic, pushing the track into late-night territory while retaining the spirit of the original.

Bratley takes care of the title track “Return to Bass” with the Ashigaru Flashback Dub. Hitting harder than Anthony Joshua, the remix strips the track right back, ditching the trumpet in favour of sirens, vocal samples and tougher drums. The result sounds like what might have happened if N.W.A. had got their hands on some Purple Ohms and a TB-303.

Tracklist
A1 Daniel Bortz - I Met Her at the City Club
A2 Massimiliano Pagliara – Midnight Mirage
B1 Sam Goku - Unattached Voices
B2 Bostro Pesopeo & Tom Bioly – See You Again
B3 New Jackson – There Will Always Be This Love (OOPS POP Version)

Short Info
The third round of the Permanent Vacation XX series to celebrate the label's 20th anniversary brings together a lot of familiar faces and long-time vacationers. From Daniel Bortz, Massimiliano Pagliara and Sam Goku to New Jackson and the collaboration track between label head Tom Bioly and Bostro Pesopeo. Everyone brings his unique sound to the table, so that the EP offers a broad, yet cohesive variety of music that brings us to the essence of Permanent Vacation.

,CHRISTFUCKER" ist das zweite Album der texanischen Extremband Portrayal of Guilt und verbindet Hardcore, Black Metal, Industrial und düstere Noise-Elemente zu einem beklemmenden, atmosphärischen Gesamtwerk. Inspiriert von Horrorfilmen und existenziellen Themen erschafft die Band eine Klangwelt voller Angst, Verzweiflung und emotionaler Intensität. Die Songs reichen von rasendem, chaotischem Extrem-Metal bis hin zu experimentellen Passagen mit Industrial-, Ambient- und Drone-Einflüssen. Gastbeiträge von Jenna Rose (Anatomy) und Jeremy Bolm (Touché Amoré) erweitern den düsteren Klangkosmos zusätzlich. Das Ergebnis ist ein kompromissloses Album, das die kreative Weiterentwicklung von Portrayal of Guilt eindrucksvoll dokumentiert.

Das zweite Album der "Colors"-Trilogie! Der aufstrebende Metal(core)- und Alternative-Künstler hält seine über 2 Millionen TikTok-Follower in Atem. Arankai stammt aus Wisconsin (USA) und trat erstmals 2022 mit einer Reihe von Independent-Veröffentlichungen in Erscheinung. Durch die Kombination von Elementen aus Metal, Alternative Rock und emotionalem Storytelling baute er sich dank seines rohen Sounds und seiner markanten Präsenz in den sozialen Medien schnell eine treue Fangemeinde auf. Nach der "The Portrait Tour" im Mai und Juni 2026 - seiner ersten Headliner-Tournee, die mehrere ausverkaufte Shows in den USA umfasste - wird Arankai ausgewählte Headliner-Konzerte in Europa spielen (darunter einen Auftritt beim Reeperbahn Festival). Anschließend nimmt er diesen Schwung mit ins Frühjahr 2027, wenn er gemeinsam mit Melrose Avenue als Support-Act durch Europa tourt. Arankai in his own words: ""The Shape of Blue", like its predecessor "A Portrait of Red," covers a range of human experiences: rebellion, pride, sacrifice, to name a few that stick out. I tend to draw from personal experiences, but with this particular record I found myself writing songs that reflected specific situations involving other people; sometimes I wasn't even a part of those situations, it was just a powerful moment I found inspiring. I really wanted this record to be something special. I did a lot of things I haven't done before, wrote songs in styles that were new to me; I really wanted to give people a new, exciting experience. I believe "The Shape of Blue", as an album, is a strong, emotive piece. And I hope people enjoy it as much as I loved making it."

CPEN is the alias of Chris Penny and his 'Pirates Life' EP on Seasons Recordings back in the 2000s is one of our all-time favourites. It was used on Craig Richards's fabric mix and still sounds original more than a quarter of a century on as the man behind it has gone on to work with Luke Solomon and Honey Dijon on a Grammy-winning album. It's the title cut that does it for us with the way the groove is so languid and loose as it hangs just above the floor and deep space sounds colour the airwaves. 'Song Of The Muse' is a beautiful synth scape stripped of rhythm and 'Liquid Steps' has a little more bite but still roll on nice soft kicks with life-affirming keys up top. 'Third Quarter' is a majestic post-club comedown with all of CPEN's signature synth sounds and even some brassy smears, making it an utter downtempo delight.

