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Trha is the most enigmatic and visionary creation of Damian Ojeda, an American homebody known for his project Sadness Trha navigates the depths of atmospheric black metal, dark ambient, and ethereal sounds, creating a bridge to an imaginary world called Endlhetoneg.

Christian Prommer – producer, drummer, DJ and multi?instrumentalist best known for his work with Trüby Trio, Fauna Flash, Drumlesson, Voom:Voom (with Peter Kruder), Prommer & Barck (with Alex Barck), and as the producer of DJ Hell’s Teufelswerk – presents his new album Rhythmic Nocturne, spanning spiritual deep house, jazz, balearic trip?hop and hypnotic rhythm explorations. A must for fans of St. Germain, Floating Points and refined grooves at all speeds.

This album distills ten years of Berlin into a twilight drift between order and abandon. Daytime studio sketches are pulled apart at night, reshaped by shifting perspectives that swing between jazz harmony, textural experimentation, and the heavy gravity of techno basslines and analog drums. Intimately close-mic’d piano, drums, percussion, cello, and strings are constantly recontextualized—dropped into new rooms, resonances, and imagined spaces—so their meaning keeps mutating. Room noise, human breath, and accidental sounds are folded into the pulse, turning spill and imperfection into rhythm. Even a piano lid thudding shut on “Dark Matter” is claimed as part of the beat, underscoring an album that embraces freedom, spontaneity, and the beautiful lack of accountability that defines this city at night.

DJ Support: Claptone, Adam Beyer, Joris Voorn, Kaskade, Martin Solveig, Bob Sinclar, Deeper Purpose, Malaa, CID, Valentino Khan, Claptone, Malaa, Danny Howard, Fatboy Slim, Bob Sinclar, James Hype, Tita Lau, Format:B, Fedde Le Grand, Mark Knight & more.

Toolroom Trax Sampler Vol. 5 delivers another heavyweight selection of cutting-edge House and Tech House grooves, curated straight from the heart of the underground.

Mit II Reworked öffnen Kiasmos - Olafur Arnalds und Janus Rasmussen - ihr gefeiertes Comeback-Album II für neue Perspektiven. Fünf handverlesene Künstler:innen interpretieren das Werk in voller Sequenz neu und formen eine schimmernde, traumartige Reise, die den Moment nach dem Dancefloor einfängt. Elektronische Experimente von Rachika Nayar & Nina Keith (Disiniblud) legen verborgene Emotionen frei, während die Isländer Kjartan Holm und Sin Fang die fragile Schönheit der Kompositionen betonen. Alex Somers verlangsamt und verfremdet mit analogen Methoden - für eindringliche, neue Tiefen.

Blending world-class musicianship with undeniable dancefloor energy, this release marks a bold evolution in Sean Khan’s sound — stepping beyond his signature jazz roots into a rich fusion of house, disco, and jazz-funk.
The A-side delivers a powerful, vocal-led jazzy house anthem, with Omar’s unmistakable voice floating over lush live keys and deep bass grooves. Driven by refined production and crafted for maximum impact, Stéphane and Alex Attias bring a sophisticated yet infectious energy designed to ignite dancefloors. Flip it over, and the B-side turns up the heat — a killer disco-house remix by Alex Attias, powered by tight programming from Stéphane Attias and vibrant keys from Sohan Wilson. Already catching attention from DJs, this track is built for late-night moments and peak-time reactions. The EP also features “As The Tree Grows” — a soulful, live-inspired journey through jazz-funk and disco textures. Warm, groovy, and deeply musical, it channels the spirit of legends while staying fresh and modern — perfect for both listening and dancing. Three moods. One release.cCrafted for the dancefloor. Designed for the soul.

Berlin"s Kuboraum Editions celebrates another round of its ongoing Kuboraum Sound Residency with a bumper 19-track volume of exclusive tracks from its vibrant creative community, music that challenges contemporary logic and prioritizes what really matters: experimentation, exchange and evolution. Like its predecessor, that was described by Boomkat as flowing like a "well-curated mixtape", "Kuboraum Sound Residency Vol. 2" is assembled like a proper album in the classic sense, something that"s supposed to be absorbed from start to finish.

