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Foundations Records brings you their hotly anticipated third release from Sonar's Ghost on Rinse Out EP - a bold four-tracker of breakbeat jungle, atmospheric jungle and jungle-tekno.

Sonar's Ghost

Starting out DJing in the peak hardcore era of 1992, Dominic Stanton rose as a post-hip-hop and ragga kid, cutting his teeth at free parties across the Shires. Drawn into the new directions of hardcore and jungle, he earned early gigs at the legendary Sanctuary, Milton Keynes, performing as Dom-unique.

Learning the art of beat-chopping on the Amiga 500, Dom landed his first release on Reinforced Records in 1995 and continued releasing into the 2000s as Static Imprints and Sonar Circle. Inspired by Dego and the evolving trajectory of 4hero, Dom began moving into more unexplored territory, producing eclectic, soulful beats under the name Domu.

After a brief hiatus, Sonar's Ghost was born - an outlet to explore the years Sonar Circle missed, from 1991 to 1995. Creating alternate journeys through that era, Sonar's Ghost reimagines the original sound palette using original sources, new blends of beats, and a lifetime of musical influence. For Dom, Sonar's Ghost is his happy place.

The Foundations release blends the eras and directions Dom loves most - from '93 bouncy darkside through to '03 drum funk - with authentic drums and samples integral to the vibe.

Here's the support on radio:

- Makossa (Radio FM4 Vienna)
- Distant Planet (Infrared FM)
- Sun People (Sub FM)
- Alex Ruder (KEXP Seattle)
- Haus of Beats (Txapa Irratia)
- Haus of Beats (Txapa Irratia)
- Tom Ravenscroft (Rinse FM)
- Jon1st (Subtle Radio)
- Martha (NTS / BBC R1)
- Harper (Czworka Polskie Radio)
- Gremlinz (89.5FM Toronto)
- N-Type (Rinse FM)
- Michelle (NTS)
- Mathieu Schreyer (KCRW, LA)
- Darkerthanwax (The Lot Radio)
- Bevin Campbell (PBSFM Aus)
- Errol Anderson (NTS)
- Ian (94.9 CHRW)
- OPR8 (Sub FM)
- Tramma (Noods)
- Carlos Contreras (Tilos Radio Budapest)
- Jay Scarlett (BR Puls Munich)
- DJ Tuco (91.90FM Prague)
- Ed2000 (Cashmere / The Face)
- Vinyl Junkie (Eruption Radio)
- Klaus Fiehe (1WDR)
- Benji B (BBC 1Xtra)

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz.

A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match.

As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix.

While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno.

Opening track Dynamic Duo is a 4/4 stepper bomb – with samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding.

The flip returns to the more traditional Dub Specialist vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Beat The Mystery.

Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.

That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.

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.

2026 Repress

since his first ep tips' on luciano's label cadenza in 2007 producer and dj petre inspirescu emerged into one of the key figures of the romanian electronic music scene.

so far he released music on labels such as vinyl club, lick my deck or amphia. together with his buddies rhadoo and raresh he also launched in 2007 the label (a:rpia:r) -  a platform where he, his two friends and many producers from romania and abroad released detailed grooving house and techno, that stands out with delicate structures and one-of-a-kind grooves.

both of his more dance floor oriented solo albums intr-o seara organica...' and gradina onirica for (a:rpia:r) are enlarged with melodies, sounds and harmonies that go beyond the usual characteristics of a dance album.

furthermore his love for classic musicians like mily alexejewitsch balakirev, alexander porfiryevich borodin or or nicolai andrejewitsch rimsky-korsakow can be felt in the album padurea de aur (opus 2 in re major) and two more eps that he released under the alias pensemble on the romanian label yojik concon in order to unite classical spheres with analogue electronic music production.

in february 2013 he also released his highly acclaimed fabric mix cd that only features dance floor leaning music produced by himself. with talking waters' he published in late 2014 his first 12inch on mule musiq that is now followed by the full-length album vin ploile' which he produced without the intention to entertain with easy to hook up rhythms, melodies and harmonies.

even tough he established himself as a internationally playing house dj that regularly performs at all major clubs, festivals and other party destinations around the globe: as a musician petre inspirescu always tries to enter new territories to explore with a heartfelt human touch the infinite space of sound.

for his latest album the man that originally comes from the eastern romanian town braila stepped away from his former experiments of melting classical spheres with electronic music. instead the 36-years old man from bucharest only used some piano, string and wind instrument elements and analogue electronics to arrange a gracefully deep ocean of sound.

all slow grooving tracks spread the atmosphere of live improvised sessions that are edited, tweaked and mixed to perfection. in-the-moment moods of strange and unusual analogue synth sounds groove in a fluid quality with subliminal bass shapes, latinate percussions, jazz rhythms and acoustic melodies.

together they create a gaseous kinetic atmosphere full of tangible rhythm patterns, delicate chords and ghostly modular synth pads - all mixed subtle to create space for the tones between the tones.

you can call it a hypnotic after hour album for after hours that are dedicated to a deep listening experience. you can tag his arrangements as brilliantly textured and musically super-charged ambient, which goes beyond the usual definition of the genre.

all nine suspenseful compositions seduce with a deep melodic sensibility, harmonic adventures and an overall rhythmic ambiance of freshness and laidback enthusiasm. together they represent a challenging auditory experience that will resonate in your mind long after the music has finished. 