Yorkshire's underground has always run deep and this double pack from one of the region's finest new labels, Hearlucinate, makes the case well. For this double album, Leeds mainstay Tristan da Cunha has done a careful excavation of Scott Featherstone's DAT archive featuring music recorded under his Triform alias entirely on analogue hardware. The results are simultaneously timeless and urgently present, and the kind of machine jams that only reveal their full power in dark, hazy rooms. 'Harmony' has a dark and sleazy soul, there's muscular drum weight to 'What Is This', 'Basic House Rocker' has an anxiety-riddled sound that's alive with twitchy acid electronics and 'Chimes' marries vast, swinging kicks with Detroit soul. Wonderful.

STRICTLY CONFIDENTIAL: WE WRITE TO YOU WITH ALARMING NEWS ABOUT THE EXTRA-TERRESTRIAL SPECIMEN DISCOVERED IN THE FORBIDDEN FOREST IN JULY 2017. THIS LIFEFORM, CODE-NAME “DARLING”, ESCAPED FROM THE TOP-SECRET SAFE TRIP ORGANISATION HOLDING FACILITY LATE LAST NIGHT.

ALL THAT WAS LEFT INSIDE THE SUBJECT’S ENCLOSURE WAS A PRESSED POLYVINYL DISC CONTAINING TWO PIECES OF ELECTRONIC MUSIC. THE FIRST, WHICH WE HAVE TITLED “WHEN SHE HATES ME”, SOUNDS LIKE A CALL TO A DISTANT MATE OR PARTNER, COMPOSED AT SUNRISE AND SHOT THROUGH WITH BLISSFUL POSITIVITY. THE OTHER, NOW KNOWN AS “ISLE OF RED”, COMBINES SURGING DRUMS WITH POIGNANT AND MELANCHOLIC SOUNDS THAT ARE CLEARLY UNEARTHLY IN ORIGIN.

Soft Resonance is a 4-track EP focused on deep, driving techno with a strong sense of space and movement. The tracks are built to work on a system — controlled pressure, solid low end, and evolving atmospheres.
Each piece moves between elevation and grounding: moments of lift and openness contrast with dense, earth-bound grooves designed to lock the floor in place.
Rather than peak-time aggression, the EP relies on tension, resonance, and gradual progression. Rhythms are steady and hypnotic, allowing DJs to shape long blends and transitions. Soft Resonance functions both as a tool and a statement —
deep techno for late hours, focused rooms, and careful hands behind the decks.

Jason Wilkins aka Cammile welcomes Lello Di Franco to his long-running Adeen imprint. As usual the Italian veteran has an eye-catching selection of collaborators in tow. Chief amongst these is Javontte, who not only guests on opener 'Do It Right' - a nostalgic chunk of classic house/boogie/jazz-funk fusion - but also flipside cut 'Elements', a hybrid deep house/Afro-house/disco house bouncer topped off with poetic spoken word vocals courtesy of Yvette Garrett. Alongside the duo's original vocal mix, we also get a jacking, stripped-back Toddsonic33 take and a propulsive, percussion-rich 'Vocal Dub'. Elesewhere, Orlando Voorn lends a hand on the appropriately titled 'The Deep', and Di Franco offers up the languid, organ-rich mid-tempo house shuffle of 'Lely The SBT'.

Fred Peterkin releases a lot of music but rarely hands his work over to other artists to remix. This EP, which sees a trio of artists deliver their interpretation of the Berlin-based New Yorker's strings-and-piano-drenched 2023 deep house number 'Someone', is therefore an interesting development. He kicks things off with his own smooth, bass-heavy 2026 'Interpretation', an even deeper and more sensual take that blends dancefloor weight with light-touch jazziness, before Juliet Mendoza takes over with a more locked-in interpretation smothered in warming Rhodes motifs and snippets of soulful, eyes-closed vocal. Dave Aju's take is more weighty, psychedelic and propulsive, while Korea Town's 'Acid' interpretation is darker, faster, tougher and altogether more thickset - the kind of revision tailor-made for peak-time moments in dark basement clubs.