For some time now, followers of Field Medic have been piecing together clues about Floral Prince. The name has been mentioned in late night Twitter hints, secret YouTube leaks, teaser riddles, Instagram live sets, and standalone single drops. This unconventional approach paints a bigger picture for the 11-track project as a whole, set for release October 2nd from Run For Cover Records. Part mixtape, part album, part collection, part musical patchwork quilt, Floral Prince is the latest offering from Field Medic, aka the preeminent Bay Area freak folk artist Kevin Patrick Sullivan. It’s a reflection of his unique approach to songwriting and a creative drive that can’t be contained to the traditional album format. Field Medic’s songwriting rarely slows down; even after the release of his 2019 full-length fade into the dawn and the busy touring schedule that followed, Sullivan still found himself flush with new songs and ideas. As he attempted to earmark certain songs for his next release Sullivan began to chafe at the pressures of a follow-up album. Longing for the spontaneity of Field Medic’s earlier work, Sullivan found inspiration in what he calls the “full-time freestyle” mindset where he writes and records songs on the fly with a four-track, usually with a self-imposed limit of three takes. “This style lends itself to more off-the-cuff lyrics and recordings that communicate their point much clearer to my ears,” he explains. “It’s also fun.”

The process proved surprisingly satisfying, often capturing the diary-like nature of Sullivan’s songwriting more accurately than some of the music he’d been poring over. “The songs born from this method aren’t always ‘hits,’ he says. “But they feel much more important to me…closer to how I really feel.” Some of these charming homespun missives made their way onto the internet, spurring fans to follow the breadcrumbs towards these first glimpses into Floral Prince and the ever-expanding Field Medic mythology. “I realized the songs I was saving for another album were much less focused and effective than some of the freestyles I had been creating and subsequently leaking,” Sullivan says. “I think that’s because I really enjoyed the process of writing and recording the freestyles, whereas the ‘hits’ I was attempting to make were being approached as more of a chore.” Floral Prince officially began to see the light of day through a series of stand-alone singles released throughout early 2020 in tandem with episodes of Sullivan’s homemade webseries, the field medic show. To invite fans further into Field Medic’s unique world of achingly beautiful melodies and conversational lyricism, songs like the atmospheric ballad “better way” and the Alex Menne (pickleboy/Great Grandpa) collaboration “talkin johnny & june (your arms around me)” were shared alongside the YouTube show’s accompanying live versions. Other tracks—like rousing opener “-h-o-u-s-e-k-e-y-z-” and the longing “i want you so bad it hurts”—were repurposed from the fade into the dawn sessions to finally find a home on Floral Prince. Elsewhere “it’s so lonely being sober” exemplifies the unvarnished appeal of the full-time freestyle attitude. The song’s direct lyrics and single-take phone recording preserve the deeply personal storytelling, relatable details, and palpable emotions that make Field Medic’s work so intimate and enthralling.

Although Floral Prince is culled from several years of Field Medic songs, its 11 tracks have a sense of cohesion that can be attributed to Sullivan’s singular vision and willingness to allow the listener into his life. “These songs were written through different seasons of my life but they all share a common theme of quiet, nagging, yet somehow defiant insecurity,” he explains. “To hear them all grouped together reminds me that I’ve always felt more or less the same way, and have had the same obsessive tendencies my whole life that have often led to self-destructive behavior. Maybe this is catharsis.” In the end Floral Prince is actually many things at once: a snapshot of an artist shaking off the perceived boundaries of his medium; a document of years of Sullivan’s life preserved in musical form; the closing of one songwriting chapter and the start of another. Or perhaps as Sullivan puts it, “All songs have their day…”

DJ Support: Chloe Caillet, Bradley Zero, Per Hammar, Alec Falconer, Voigtmann, Tsepo, Jorkes, Archie Hamilton, Tai Lokun

There’s no messing about for Luke Alessi's Coffee Cola imprint, quickly returning for a sexy second sip via his 'Sex Machine' EP. Remaining faithful to the imprint's modus operandi of mischievous, high-energy tunes to party to, Alessi is showing the label is here for a good time & a long time.