Caçador de Horizontes is the fourth and most ambitious album by Brazilian composer and songwriter Raphael Gimenes. Conceived as an expansive double album, it brings together voice and acoustic guitar with richly arranged strings, brass and a wide palette of percussion, engaging with the tradition of Brazilian songwriting while evoking the harmonic sensibility of artists such as Milton Nascimento, alongside elements of modern classical music.

Inspired by travels across the American continent, the album moves between intimate moments and large-scale instrumental passages, creating a cinematic and emotionally resonant atmosphere. Produced by Lucas Delacroix, Alexandre Andrés and Gimenes himself, it features more than 30 musicians from different countries and was supported by the Danish Arts Foundation (Statens Kunstfond).

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

After a longtime interest in the beguiling music of Nathan Dawidowicz, Hell Yeah now hooks up with the leftfield downtempo producer for their second full-length album, FLUFF. The immersive record features three long, winding and mystical soundscapes that blend trance and experimental into spiritual and ritualistic escapes.

Dawidowicz was born in Milan to a Polish-Lithuanian mother and a Cameroonian father, but grew up in an ultra-Orthodox Jewish community in Jerusalem. Because of that, their sound is deeply rooted in childhood experiences playing the piano at religious ceremonies, as well as taking inspiration from their father’s DJing throughout the '80s and '90s. Now based in Berlin, Dawidowicz has explored expression through music on labels like Luspoderosa, where they released their debut solo album, Sanctuary of Ideas.

It was when Calm and David Holmes started playing the epic, 23-minute 'Capricorn Rising Over Jerusalemite Temple' from that album that Hell Yeah founder Marco was encouraged to get in touch with Dawidowicz. A few months later, talk turned to releasing this new album, which comes with artwork by Spain's Alicia Carrera.

'Skeptic Afro Jr.' kicks off and soon sinks you into slinky, ever-evolving rhythms. It's a slowly evolving work of sound where the focus shifts from snaking basslines to lumpy drums, cosmic leads to life-affirming chords. 'Scintilla (Feat. Hannah Schraven)' is a deep and downtempo trip into dub and techno, with undulating drums and exotic melodies that escort you into otherworldly realms of spiritualism. Last of all are 'Deep Fluff' and a hidden track (Feat. Leo Börger), two cinematic explorations of deep space where acoustic frequencies and molten synths rewire your brain and connect you to a higher power.

FLUFF is another deeply personal and inward journey packed with transcendental experiences.

DJ FEEDBACK:

"That's such an outstanding piece of work - played two at the beginning on Saturday. Probably my favourite release of the year so far!" Sean Johnston ALFOS

"this is great! 3rd repeat. It’s so nice" Vladimir Ivkovic

"Just listened to Nathan's record and it really sounds amazing... Probably the best thing you've put out to my ears ;-) I love the way he bridges the sounds of the past with contemporary storytelling, taking you on a very long trip which you never want to leave!" Alexis Le Tan

"yeah Fluff is a wonderful weird one!" Axel Boman

"I love him" David Holmes

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

From commanding festival mainstages to shaping the Belgian house scene with his SHOMI brand, DJ Licious has consistently delivered music that connects beyond borders. With his debut album "So Far", he brings together the highlights of his career "so far", while setting the stage for "what's next" - a sonic story of passion, persistence, and the universal power of dance music.

A Journey Through Hit Records and New Horizons

"So Far" gathers DJ Licious's biggest anthems to date, including his massive hit "Magic With You", for which he received a golden record and spent over 30 weeks in the Ultratop 50. The album also features Top 10 hits like "Hope" (with Armen Paul) (Platinum) and "Million Moons" (Gold), alongside fan favorites such as "Ibiza Sky", "Beautiful Liar", "Voices", and his latest single "One More Day."

In addition to these beloved tracks, "So Far" includes two brand-new, unreleased songs, offering listeners a glimpse into the next chapter of DJ Licious's musical journey - a seamless blend of feel-good grooves, melodic energy, and emotional depth.

"'So Far' is a reflection of everything I've experienced on this journey - the highs, the love, the dancefloors, and the people I've met along the way. It's a thank-you to everyone who's been part of it," says DJ Licious.

Mumbai-based musician, producer, and DJ NATE08 returns with his sophomore album Twenty Seven - a luminous fusion of r&b, deep house, and funk-leaning grooves, pressed to a single 140g LP in black vinyl.

Three years on from his acclaimed debut Furaha (which featured the breakout hit “Primrose” with over 7 million streams), NATE08 expands his sonic palette with Twenty Seven: a radiant collection of tracks that balance soul-soaked vocals, late-night basslines, and warm, sun-drenched production.

NATE08, aka Nathan Thomas, has become a central figure in Mumbai’s thriving underground, working as a session bass player, live performer, and genre-spanning DJ, while making an international impact through releases on label Needwant. Twenty Seven captures his full range: both organic and synthetic, smooth yet floor-ready, always driven by heartfelt groove.