20/20 Vision continues to flourish even well into its third decade. For its next trick, the Leeds label welcomes back Brett Johnson, who was last here 20+ years ago. Releases on Classic Records, DJ Heather collaborations and Derrick Carter championing his work all make him a bona fide house hero and 'Broken Machine' confirms it. 'Unstuck' opens with a mutating disco bassline that refuses to settle, while 'Juiced' dives deep into his signature boompty swing with a drop designed for pure devastation. The title track is the centrepiece - a trippy trip that stretches time entirely before 'iRemember' closes with starry-eyed ambient pads laced above a deep, slow, gorgeous groove. Sophisticated, playful and musical as always.

10th Anniversary Edition. Forest Shadow Vinyl. Spricht man MITSKI MIYAWAKI auf Glück an, warnt sie nur: ,Glück fickt dich." Diese Lektion findet sich seit Jahren im düsteren Outsiderindiesound der New Yorkerin, doch wurde noch nie so kraftvoll umgesetzt wie auf ihrem neuesten Album ,Puberty 2". ,Glück ist oben, Traurigkeit ist unten, aber das eine ist fast noch destruktiver als das andere", sagt sie. ,Wenn du feststellst, dass du das eine nicht ohne das andere haben kannst, ist es möglich, Glücksphasen damit zu verbringen, auf die Gegenwelle zu warten." Auf ,Puberty 2" ist diese Spannung spürbar: ein sowohl schönes als auch brutal romantisches Hinterland, in dem eine der neuen Stimmen Amerikas einen mutigen neuen Weg begeht.

Rick Wade’s Late Night Basix returns in a fresh repress, keeping that raw Detroit deep house spirit alive. Heavy on groove, soulful in feel, and made for late-night sessions.
A must for heads who know the value of a true floor weapon.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Das Wiener Kollektiv TAKESHI'S CASHEW präsentiert sein neues, drittes Album "Planet Odyssey 64". Nach weltweiten Tourneen mit ihren ersten beiden Alben, gönnte sich die Band eine kreative Pause und kehrt nun mit neuem Sound zurück. Der bisherige analoge Cosmofunk der Band wurde um Electro-Einflüsse erweitert. Die sechs Musiker experimentierten mit alten Synthesizern, ließen sich von vintage Computerspielen inspirieren und schufen so ein neuartiges Klanguniversum. Ihre besondere Spielfreude brachte die Idee für eine Art Konzeptalbum namens "Planet Odyssey 64" hervor. Zahlreiche Bands kreisen nach ihrem zweiten oder dritten Album um Fragen der Standortbestimmung - auch Takeshi's Cashew mussten eine Weiche stellen bzw. wollten ein Konzept: nun treffen - back to the 90s - Mittelalterwelten auf Game Boy & Nintendo 64. Wie die loopbasierten Klangwelten der ersten Konsolen oder die höfischen Tanzmusiken, arbeiten Takeshi's Cashew auf Planet Odyssey 64 ebenfalls mit zyklischen Figuren. Nicht nur 8-Bit-Games erzeugten ihre Atmosphären mit reduzierten Mitteln - auch die Wiener Instrumentalisten haben ihre Werkzeugkiste im Vergleich zum bisherigen Ouvre komprimiert. Di verwendeten Leitmelodien und Chiptunesounds gedenken Videospielikonen wie "The Legend of Zelda: Ocarina of Time" oder "Pokémon Saphir Edition". Das rhythmische Amalgam hingegen formt ein Hybrid aus synthetischen Elementen und organischen Bausteinen. Präsent im Klangraum steht ein vorwärts kippendes Krautrock-Gerüst samt E-Bass und Schlagzeug. Die zweite Säule übernimmt ein monophoner Bass-Synthesizer namens Roland SH-101. Völlig verabschiedet haben sich Takeshi's Cashew trotzdem nicht von ihrer originären Herangehensweise, dem Jam. So entstand z.B. binnen eines Tages der vibrierende "Operator" auf dem alten Moog-Synthesizer eines Familienmitgliedes. Im Kern dient diese Musik als Transzendenzapparat, die Hörer*innen kehren mit heiterer Verwandlung von dieser Odyssey zu sich selbst zurück. Möglich auf klarem Vinyl, als analoges Tape, auf CD im Digi-Sleeve oder als Album Digital.