A journey made of shared glances and chance encounters, born over glasses of passito wine and memories of a summer that tasted like the sea.
“You Only You” is Alex Farolfi’s latest sonic vision—a musical story dedicated to whoever lives in our "happy place", that safe haven we always return to when we need to find ourselves.
A true pillar of Italy’s “Radio Deejay” Alex Farolfi is a household name in the Italian radio and dance music scene. His career is packed with international hits and major collaborations: The Tamperer feat. Maya: Hit No. 1 in the UK and across Europe with the global smash "Feel It", followed by the Top 10 hits "If You Buy This Record" and "Hammer To The Heart", following his recent singles "Time Won’t Wait" and "Loving This New Feeling,"
Alex Farolfi is back with his unmistakable signature sound in "You Only You."

repress 2026

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

SELF Distribuzione is proud to present one of the most presgious publicaons dedicated to the
history of Italo Disco: "WHY / MISS YOU – 40th Anniversary Edion," the new double A-side by
STYLÓO®, available in two exclusive collector's versions.
This release will be offered on stunning Transparent Green vinyl, aimed at enthusiasts of the
format, and in a presgious Collector's Edion on Gold-colored vinyl, created to celebrate forty
years of career and designed for the most discerning collectors and lovers of Italo Disco.

"WHY" and "MISS YOU" are two authenc classics that defined an era and helped shape the sound
of Italo Disco worldwide. Forty years later, these producons retain their melodic power and ability
to move listeners, confirming their status as meless tracks to this day.
This special 40th Anniversary Edion does not merely reissue the original versions—fully
remastered for the occasion—but is further enriched by new remixes entrusted to highly
presgious names.
Roberto Tura@ and Carl Fath have craAed a new and elegant interpretaon of "WHY," while A.P.
Mono, one of the most highly regarded names in the contemporary Italo Disco scene, has given
"MISS YOU" a new look, maintaining its original spirit while offering a modern, current sound.
The result is a project capable of bridging the past and the present, demonstrang how great
classics can connue to live on and capvate new generaons without losing their identy.
To complete the project, two evocave, previously unreleased symphonic overtures, "Echoes Of
Why" and "I Sll Miss You," serve as a tribute to the composional quality of these tracks. Both
symphonic composions were conceived, wriFen, arranged, and produced by STYLÓO® (Rino
Facchine@) together with Alessandro Bonsignori, with the intenon of demonstrang how a great
melody can be reinterpreted through different musical languages while maintaining its elegance
and expressive force.
This arsc choice tesfies to how true musical quality can transcend me and style, confirming
that a great song can be "dressed" in different arrangements without losing its soul.
With over forty years of history, STYLÓO® connues to represent one of the most beloved and
recognizable names in the Italo Disco universe. This release is dedicated to all those who lived
through those extraordinary years and to those today who are ready to rediscover two songs that
connue to move and make people dance.
Because true classics do not belong to the past. True classics live on.

Friday Fuzz are a collec#ve of professional musicians now presen#ng “Much Funk About Nothing,”
an excellent piece of work with a retro flavor. With years of high-profile collabora#ons under their belts, Marco Leo, Cesare Pizze:, Elvin Be:, and Niccolò Barozzi have worked with some of the
greatest Italian musicians—including Tullio De Piscopo, Fabrizio Bosso, Paolo Tommelleri, Alessio
Bertallot, Rocco Hunt, Casinò Royale, and Aereoplani Italiani, just to name a few.
The album features a primarily instrumental sound that evokes 1970s funk and soundtracks. The
band is defined by its ability to create sonic atmospheres ranging from more sparse, introspec#ve
moments to rock and psychedelic horizons, always with funk as the common thread. The result is
“Much Funk About Nothing,” an album that represents the perfect synthesis of their sonic
explora#on and crea#vity.

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

"En tu recto" is the second live album La Polla Records publish and the second with the new shortend name La Polla. This album was recorded in four concerts held in the Chancellor-s Hall in 1997 and reviews the band-s trajectory from "Salve" to "Carne para la picadora". Powerful sound, for many the best live album of the band. It was originally published by GOR in 1998. Black double vinyl.