From the dreamy opener “You’re The Reason” featuring Mary Ann Alexander’s velvety tones, to the nostalgic glow of lead single “Where Are You Tonight” (feat. Dishaan & Mallika), the album unfolds like a love letter to house music’s emotional core. Highlights include the syrupy r&b/house hybrid “Afterlife” (feat. Dappest), the golden-hour deep house shimmer of “Call Me Back” (feat. Sahirah), and the soul-drenched “What Was It” featuring Jamal Bucanon. Closing track “Stay” wraps it all with soft-focus chords and a bumpy, irresistible groove.

Twenty Seven is a sophisticated and inviting journey across mood, tempo, and texture, showcasing NATE08’s gift for weaving melody, rhythm, and soul into music that speaks equally to the dance floor and the heart.

Was lief musikalisch in 2025? BRAVO The Hits gibt Aufschluss! 48 Tracks aus den Charts auf 2 CDs,
4 LPs und Download. Hier ein paar Beispiele: Ed Sheeran ”Azizam”, Oimara ”Wackelkontakt”, Jazeek
”Akon”, Alex Warren ”Ordinary”, Gracie Abrams ”That’s So True”. Aber auch brandneue Titel, wie Lady
Gaga ”The Dead Dance” und Sabrina Carpenter ”Tears” sind zu finden. 2026 kann also kommen!

Mit TechnoBase.FM Vol. 5 erscheint eine weitere Ausgabe der beliebten Compilation-Reihe auf Vinyl – ein Muss für Fans elektronischer Musik und Sammler hochwertiger DanceReleases. Die limitierte Pressung bringt den charakteristischen Sound von TechnoBase.FM direkt auf den Plattenteller und vereint aktuelle Club-Tracks mit zeitgemäßem HandsUp-, Dance- und Electro-Flair.

Ein echtes Highlight für alle, die elektronische Musik nicht nur hören, sondern erleben wollen – in bester Soundqualität und stilvollem Format

Heith's music has always been infused with sacred mystery, striking a delicate balance between lived experience and imagination. On Escape Lounge, his second full-length release for PAN, Heith draws inspiration from contemporary digital spirituality and interpretations of experience that are crossing over from cultural niches into the mainstream - including internetbased conspiracy theories and psychological operations. The album presents a sonic diary recorded across Milan, Berlin, London, and Stockholm, crafting a post-informational folklore while exploring new territories in personal songwriting. The title Escape Lounge, inspired by airport waiting areas, serves as a metaphorical waiting room of the mind. Its hidden passages can lead either to peril and loss or to enlightenment and kaleidoscopic mental landscapes. This liminal space echoes the mysterious realms of Twin Peaks or the viral "Backrooms" phenomenon. Within it, contributing musicians - including frequent collaborators Leonardo Rubboli, Aase Nielsen, and 33 drummer Alexander Iezzi - move like ethereal presences, creating intangible soundscapes that leave traces of post-hypnotic melancholia. Notably, the vocal contributions from Price and James K enhance the otherworldly atmosphere, their multifaceted timbres adding layers of intentional ambiguity. Throughout the album, Heith masterfully blends acoustic instruments, human voices, and digital technology along an uncharted path that references the experimental pop of 90s trip-hop, 2000s indie-folk songwriting, and lush Mediterranean psychedelia. The sounds are meticulously crafted, combining synthesizers with guitar-based compositions in a computational songwriting approach that creates a collage across eras and landscapes. Each track unveils new dimensions of this delicate hallucinogenic narrative, delivering an immersive listening experience. As reality continuously shifts, Escape Lounge emerges as both sanctuary and confinement - a space of momentary connections and endless potential. In 2025, Heith will debut a new live show and audiovisual collaboration titled 'The Talk' with James K and Günseli Yalcinkaya, commissioned and premiering at Sonar Festival, Terraforma, Nuit Sonores, and Reworks.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

2026 Repress

Brooklyn duo Fundido team up with Philadelphia's Universal Cave to press their first physical release titled ‘Paradise Tempo’, a love letter to dance floor music that sits in the cross section of the tougher sounds of the city and the softer sounds of the balearic and the backwoods.The A side kicks off with a flawless downtempo mix from California based Dirty Dave and Alex Pasternak, who find a rare cover of the Cathy Denis classic and refurbish it to perfection. Next up is ‘Emotional Jungle’, a jazzy midtempo weapon led by a massive saxophone hook and edited to optimum club efficiency by NY based Nick Stropko. LA via Serbia’s Masha Mar unearths extremely rare gem ‘Take Me to Mecca’ and reworks it into a dreamy midtempo journey that carries both a children’s choir vocal and a middle eastern synth melody effortlessly across a foggy dance floor. And closing out the A-side is the wonderful ‘Charlie’s Vision’ from Universal Cave, a spooky AOR tinged cosmic trip that is only available on this vinyl pressing.The B Side leads with balearic beach party stomper ‘Amor’ from Fundido themselves; complete with Spanish vocals, lofty piano jamming and a contagious growling bassline. Next up is ‘Sex-O’ from Seoul man Tucan Discos, who reworks a tribal classic into a hypnotic and seductive club mix; followed by ‘Freak Estilo’ from Spain’s Ritmal Astral boss Orion Agassi who offers a bumping freestyle breaks mix with an addictive r&b vocal hook. Last but not least, the ‘Be Careful Operator’ edit from Miles Felix aka Sisserou closes down the function with a block party jam swimming with jazz, swing and soul.When asked what visual imagery they had in mind for Paradise Tempo, the prompt given to artwork maestro Ray Fernandez was ‘salt of the earth utopia’ and ‘working man’s paradise’ … and Ray delivered exactly that. Enjoy Paradise Tempo !