Spain's celebrated deep house outlet Mate comes correct again here with an EP that deals in rich musicality and mature emotions. HITTO aka Alberto Alba is the Mallorcan producer behind the music and his childhood love of jazz really shines through. Opener 'Beyond Words' has singing synths that speak to the soul with lovely ambient chords. Then, 'Take Me Away' brings groovy percussion and cosmic synth transmissions that make it feel all the more profound. Glenn Underground is the perfect remixer to dial up the sunshine with his astral rework of 'Beyond Words' before 'Swish' shuts down with a mix of smeared chords that radiate sun over a grittier bassline. Four accomplished cuts.

A Safe Place To Be Wild is the seventh LP from Jordan Rakei, arriving after more than a decade of pushing the boundaries of soul, jazz and alternative R&B. Fearless, intimate and emotionally direct, the album finds Jordan embracing uninhibited self-expression and placing vulnerability at the centre of his songwriting. Stripping everything back to raw feeling and unfiltered moments, A Safe Place To Be Wild captures an artist fully stepping into himself, confronting the fear of exposing his inner world and finding power in doing so.

In January 2016, a 21-year-old Jacquees confidently stepped into the spotlight and officially shifted the climate of modern R&B. Released as a mixtape hosted by DJ Spinz, Mood wasn't just a collection of songs—it was a bold sonic manifesto. Merging classic, unbridled Southern R&B vocals with the heavy, localized bounce of Atlanta’s dominant trap scene, the project gave a generation of fans their definitive late-night soundtrack. Now, a decade after its initial release, the foundational classic is finally making its official debut on all major streaming services, as well as arriving on CD and vinyl for the very first time.

Produced primarily by Nash B, Mood captured an artist on the precipice of superstardom. Backed by executive support from Birdman and the Cash Money Records family, the project features a powerhouse lineup of mid-2010s royalty, including standout guest verses from Kevin Gates, DeJ Loaf, Rich Homie Quan, Kirko Bangz, and Young Scooter.

For years, Mood lived in the digital underground of mixtape websites and YouTube rips, passed around by R&B purists like a treasured secret. Whether you're streaming it on the go, spinning the rich analog grooves of the vinyl, or popping the CD into your car, this release honors the timeless body of work that cemented Jacquees as the King of R&B.

Introducing Relik.

A new sub-division from Earth Dog Records, reissuing overlooked gems from the North American underground

The ‘90s to early 2000s saw US dance music experience a uniquely innovative gold rush. Records from that period narrate a burgeoning rave-obsessed sub culture, experimenting with the psychedelic sounds of tech house and progressive, with further flirtations with trance, breaks and beyond.

Many of those era’s artefacts have been increasingly difficult to find, and even rarer to hear out in the contexts they were constructed for. Relik exists as a means to preserve the legacy of this formative era, honouring the artists and labels that helped shape an ethos and sound unique to North America, and pivotal to the Earth Dog vision, while exposing this music to a new generation of listeners.

Each reissue will be released with permission and in collaboration with the original artists.

R001: The Vortex Archives

Volume one shines a light on Gainesville’s legendary Vortex Records.
Founded in 1996 by Boyd Westerman and Kyle Hogan, lifelong underground innovators (with Boyd remaining the undisputed king of the Discogs comment section). Vortex was home to a catalog of sounds that helped define a unique tech house and progressive flavoured corner of the North American underground.

Vortex Archives compiles four of our favourite cuts from the label’s discography, that for our money showcases their unmistakable sound best; a seamless fusion of progressive house, tech house, trance and breaks.

Nearly three decades on, these tracks (and the label from where they came) are as timeless and prescient than ever. We’re honored to certify their legacy by bringing them back into circulation.

A huge thank you to Boyd for trusting us with this release and helping to bring a sample of the Vortex catalog back into the world.

Endless respect to all the OGs who archived their catalogues, continued to make incredible music and subsequently paved the way for future generations. We wouldn’t be here without you.