Somewhere between krautrock, noise rock, decaying psychedelia, and pagan proto-punk, Dééfait makes music like one performs a ritual: in trance, on repeat, and without a safety net. From the chaotic arteries of Mexico City to the basement venues of the Paris suburbs, Dééfait sculpts noise rock in apnea. Their self-titled debut EP is a noise rite: a wall of guitars, incantatory percussion, and possessed voices. With Dééfait, sound twists, repeats, stretches, until exhaustion and ecstasy. Formed in 2023, Dééfait brings together the Valero brothers (Lucas on guitar / Pablo, ex-Pays P, on drums), Enir Da (bass - Temir Alcy, Dali Muru & the Polyphonic Swarm), Grégoire Couvert (guitar), and Riki Lara, a Mexican-born vocalist and performer whose lyrics _ chanted, whispered, shouted _ alternate in three languages: English, Spanish, and French. Active on the Paris underground scene since 2024 (La Mécanique Ondulatoire, Le Cirque Électrique, Nouveaux Sauvages_), Dééfait imposes a ritual tension, physical, almost hallucinatory. No choruses to hum along to, no comforting melodies _ just a dense sonic flow that seeps and vibrates. This debut EP, set for release in December 2025 on Ici, d'ailleurs (Zëro, Matt Elliott, Bruit Noir_), lines up six long tracks resembling pagan litanies. Six extended pieces forming a possessed monologue, as if a camera had been slipped inside a burning body. Everything pants. Everything overflows. From We Love Each Other So Much That We Won't Belong To Any Species Anymore, love exceeds expected forms and becomes an organic pact, a ritual of species departure: "Cut me like you want, in bloom your fire," "We scratch consanguinity / We don't belong to any species anymore." It quickly suggests a call to ecstasy, to trance. The EP as a whole navigates unstable zones where desire, sacrifice, and alienation entwine like serpents on acid. Molokh 8 chants an offering to a carnivorous deity, between severed tongue and chemical body. In Bondbondbond, voices entangle, seek each other in a delirious, sensual chiaroscuro where pleasure derails into compulsion. It's a dogma-free ceremony, a game of inverted masks. Alether _ a live-explosive track and perhaps the most powerful of this first project _ shatters frameworks: convulsive dancing, possessed rhythms drowned by waves of guitar. Finally, Ferreri, cook for us closes the EP as a dark farce: a deviant homage to Italian filmmaker Marco Ferreri, the track chews and regurgitates words as if digesting an overfed world. Recorded in the chaos of DIY and mixed as a raw work, the record captures Dééfait's electric discharge in its purest state. The sound is dirty, visceral, possessed. Think Terminal Cheesecake, Boredoms, Nick Cave-era Birthday Party on acid, but also CAN impaled on an autopsy table, or a Giallo under a strobe light_ Yet it emerges as a singular work.

SELF Distribuzione is proud to present one of the most presgious publicaons dedicated to the
history of Italo Disco: "WHY / MISS YOU – 40th Anniversary Edion," the new double A-side by
STYLÓO®, available in two exclusive collector's versions.
This release will be offered on stunning Transparent Green vinyl, aimed at enthusiasts of the
format, and in a presgious Collector's Edion on Gold-colored vinyl, created to celebrate forty
years of career and designed for the most discerning collectors and lovers of Italo Disco.

"WHY" and "MISS YOU" are two authenc classics that defined an era and helped shape the sound
of Italo Disco worldwide. Forty years later, these producons retain their melodic power and ability
to move listeners, confirming their status as meless tracks to this day.
This special 40th Anniversary Edion does not merely reissue the original versions—fully
remastered for the occasion—but is further enriched by new remixes entrusted to highly
presgious names.
Roberto Tura@ and Carl Fath have craAed a new and elegant interpretaon of "WHY," while A.P.
Mono, one of the most highly regarded names in the contemporary Italo Disco scene, has given
"MISS YOU" a new look, maintaining its original spirit while offering a modern, current sound.
The result is a project capable of bridging the past and the present, demonstrang how great
classics can connue to live on and capvate new generaons without losing their identy.
To complete the project, two evocave, previously unreleased symphonic overtures, "Echoes Of
Why" and "I Sll Miss You," serve as a tribute to the composional quality of these tracks. Both
symphonic composions were conceived, wriFen, arranged, and produced by STYLÓO® (Rino
Facchine@) together with Alessandro Bonsignori, with the intenon of demonstrang how a great
melody can be reinterpreted through different musical languages while maintaining its elegance
and expressive force.
This arsc choice tesfies to how true musical quality can transcend me and style, confirming
that a great song can be "dressed" in different arrangements without losing its soul.
With over forty years of history, STYLÓO® connues to represent one of the most beloved and
recognizable names in the Italo Disco universe. This release is dedicated to all those who lived
through those extraordinary years and to those today who are ready to rediscover two songs that
connue to move and make people dance.
Because true classics do not belong to the past. True classics live on.