Repress

The vinyl is titled Final Call, in the A side there are two tracks: A1 Bogdan Andrei - Before and After genre Romanian house, as the second track A2 Bogdan Andrei and Mila Lexi - Final Call this track is the main vinyl from which it takes name, also this genre Romanian house.


In the B side of the vinyl there are 2 tracks: B1 Bogdan Andrei and Libe - Zero genre minimal techno, as the second track Bogadn Andrei and Alex Rusu -Secret also this minimal techno.

Mit "Tourist History" veröffentlicht die britisch-irische Indieband Two Door Cinema Club eines der einflussreichsten Debütalben der 2010er Jahre in einer besonderen 15th Anniversary Edition. Das Album, das 2010 erschien, gewann den Choice Music Prize als Irish Album of the Year und markierte den Start einer Weltkarriere, die von Festival-Headliner-Shows bis zu über 1 Milliarde Streams von "What You Know" führte.

Zur Feier des Jubiläums erscheint Tourist History in drei liebevoll gestalteten Formaten - inklusive bisher unveröffentlichter Remixe und Raritäten.

Seit dem Garageprojekt in Bangor haben Alex Trimble, Sam Halliday und Kevin Baird eine beeindruckende Karriere hingelegt - mit Top-10-Alben wie Beacon, Gameshow, False Alarm und Keep On Smiling und ausverkauften Touren weltweit. Diese Jubiläumsausgabe ist ein Muss für Indie-Fans und Sammler - ein Meilenstein moderner Gitarrenmusik.

Laurant Webb, Dave Coker, Justin Bailey and Dave Pine were the driving forces behind Strange Weather Studios. Based in Southeast London, the studio served as a creative hub, playing a pivotal role in shaping the sound of a groundbreaking genre. Alongside close friends and collaborators, they produced a series of influential records that have left an indelible mark on the music landscape.

This release is a heartfelt tribute to Strange Weather Studios and the talented individuals who brought its magic to life. It also honours the studio’s production partners though iconic projects such as Housey Doingz, 7th Voyage, Space Bunny, Get Fucked and Green Eyed Monster. These projects that were instrumental in forging the signature, original London Tech House sound.

The tracks on this record have been handpicked by Laurant Webb and Yossi Amoyal, meticulously restored and remastered from the rare original DATs.

This release marks a significant milestone for London Tech House, symbolising a collaboration between its key pioneers and a label that evolved alongside the genre. It’s an organic partnership that celebrates the past and looks towards the future. A project we’re incredibly proud to share with you

DJ Support from Danny Howard, Charlie Hedges, Dombresky, Claptone, Mark Knight, Chris Lake, Junior Sanchez, Ferreck Dawn, Milk & Sugar, Boston Bub, Gene Farris & more.

Alex Preston launches his AP Edits series exclusively on vinyl with Prime Direct Distribution. AP Edits Vol.1 features 2 of Alex’s favourite high energy edits that have been supported by Claptone and Mark Knight.

Sweet Free Association is back with new productions this time, an essential debut EP from London-based producer Convertible.
A three track 12inch that touches on all areas of house but stays driving and DEEP! TIP!

The label says:
"Every once in a while something special comes along and this is one of those moments!
Sensitively crafted over time, the result is lush and timeless electronic music that is full of emotion and depth and that invokes the highest feelings of ecstasy!
Teased over the last 6 months in clubs and on radio, the music is consistently the highlight of my set, with the reaction from both the floor and the amount of messages I have received about these ‘unknown’ being staggering. But try it for yourself and you will find out!

Support from Chaos in the CBD, Ryan Elliott, Alex Kassian, Kléo and Millos Kaiser."

All tracks written and produced by Convertible.
Mastered by Frank at The Carvery.
Like The Rain additional mixing by Brain Rays.
Comes in gradient-coloured sleeve.

REVOLT hits double digits with a special release from Athenian underground veteran Other Reality—aka Alex Psaltakis—a figure deeply rooted in the rave culture of the ’90s. His journey began in the late ’80s via the Amiga demoscene, inspired by the raw energy of acid house and hardcore breakbeat. By the mid-’90s, he was DJing at raves, clubs, and open-air festivals, fueled by a passion for psychedelic trance, ambient, Goa, and experimental acid rock. His dedication to the underground has remained unwavering ever since—fed by records, synthesizers, and a deep love for sound exploration.

Still Thrill EP is a 4-track release shaped by a wide musical range, bringing together elements of Detroit techno, trance, house, Goa, ambient, and progressive. More than just a debut on the REVOLT label, this is Other Reality’s first-ever release on vinyl—a deeply personal milestone shaped by years of dedication to his craft and the support of close friends and peers.