Vier Jahre brodelte es im Berliner Untergrund: Nach zwei DIY-Tape-Releases durchbrechen SEK die Flanke und präsentieren mit Wallensteins Garage ihr erstes Album auf Vinyl ein Debüt, das gleichermaßen Geschichtserzählung, Konzeptalbum und ausufernde Jam-Session ist. SEK benannt nach den Anfangsbuchstaben der Nachnamen ihrer Mitglieder - Paul-Willy Stoyan (Gavial, Jacke Schwarz), Georg Edert (Elder, Gaffa Ghandi) und Lucas Kazzer (Gaffa Ghandi, Borders Down) - vereint drei Musiker, die seit Jahren in der Berliner Underground-Szene aktiv sind. Ihre gemeinsame Sprache findet sich zwischen Improvisation, historischer Erzählung und druckvollem Rock. Was die drei verbindet, ist weniger ein gemeinsamer Stil als die Lust am Ausprobieren: ausufernde Proben, lange Improvisationen und die Suche nach Klanglandschaften, die ebenso sperrig wie eingängig sein können. Was 2022 während des pandemiebedingten Lockdowns mit stundenlangen Jams begann, entwickelte sich in den vergangenen vier Jahren zu einer eigenwilligen Mischung aus Psychedelic Rock, Krautrock und einer Prise Prog. Die Band selbst nennt diesen Sound augenzwinkernd HOR Historian Oriented Rock: Musik, die historische Stoffe nicht illustriert, sondern in Klang übersetzt. Die Inspiration für die Songs stammt aus dem Dreißigjährigen Krieg (16181648), insbesondere aus dem Leben des böhmischen Feldherrn Albrecht Wenzel Eusebius von Wallenstein und den Ereignissen rund um die Schlacht bei Lützen (1632). Das musikalische Arsenal ist ebenso vielseitig wie die erzählte Geschichte: verfuzzte Gitarren mit wabernden Delays treffen auf einen galoppierenden Bass und treibende Drums, getragen von träumerischen Keyboards. Immer wieder öffnen sich freie, fast chaotische Passagen, in denen Harmonie und Rhythmus auseinanderbrechen wie Schlachtordnungen, die im brutalen Nahkampf ihre Form verlieren. An anderer Stelle schaffen sanfte Mandolinenklänge Momente der Ruhe, bevor sie sich in schwere, schmerzvolle Trauermusik verwandeln, inspiriert von Doom und Drone Metal. Zwischen hypnotischen Grooves, improvisatorischer Freiheit und cineastischer Dramaturgie erschaffen SEK einen Sound, der Vergangenheit nicht nachstellt, sondern neu erfahrbar macht. Die Platte erscheint auf Exile On Mainstream als schwarzes Vinyl mit beigelegter CD. Genre: Krautrock, Psychedelic, Alternative Für Fans von: Elder, Gentle Giant, Amon Düül, Zahn.

Experience the music of Hans Zimmer like never before with this limited collector’s edition 2× color laser-etched vinyl. Featuring highlights from the acclaimed “The World of Hans Zimmer” albums, this premium release combines Hans Zimmer’s iconic music with cutting-edge vinyl design—an essential for collectors and fans alike. The set includes 10 electrifying tracks across the A-sides of two vinyl records, housed in a high-quality gatefold sleeve. The B-sides feature stunning laser-etched artwork instead of audio: a detailed clockwork design on one disc and a cosmic landscape on the other. These unique engravings reflect light across the full spectrum of colors, creating a stunning rainbow-like effect that changes with every movement of the vinyl.

This exclusive edition presents concert suites for orchestra, choir, and the legendary soloists of Hans Zimmer’s band, specially arranged by Hans Zimmer. Each suite reimagines the original film scores in a powerful new symphonic form. The album features excerpts from concert suites based on: Man of Steel, Wonder Woman, The Dark Knight, The Rock, Pirates of the Caribbean, No Time To Die, The Lion King, Gladiator, Interstellar, and Inception.

Performed by world-class musicians, including long-time collaborators such as Lebo M, Lisa Gerrard, and Pedro Eustache, alongside the Odessa Orchestra & Friends (conducted by Gavin Greenaway), the Vienna Radio Symphony Orchestra (conducted by Martin Gellner), and the Nairobi Chamber Chorus. A visually stunning and sonically powerful collector’s vinyl release—perfect for fans of film music, audiophiles, and Hans Zimmer enthusiasts.

2026 Repress

It’s Italian time! Sam Ruffillo is back. Sicilian producer doing smooth Balearic disco with Italian vocals. The direction is clear: Sam Ruffillo's music brings us back into the Italian riviera and the hippy days of Ibiza in the late 1970ies. Even his way of production is similar to how the early days disco producers in Italia used to work: No samples needed. Instead a few guest musicians come to jam over Sam's beats in his Italian studio space. Guitar, bass, percussions. Sam later makes the production and added keyboard solos and put together the vibes into what is this new EP.