“Morning Light (Silence of a Winter’s Dawn)” is the debut album by tenor saxophonist and composer Rik van der Made, a dazzling blend of contemporary jazz and atmospheric folk. Van der Made tells stories full of spiritual ecstasy, inspired by the sea and the seasons. In recent years, The Dutchman refined his style and technique at the Royal Academy of Music and explored the creative hotbed of London. There he gathered a super group to record this album.
Rik van der Made – tenor saxophone; Immy Churchill – vocals; Benji Bown – piano; Niklas Lukassen – double bass; Johan Evans – drums. Special guest: Alex Hitchcock (alto sax)

Steve Stoll - Acida Evolucion - Sonic Groove
Two pillars of New York techno finally collide as Steve Stoll makes his debut on Sonic Groove.

Stepping out from a recent low-profile streak, the NYC veteran delivers a superacideferocious 6-track mini-LP. This is Stoll at his rawest: deep, hardware-heavy 303 minimalism designed to melt minds and dancefloors alike.

Pure analog 303 intensity.

The mighty Drumcode machine rolls on.. back again with the highly collectible DC4 Series now on its third volume. The DC4 series showcases a selection of four tracks from rising and established artists within the modern techno scene.

The EP features high-energy, peak-time techno tracks designed for dancefloors.

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

Alextrem vs Numéro Bleu !
A team !!

DJ Support: Claptone, Adam Beyer, Joris Voorn, Kaskade, Martin Solveig, Bob Sinclar, Deeper Purpose, Malaa, CID, Valentino Khan, Claptone, Malaa, Danny Howard, Fatboy Slim, Bob Sinclar, James Hype, Tita Lau, Format:B, Fedde Le Grand, Mark Knight & more.

Toolroom Trax’s next Sampler showcases 4 big releases from Shiba San, CID, Nausica, ALL U NEED, Twolate, NIINE, Dario Nunez, Alex Now (ES), Gloria IT & Danny Rhys.

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

Strut Records presents a brand new reissue of the 1975 Brian Auger’s Oblivion Express original album Reinforcements. A gem from the later years of the Oblivion Express band, Reinforcements sees Auger evolve from his early ‘70s jazz-rock fusions towards smoother jazz funk sophistication, continuing his journey from the previous year’s Straight Ahead.
With two former Oblivion Express drummers joining Average White Band, there are obvious comparisons to draw as several tracks lean into groove-driven arrangements and polished mid-’70s production.Never one to follow a predictable path, Auger crafts a steadfast, stylish album that captures the evolving sound of the era, offering a rich snapshot of mid-’70s British soul and jazz-funk.

A fan favourite, the album also marks the return of vocalist Alex Ligertwood (later of Santana), whose soulful delivery is a highlight of many Oblivion Express recordings.
He is joined by Jack Mills (guitar), Lennox Langton (percussion), Dave Dowle (drums), and new addition Clive Chaman (bass, flute) – a family affair with their various kids joining for the cover shoot, the full cast adorned in an array of fine mid-‘70s tank tops.

Album highlights include the heavy funk instrumental jam ‘Brain Damage,’ a dynamic, keyboard-driven showcase of Auger’s virtuosity alongside the burning latin jazz workout ‘Something Out of Nothing’ and soaring closer ‘Future Pilot’ taking us from our present day troubles to “thread the skies to a new location.”
‘Big Yin’ is a heartfelt tribute to former drummer Robbie McIntosh following his untimely death. As with all Auger albums, the energy is nothing but positive and soulful – his back cover quote states “May the love you bring to this world be reflected upon you.”
This new Strut reissue of Reinforcements is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered from the original tapes by United Archiving’s Bill Smith, it is presented as a high-quality single LP replica edition.