Crafted with a mix of hardware and software, the EP draws from years of studio sketches and archived musical ideas. A hidden detail runs through it: a fragmented sample from a rock track that deeply marked Alex in the past—a line that never fully completes in the track.

Each piece carries emotional weight and narrative depth, blending analog warmth with timeless dancefloor energy. The EP moves effortlessly through moods—nostalgic yet forward-looking, playful yet deeply personal.

Ohm ’95—with a name that subtly hints at the Goa trance soul—delivers acid basslines, trance elements, and dreamy pads. A transcendental, unifying experience. Kinda Free pulses gently like a groovy caress at dawn, with dreamy layers, steady rhythm, and acid touches that feel both tender and elevating. More Than Advice embraces movement, disorder, and acceptance, rolling through intricate percussions, hypnotic loops, and a cosmic atmosphere. Emotional and raw. Still Thrill closes the EP with slow-motion energy, submerged in flowing textures and a fluid, nostalgic groove.

Vinyl only. Limited edition.

"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

"The past few years has seen an explosion in pop music, with new artists breaking with unforgettable songs and (re)establishing pop, with influences from different genres and places, at the top of the charts.
NOW Music are very proud to present NOW That’s What I Call Pop! – 38 massive pop anthems - including 8 UK #1s – and with all tracks featured on a stunning 3-LP vinyl pressed in a different colour for each disc: Bright Yellow, Hot Pink and Baby Blue, releasing 23rd May 2025."

We are thrilled to announce the Playedby020 vinyl compilation, a special edition celebrating Playedby's 10th anniversary. This exclusive collection features 20 notable tracks from renowned international producers. As we mark a decade of musical innovation and passion, the Playedby020 compilation showcases the diverse and cutting-edge sounds that have defined our journey. Join us in celebrating ten years of incredible music with this limited edition vinyl box, a must-have for any electronic music aficionado or committed collector. Thank you for being part of our journey—here's to many more years of musical excellence!

Romanian producer and DJ, Cîmpian Mark Alexandru, known as Cim Pian, proudly presents his milestone vinyl release, Chronosphere, on Phonichouse1. Hailing from Reghin, Romania, Cim Pian has been a dedicated figure in the electronic music scene, with a deep connection to the country’s influential minimal house movement. Over the years, he has released multiple tracks on Phonichouse1, a respected Romanian label known for curating refined underground sounds.

The release features two original tracks that highlight his distinct artistic vision. The title track, Chronosphere, is a profound minimal breakbeat composition, enveloped in textured, dark atmospheres, guiding listeners through an immersive sonic journey. Complementing this is Djinn, a classic 4/4 minimal house track infused with oriental influences, building tension with its ghostly textures and hypnotic groove.

Adding an extra layer of depth to the project is a masterful remix of Chronosphere by Barac, one of the most revered artists in the minimal scene. His interpretation brings a fresh perspective to the track, reinforcing the release’s impact.

The mastering has been handled by Rob Small, ensuring a refined and high-quality sonic experience.

The artwork is an original drawing by Andrei Ardelean, with layout design contributions from Cim Pian himself, visually capturing the essence of the music.

Chronosphere marks a pivotal moment in Cim Pian’s journey, showcasing his evolution and dedication to pushing the boundaries of minimal house. Released on Phonichouse1, this vinyl is a testament to his enduring presence in the underground scene.

2025 Repress

Nach seiner "Heimischen Gefilde" CD vor zwei Jahren auf TRAUM, die den Preis der deutschen
Schallplatten Kritik gewann und als erste CD mit Moderation in die Techno-Geschichte einging, hat Eulberg
jetzt mit klarem Ziel vor Augen ein Album geschrieben, bei dem er alle Facetten elektronischer Musik ins
Visier genommen hat.
"Diorma" ist somit wieder etwas völlig eigenständiges und neues, eine Rückführung in den Urzustand
Eulbergscher Klangkunst und das mit höchstem Anspruch und zeitgemäßem Sound-Kolorit
Played by... Monika Kruse, Sebastien Leger, Gregor Tresher, DJ Sasha, Mauro Picotto, Alexi Delano, Ryan Davis, Marc Marzenit, Max Cooper, Morris Cowan, Steve Lawler, Fra Soler, Mihalis Safras, Igor Tchkotoua (pig and dan), Paco Osuna, Sebbo Suckfuell, Ekkohaus, Deepgroove, Tom Wax, Alland Byallo,
Grünbox, Scott Byrne, Axel Bartsch, SQL, Taster Peter, Goldfish & Der Dulz, Intu:itiv, Beatamines, Freska, Zidan, Sebastian Russell

"Forward Ever" ist die neue LP der preisgekrönten Londoner Rapperin, Produzentin und DJ Lex Amor. Ihr 2020 veröffentlichtes Debüt-Mixtape "Government Tropicana" wurde millionenfach gestreamt und verkaufte mehrere Vinylpressungen aus. Seitdem arbeitete Lex Amor mit diversen Künstlern (Kojey Radical, The Silhouettes Project), sowie angesehenen Plattformen (COLOURS, Boiler Room) und Markenpartnern (Alexander McQueen) zusammen. Medien wie Radio 1, BBC 6 Music, Kiss FM, Clash, Pitchfork und Line Of Best Fit sind voll des Lobes für sie.