The girl voice comes from NINFA. It’s the classic studio story: Ninfa is a singer and DJ and friend of Sam. She was hanging at the studio while Sam was finishing these tracks. She stated to sing along... the words came up spontaneously… so they decided to record her and finally decided to keep them. The vibe was too good. Why talk English if u can do it better: in Italian! :)

This is second for Toy Tonics after his Sport House EP from last year. Sam also appeared on the solo record of Joel Holmes on Toy Tonics. Together with Kapote Modica he co-produced and made the beats on that record. Now Sam is back with this pure Italian EP. Inclusive remixes by new German artists Gome and Italian Musemeci - known to many from his fabulous Italo-trance releases on Diynamic records.

Valentina Magaletti (Moin), Al Wootton and Susumu Mukai (Vanishing Twin) create expansive rhythmic music that moves freely through dub, trance, free improvisation and cinematic psychedelia. For Basilikum, the trio recorded a series of improvisations in the Swiss Alps and London. Built on the foundation of vintage drum manchines and instinctive interplay they created compositions where no stylistic borders apply.

Dub techniques meet ritual percussion, hypnotic pulse and vast Popol Vuh-esque landscapes. Drawing equally from popular music, experimental traditions and spontaneous interaction, the trio treats playing, recording, editing and transformation as part of the same creative act. Sounds emerge, dissolve and reappear in new forms, creating a music that is both deeply physical and endlessly open.

With no fixed boundaries and no allegiance to genre, their work embraces movement, texture and collective energy. The result is immersive, transportive music that shifts between meditation and propulsion, intimacy and scale, always evolving in the moment

Jack Hamill concludes his trilogy of space saga albums with The World Overhead landing on Tiraquon Recordings on October 30, 2026, with a special limited transparent blue edition issued exclusively via Bandcamp from October 16, 2026.

Introducing the science fiction realm of Mikrosector-50 and Mr. 8040 on breakthrough electro funk 12-inch, The Love Quadrant (2009), Hamill signed to R&S Records with the double 12-inch "prequel", The Pathway to Tiraquon6 (2011), setting the stage for debut-album proper Welcome to Mikrosector-50 (2013), where Prince-inspired funk and sleek '80s synth-pop soundtracked Mr. 8040's hazardous journey home via heartbreak and drugs. By Love Beyond the Intersect (2019), Hamill's vocoded opus turned introspective, pairing gentle krautrock influences with themes of love, redemption and self-discovery, mirroring Hamill's personal life, sobriety and creative renewal. Through lockdown Hamill retreated to the countryside around Belfast to reacquaint himself with his machines, experimenting with driving acid and trance, and playing guitar, culminating in a fuzzy shoegaze meets banging IDM sound. Relocating to Amsterdam in 2024 and setting up a new studio, Hamill wrote the third installment of Mr. 8040’s saga, bringing the storyline – and himself – back to earth.

Presenting under the new moniker, Jack Tiraquon, and releasing via his own label, Tiraquon Recordings, The World Overhead is the sound of Hamill removing the guise of Space Dimension Controller and concluding the space-themed concept to move forward as the cinematic hardware musician he's always been at the core.

The latest update to the Dream Software sonic catalogue is a glossy re-mastered version of the 2003 release ‘Fears’ from ‘Shuffle Progression’. A soundtrack for the space between reality and the higher spiritual planes. Grounding yet otherworldly, an organic groove doused in a warming sensuality and atmospheric liminality. This one is optimised for hazy spaces, morphing layers of floating essence, slowly obscuring all thats visible into blurry shapes of an abstract existence.

Australian based imprint Paper-Cuts returns to physical in 2025 for their 10th release on the label. Celebrating the debut feature-length album from ‘Radart’ aka Dylan Batelic (Paper-Cuts, Sunflower Aquarium). Featuring an 8-track collection of ambient, downtempo, breaks and more, taken from selected works between 2022-2024.

The third and final volume of remixes of 'Come Into My Life' by Nathalie Capello and Rose Lonegran is yet another doozy for lovers of emotive, meaningful deep house. Another bunch of heavyweights step up, starting with Mystic Bill who teases out a steamy-hot lead and builds a vibe around it. UK mainstay Jimpster plays with a dubby and bubbly low end, while Move D finds jazz-funk in the squelchy bass. Last of all, Underground Quality head DJ Jus-Ed steps up with his remix and explores more dusty textures, a slightly unsettling synth vibe and roomy, hypnotic grooves for late-night dancing.