Incubus is an American rock band from Calabasas, California. The group was formed in 1991 by vocalist Brandon Boyd, lead guitarist Mike Einziger, and drummer José Pasillas while they were students at Calabasas High School. The lineup later expanded to include bassist Alex “Dirk Lance” Katunich and Gavin “DJ Lyfe” Koppel. Both were eventually replaced, Ben Kenney took over on bass, and DJ Kilmore joined as the band’s turntablist. In 2024, Nicole Row replaced Kenney on bass.

Incubus’ sound has been described as a blend of rap metal, funk, jazz, and post‑grunge, often incorporating elements of hip‑hop. This eclectic style helped them become one of the most popular alternative metal bands of the early 2000s.

The band has achieved significant commercial success, earning multiple multi‑platinum releases and producing several hit singles. In 2017, they released their eighth full‑length studio album, 8, with Skrillex contributing to production and mixing.

"Chance animates the smallest parts of the universe: the scintillation of the stars is its power, a wildflower its incantation."
—Georges Bataille, Le Petit

"Even on my way to the gambling hall, as soon as I hear, two rooms away, the clink of the scattered money I almost go into convulsions." —Fyodor Dostoevsky, The Gambler

Video gambling addicts, academic researchers, and industry professionals alike describe the trancelike state into which problem gamblers suspend themselves with remarkable consistency: they unanimously call it the machine “zone,” a kind of inner experience during which the rhythmic flow of human-machine collusion borders on mysticism. Time is abolished in the act of contemporary video gambling —simulated slot reels roll, virtual poker decks deal, and all worldly concerns are lost—leaving only the aura of total zone immersion in its wake. Sometimes characterized as the crack cocaine of gambling, the intensity of the machine zone is a symptom of casino ergonomics: emotionally manipulative fragrance-saturation, mesmerizing lights, subtly controlling walkways and, as captured here, meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.

Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor last year that I would be back for more. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy—casino security is intense—and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions, the best of which are included here.

I learned a lot about casino sonics in the process: game designers, for example, once tuned all their machines to the key of C major in order to optimize harmonic cohesion (strict adherence to the key is no more but C still dominates the game floor); one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casino these recordings are untreated, but lost in the sea of chance I did exert some affirmative control by means of meandering intent and my actual playing of the machines. And by participating in the games myself I got a taste of the financially debilitating consequences that accompany the enchantment of video gambling. The cassette in your hands represents my endeavor to bring you the zone experience without the harsh comedown of its unfortunate reality.

—Adrian Rew

**LIMITED 500 UK COPIES ON BLACK VINYL** VINYL ONLY RELEASE for RSD: Rival Consoles, UK producer Ryan Lee West, shares his original score for MindsEye, the highly anticipated narrative-driven game from Build A Rocket Boy, the studio led by visionary game director Leslie Benzies. The industrial techno score doesn’t just accompany the game, it’s embedded in the code of the world they have created together. The full score sees its debut on vinyl for the first time as a limited-edition Record Store Day 2026 release.

Set in Redrock, a sprawling desert metropolis ruled by surveillance and automation, MindsEye follows Jacob Diaz, an ex-soldier haunted by fractured memories. As his personal mission escalates, he’s forced to navigate a world shaped by rogue AI, militarized tech, and a fragile grip on control, all while confronting the truth about his past. "In MindsEye, sound is a critical storytelling layer, from ambient detail to emotional drive, every element is designed to shape how players feel inside the world," said Craig Conner, audio director at Build A Rocket Boy. "Rival Consoles’ tracks brought something truly special to that vision. Ryan’s music adds a distinct emotional charge and texture that elevates key moments. It doesn’t just accompany the game, it sharpens its edge, deepens its atmosphere, and perfectly complements the world we’ve built." The score was produced over the span of three years in his London studio, and contains some of West’s most ambitious and heaviest compositions to date.

To coincide with today’s release of the game, the 10-track score is now available to stream in its entirety. MindsEye follows West’s previous scoring work, including bespoke music for 2019’s Black Mirror episode Striking Vipers, featuring ‘I Love This, I Love You’, 2022’s Netflix feature doc El Caso Figo about the legendary football player Luís Figo, and Alexander Whitley’s contemporary dance production Overflow, which was released as a studio album with the same name in 2021. The most recent Rival Consoles album, Landscape from Memory, was released in July 2025 to critical and fan acclaim. A world tour continues into mid-2026.