We’re teaming up with ELUCID and Fat Possum for a limited edition of 300 copies of a Rush Hour black ice coloured edition.

E L U C I D, one half of the illustrious duo Armand Hammer, is here with the full-length follow-up to 'I Told Bessie'. Further experiments in the sonic, expanding on the 'live' side of music paired with the embracing of chaos. Something you haven't heard, or not so for a very long time. E L U C I D is here to reveal the bleakness of reality.



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''There is never time in the future in which we will work out our salvation. The challenge is in the moment; the time is always now.''
James Baldwin

A raw, crackling urgency runs through rapper-producer ELUCID’s new album REVELATOR like an underground power line. There is no space here for sepia-toned reminiscences or indulgent self-mythologizing. Intellectual rabbit holes have been filled in with concrete and rebar ; there is nowhere to hide and no off ramp from the audio Autobahn that ELUCID has fashioned—a renegade Robert Moses with gold fronts, bulldozing the homes of the powerful and the complicit. REVELATOR brims with the energy of now, with a refusal to look away. Carpe diem in a murder one mask.

Born in Jamaica, Queens, ELUCID has been on the cutting edge of New York’s underground scene since the mid-2000s. From the beginning, he has defied both convention and expectation. He ran with Okayplayer darlings Tanya Morgan, but his own music eschewed their throwback charm for glitchy noise experiments and bass-swamped culture jamming. His 2016 debut studio project Save Yourself (re-released in a deluxe edition last year) announced him in earnest. But in recent years, his Armand Hammer releases with partner-in-crime billy woods have received significant attention and acclaim. Serving as a followup to his last solo album—2022’s comparatively balmy I Told Bessie—ELUCID hoped to “re-distinguish” himself with REVELATOR, setting himself apart amidst the increasing attention around the music he and his friends are making together.

For ELUCID, this meant setting bold new challenges for himself. One of these was diving further into live instrumentation than ever before—”getting my Quincy Jones on,” as he puts it. The testing ground for this approach was Armand Hammer’s most recent project, 2023’s We Buy Diabetic Test Strips’ Möbius strip soundscapes, warmed with instrumental flourishes and skin-shedding beat progressions. With REVELATOR, though, ELUCID strove to create an atmosphere of chaos, embracing experimental electronics and atonal sample bursts. He worked on much of the album with co-producer Jon Nellen, who comes from a background in avant-garde and Indian classical music. “I wanted to get as freaky as I could at this moment. I wanted people to hear things, maybe for the first time, or in a way they haven’t for a long while,” the rapper explains.

ELUCID arrived at the studio with a collection of noise sources: non-referential samples, glitches and noises. Together he, Nellen, and others created forms out of them and, as ELUCID recalls, “just started playing drums with it.” Their fried, distorted sound was directly inspired by Miles Davis at his most uncompromising—specifically, the tone-clustering funk track “Rated X” from his 1974 double LP Get Up With It. At times, the pairing of rap with avant-fusion sounds also brings Emergency! from The Tony Williams Lifetime to mind, perhaps in an alternate timeline where the late drummer was listening to Ice Cube’s AmeriKKKa’s Most Wanted.

“The World is Dog,” REVELATOR’s lead single, functions as the album’s aesthetic thesis statement. Like the Davis track, the textures are punishing, the tonality is in free-fall, and the driving breakbeat of a groove cuts in and out unceremoniously. Avant-jazz bassist Luke Stewart, who appears throughout the record, holds the whole thing together just long enough for ELUCID to tightwalk over the beat. This tension is exactly where REVELATOR sets itself apart; in a time of drumless loops, and safe soul samples, this is a high-wire act with no safety net. Similarly, the song announces the themes of the album within just a few phrases, evoking the way societies accept and adjust to new levels of debasement and brutality while suffocating under the weight of history: “Can’t clock the kill, all a mystery/Forced past will eating everyone eventually/The world is dog.”

Many of the songs on REVELATOR grapple obliquely with dissolution and disenfranchisement in America and across the world—the grim realities of our domestic sociopolitical climate and our involvement in foreign conflicts. “Much of my artistic and political sensibility comes from the Black arts movement here in New York,” ELUCID explains. “Recognizing the interconnected global struggles against oppression, artists and thinkers created works and actions in solidarity with freedom movements in South Africa and Palestine.” ELUCID cites intellectuals like Amiri Baraka, Kwame Nkrumah, Audre Lorde, Sonia Sanchez, and Nikki Giovanni among his heroes. (One track on the album is specifically inspired by Lorde’s work, “SKP,” citing the scholar’s paper “Uses of the Erotic: The Erotic As Power.”) Songs like REVELATOR’s insistent closer “ZIGZAGZIG,” find ELUCID applying up-to-the-minute messaging, making explicit reference to the conflict in Gaza: “Feed a war machine…from river to sea, in lieu of peace.”