Brussels based pianist Giovanni Di Domenicowas born in Rome in 1977. Majoring in 'jazz piano' at music school - he further built on an encyclopaedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy's "Préludes", Luciano Berio's "Sequenzas", to the 'ambi-ideation' heard in Borah Bergman's Soul Note recordings, Cecil Taylor's polissemic density, Paul Bley's bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis.
A distinction - one would call it generational - he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, ArveHenriksen, Jim O'Rourke, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura.
At the request of W.E.R.F. Records, Giovanni created an entirely new repertoire, teaming up with saxophonist Alexandra Grimal and drummer Eric Thielemans. This collaboration resulted in Echolalia, a suite consisting of three parts: Aoede, Melete, and Mneme. The music is captivating, adventurous, and above all, fascinating.

Mit Vol. 04: Happy Music For Happy Feet präsentiert Wagram einen weiteren Höhepunkt der beliebten Electronic Music Anthology-Reihe. Auch dieses Kapitel wird von FG Radio, einer der einflussreichsten Stimmen der französischen Electronic-Music-Szene, sorgfältig kuratiert und vereint ein erstklassiges Line-up an House- und Dance-Produzenten, deren Tracks über Jahrzehnte hinweg die Dancefloors geprägt haben. Die Kompilation spannt einen weiten Bogen zwischen zeitlosen Club-Klassikern, funkigen House-Grooves und elektrisierenden Dance-Anthems. Mit einer Mischung aus bekannten Hits, DJ-Lieblingen und stilprägenden Signature-Tracks liefert Happy Music For Happy Feet genau das, was der Titel verspricht: pure, positive, hochgradig tanzbare Energie. Perfekt für DJs, Sammler und für alle, die elektronische Musik in ihrer fröhlichsten, ansteckendsten Form lieben, steht diese Ausgabe für das, was House und Dance seit jeher ausmacht - Leichtigkeit, Euphorie und die Freude am rhythmischen Ausbrechen aus dem Alltag.

Jeffrey Alexander and the Heavy Lidders return with their best album yet, and a UK tour this August. Press by Silver PR
‘’On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead’s tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that’s also yielded the Heavy Lidders, an infamous sub-cult of concert tapers that you’re already sick of hearing about. A lot of other things are better over on that timeline, too.
But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, “heavy” in the Lidderverse being far from a monolithic musical idea. There’s heavy like the album-opening “From Loch Raven to Fells Point,” one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there’s heavy, too, like “Calliope Walker” and “Tightroping,” featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years.
But then there’s also heavy like the cover photo of Alexander’s late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander’s life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine.
Convened in 2019 on Alexander’s relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist’s music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you’ll have to keep digging for the rest.
And while it’s not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander’s many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of “Reservoir Drop” into “The Summer Song,” floating into a duo between Alexander’s guitar and Carter’s voice. Catch a half-dozen Lidders shows this summer, and you might not ever catch them playing it like that again, but you just might open the doorway back to that better place." - Jesse Jarnow (writer, WFMU DJ, producer and host of The Good Ol’ Grateful Deadcast)

German-Turkish singer and composer Alev Lenz follows her self-released album 4 in a Cycle of Thirds (Jan 2026) with a complete, album length ambient rework by Simian Mobile Disco co-founder Jas Shaw. “The two records are very much intertwined," writes London-based German-Turkish singer and composer Alev Lenz. "I made 4 in a Cycle of Thirds with Jas in mind, inspired by a mix he created for my last album.” Lenz and Shaw have previously worked together on 2024 collaboration EP Bring Your Friends, as well as album mixes for Lenz' previous two solo records. Lenz' original album was created from a series of single-note drones, one for each note of the chromatic scale. "When I had this idea, I wanted Jas’ touch involved somehow. I asked him for drones on each note. He sent me 12 and I wrote most of the album listening to these drones. They eventually left the picture and were replaced by new drones I made, new sounds or vocals. But the memory of them lingers in the songs, like an imprint on the retina, an afterimage.