Despite ELUCID’s preference for cacophonous system overload here, the rapper also provides moments of respite. Recorded at The Alchemist’s Los Angeles studio, the laid-back, wheezing “INSTANT TRANSFER” is a collaboration with billy woods, which crystallizes their shared sense of creative determination. “With much momentum behind us and even more on the horizon, I knew a purpose, and that every step was ordered to that purpose,” ELUCID said of the experience. Meanwhile, the jittery “HUSHPUPPIES” is a playful anomaly on the track list, providing a snapshot of ELUCID watching his grandparents in the kitchen while preparing for Friday night fish fry dinners.

“Love still rules over on this side,” ELUCID says. ”I’m raising a family. We are making meaning and finding joy in the midst of all the fucked up-ness of everything around us because the alternative is cowardice and slow death. We remain rooted. We celebrate our people and our wins. Struggle is necessary.”

“IKEBANA” is one of ELUCID’s strongest statements of purpose on the record, blending the record’s heaviest themes with its most hopeful sentiments. supported by a shoutalong refrain and an urgent prog-funk groove. Breaking away from images of dissolution and crumbling societal systems that populate REVELATOR, ELUCID notes that the only way to navigate life’s bleakest landscapes is to cling to love and believe in those around you—to look forward toward something better that may or may not be possible. For the rapper, one of the album’s most trenchant lines comes during a centerpiece of a beat drop: “Being alive/I must look up.”

“The lyric ‘being alive I must look up’ is important especially in the context of this album. Much of the album imagery is harsh and reflects the actual doom some of us experience. But still I/we exist,” ELUCID explains.

Every artist is, in one way or another, the product of their time, bound by life’s leaden gravity to operate within the space of that which is already known. But there are some who are able to shake free of these ties, to shape the culture as it unfolds, to make the present their own.
Revelation, as a concept, points to the scales falling from people’s eyes—something that has been hiding in plain sight becoming clear. “The revelator relates to things that have been talked about, things that have been forecasted,” ELUCID adds. “And now they’re really here, and everyone sees it. And there’s no escaping.” REVELATOR plays out with the unmitigated power of those storms, laying waste to any genre conventions in pursuit of a certain physicality. Here, ELUCID develops a wholly distinctive musical language to explore our fractured modernity.

REVELATOR's packaging was designed by longtime Armand Hammer / Backwoodz art director, Alexander Richter.

Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, SMan, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Toolroom’s leading lady ESSEL returns to the label with a brand new killer vinyl 2 tracker. First up is her recent smash ‘Rave Is The Weapon’ with fellow female powerhouse and talented DJ, producer and vocalist, Alex Mills. Alex Mills is on an incredible journey! She had a UK top 40 hit last year with ‘Million Dollar Bill’ and as a talented vocalist boasts writing credits on records with the likes of Camelphat, Solardo and Ferreck Dawn. When these 2 are in the same room together, the energy that exudes from them is on another level! Their genuine friendship and thirst for fun is clearly visable and this spills into the record in a massive way. This BANGS! A peak-time tech houser in a similar vein to ESSEL’s Beatport chart topping tracks ‘Sweat’, and ‘Lennon’ with a lyric that will be screamed on dance floors and at festivals for the foreseeable future… ‘RAVE is the weapon!’ On the flipside is her late 2023 Toolroom single ‘The Edge’ that already sits on an impressive 4m streams and almost 40 Radio 1 plays. She has received a huge amount of radio support over the past few years which was rewarded with a DJ booking at Radio 1’s ‘Big Weekend’ back in May alongside the world’s leading artists. As far as the record is concerned… This is a real EARWORM! A stripped back, fun record with insanely catchy vocals and one that will please radio DJs, and club DJs alike.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Decay Records celebrates its tenth anniversary with a new EP from Italian duo Neverdogs, backed by remixes from Nu Zau and Ivan Iaobucci.

Over the past decade Decay Records has firmly cemented itself as a purveyor of sophisticated stripped back house sounds, releasing music from the likes of Shaun Reeves, Mihai Popoviciu, Christian Burkhardt, Alex Arnout and of course Neverdogs duo who return here to mark the labels milestone ten years of existence. The Italian Neverdogs duo have been steadily making their own mark over the past decade through material on Bamboleo, Kluki, This And That and Tamango.

Title-cut "In The Mood" leads with crisp drums, hazy atmospherics and a dynamically evolving construction. Ivan Iacobucci's twist on "In The Mood" follows and shifts the original into a murky, twisted interpretation with choppy stabs, glistening textures and crunchy drums intertwined with fragments of the original.

"Lion Heart" follows on the flip side and lays focus on a bouncy bass groove, plucked synth stabs and shuffled percussion before Nu Zau's take on "Lion Heart" rounds out the release, employing twisted acid squelches, dubby synth flutters and subtly nuanced drums all unfurling across its six-minute duration.

‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

The Stallions compilations have become a benchmark of Bosconi's position as one of the leading house and techno labels operating out of Italy. This third instalment marks a shift in sound which also comes full circle to the music that first inspired founder Fabio Della Torre as a DJ and producer around the turn of the millennium, when punchy electro production was driving European house and techno into new zones.

All the artists featured on Vol. III are Italian, holding true to Bosconi's commitment to supporting local talent from Florence and across the country. Amongst the familiar faces is Della Torre's own Minimono collaboration with Ennio Colaci, which indulges a proudly manic palette of tweaked bleeps and dirty low-end. Elsewhere, recent additions to the Bosconi fold include veritable legends Alexander Robotnick and Marco Passarani, who infuse their unpredictable approaches to electro-techno and italo disco with ear-snagging synth-pop and driving analogue box jams respectively to create vibrant, impassioned dancefloor monsters.