So naturally when the record was finished I sent the totality of it to Jas and said: here you go, make your versions!" 4 in a Cycle of Thirds in its original form touches on traditional folk musics, chamber music, contemporary composition, film score, and even interweaves subtle metal inflections, but now presented on double vinyl alongside Jas Shaw's versions as twin records, it has a newly foregrounded quietude, spectral and delicately nuanced. Through reduction, meticulous replacement, and sensitively applied edits, Shaw gently rebalances the light and shadow of the original pieces, coaxing new subtleties and harmonic resonance. "It occupies a space that is in-between the lines," describes Lenz. Shaw employs a "feedback system" he created for his piano, applied here to devastating effect. "Take the key bed off it and set up a resonators, mics and a mixer. Lots of gaffa tape, lots of precarious propping stuff open. You grub around on the floor and slowly the room fills with harmonics, it’s wonderful." And, on the relationship between the original record and these new versions, he explains "we could really let the songs drift into a different shape without worrying that we were missing elements that were great."

Alev Lenz is a singer, songwriter, composer, and producer born to a Turkish actor, activist, and artist mother and an Oscar-winning German engineer father. Alev’s creative foundation is as diverse as her musical output. Her solo discography includes three albums - Storytelling Piano Playing Fräulein (2009), Two-Headed Girl (2017), and 3 (2019). She has contributed vocals to scores by Oscar-winning composer Volker Bertelmann, including the US drama Conclave. She has collaborated with artists such as Anoushka Shankar, Jas Shaw (Simian Mobile Disco), Roomful of Teeth, and plenty more. Songwriter, composer, and producer Jas Shaw is best known for his work with Simian Mobile Disco, whom he co-founded in 2003. He mixed Alev Lenz' 2016 and 2019 albums Two-Headed Girl and 3, and also performs with Selling alongside Gold Panda, and Shaw & Grossfeldt with visual artist Bas Grossfeldt. Shaw and Lenz released the collaboration EP Bring Your Friends in 2024.

Back to Titanic is the second soundtrack album released for the ultimate classic film Titanic. Composer James Horner created a new suite of light and dark music to represent "the soul” of his original score. The inspiration used in composing the original soundtrack formed the basis for the new pieces Horner developed for this album. It features a piano solo performed by James Horner in “The Portrait” and newly recorded suites by the London Symphony Orchestra and the Choristers of King's College.

The first highlight is the opening 19-minute suite, "Titanic Suite", which captures the essence of the film. The other major suite is the final track, titled “Epilogue - The Deep and Timeless Sea”. James Horner returns to the main Titanic theme in a subtle way, honoring the losses of the disaster.

The soundtrack of Back to Titanic is available as a limited edition of 1500 individually numbered copies on violet vinyl. The records are packaged in a deluxe sleeve finished with linen laminate and includes a 4-page booklet with liner notes by director James Cameron.

Colemine ist stolz darauf, die neueste 45er von Aaron Frazer zu präsentieren. Diese hier ist etwas ganz Besonderes. Zwei Tracks mit der Rhythmusgruppe der legendären Cold Diamond & Mink, dem Rückgrat des finnischen Soul-Labels Timmion. Die A-Seite ist ein neuer Track: ,It's A Shame". Und es ist vielleicht wirklich schade, dass dieser Titel es nicht auf die "Into The Blue" LP geschafft hat, denn er ist ein echter Knaller. Meisterhaft von Aaron und Produzent Alex Goose zusammengestellt und arrangiert, besticht der Track durch knackige Drums, Aarons charakteristisches, seidiges Falsett und wunderschöne Streicharrangements. Du wirst den Refrain noch tagelang vor dich hin summen. Die B-Seite ist der Album-Closer auf ,Into The Blue" - und das aus gutem Grund. Es fühlt sich wirklich wie ein süßer und gefühlvoller Abgesang am Ende eines Films an. Ein Klagelied über die Höhen und Tiefen der Liebe, das Gefühl, angesichts des Scheiterns dumm dazustehen, aber trotzdem weiterzumachen. Es fühlt sich an wie ein verlorenes Sample, das von Aaron und Goose gekonnt ins Hier und Jetzt geholt wurde. Für Fans von Durand Jones & The Indications, Pale Jay, Jason Ngonda, Thee Sacred Souls, Neil Frances, Khruangbin.