The Mechanical Man is an alias from Nicola Altieri, who leans in on a classic Italo arpeggio to create a seductive club sound which builds on his recent Bosconi EXV EP, while Cixxx J switches from the mood of his own Bosconi appearance for a new alias Queen Of Coins and a pivot towards heads-down electro-techno-trance with a whiff of International Deejay Gigolos. Lapucci builds on the promise of his 2021 Bosconi 12" with a sentimental fusion track which lands somewhere between old school Italo house, the snappy pulse of EBM and crisp 00s-era electro house. Meanwhile modern day Italian techno legend Lucretio of The Analogue Cops makes his first appearance on Bosconi with the playful video game stylings of 'Gradius'.
A great deal of space on Vol. III is given over to emergent talent, ranging from Miguel Herr's twitchy detroitian synth-pop braindance and Twovi's vocoder-charged electro funk to DJ Rou's jacking ghetto house flavour. Giammarco Orsini and Jacopo Latini appear as Data Memory Access and deliver an emotive, punchy strain of machine soul. Feel Fly rounds the compilation off in bombastic style with an epic, cinematic workout which draws on Moroder-inspired drama without losing the forthright peak-time focus which binds the whole collection together.

Even the artwork on Vol. III serves as an opportunity to celebrate Italian creativity, as pioneering crypto artist Niro Perrone builds on his accomplished work in the field of NFTs and a background in music production to respond intuitively to the vibrant, synthetic sound of the compilation. For all the futurism in the music though, there remains a strong sense of human feeling which has marked Bosconi out since the beginning. The label remains as inspired and inspiring as ever, celebrating the fertile crossover when people manipulate technology to express themselves in an honest, playful way. Independent of wider trends or fashions, Bosconi remains true to its own idiosyncratic passions, and so Bosconi Stallions Vol. III stands proud as a compilation like no other.

Josh Butler joins Kerri Chandler’s Kaoz Theory imprint with the ‘Piranha’ EP, featuring a collaboration with Josh Daniel and two further original compositions.

Northern England’s Josh Butler has been at the forefront of the contemporary house scene over the past decade, racking up releases for the likes of Defected, Rejected, Solid Grooves, Hot Creations, Crosstown Rebels, MÜSE and many more. Here though we see Josh returning to Kerri Chandler’s Kaoz Theory following 2023’s ‘Sunday Club’ with some fresh, dub house leaning material.

Opening the release is ‘Be There’, a collaboration with Josh Daniel, laid out across five and half minutes with dubbed out piano chords, crisp drums, a bouncy bass line and Daniel’s soulful vocal stylings.

A dub mix is offered up to follow, laying focus solely on the groove. On the flip side we have ‘Piranha’ up first, a hazy journey through dubbed out synth swells, airy vocal chants, skippy low-slung percussion and snaking sub bass tones.

‘Chess’ then rounds out the EP, laying down heavily swung minimalistic percussion, fluttering low end pulsations and ethereal atmospheric textures to create a subtly unfurling, cinematic dance floor groove.

DJ Feedback:

Junior Sanchez – Dope freshness!

Dennis Quin – Nice EP, feel the tracks

Lele Sacchi – All good deep rollers

Alexander Maier – Superb deepness in all

Ruff Stuff – Great EP! Love it!

Danny Howells – Loving this, all four tracks totally worth of support

Milos – Amazing EP, great tracks

Chris Brennan – Supremely smooth tunes, lovely lovely

Mr V – Straight fire

The debut LP from Italy's own Alex Fernet, just another taste of the italo renaissance.

Music and lyrics by Alex Fernet. All vocals, bass lines, synths and guitar parts performed by Alex Fernet

Recorded and mixed by Edoado "Dodi" Pellizzari at Overdrive Recording Studio, Castello di Godego

Drums and percussions by Diego Dal Bon

© 2023 Costello's (Milan) & People's Potential Unlimited (Washington DC)

Limited Edition COLOR Green Dark mixed Vinyl – 75 units Hand numbered

Mourad started djing in the mid-eighties. His mixing style and musical knowledge have taken him all over Europe and all the way to Asia. Born and raised in Tunis, Tunisia where he sharpened his skills by playing hip hop and electro but also soul, reggae and rare groove. His love for soul and jazz came from an eclectic father who was and still is very serious about his music. As a DJ Mourad plays a blend of Detroit techno and deep house. His sets are known for being diverse and highly loaded with soul and funk. He has played alongside people like Larry Heard, Farley jack master funk, Derrick May, Juan Atkins, Alexi Delano, Dimitri from Amsterdam, Olivier le Castor, BRS, Club Session,Darren Price, Joel Mull , Cari Lekebusch , Subject 13, Alex Reece, Ivan Smaghe , Alton Miller, Jeff Mills , Damon Wilde, 4 Hero , etc. (too many to mention all of them here). Production wise Mourad started producing music during the early 90s and Put out his first release in 1995 as CHRISMOUR Production, in collaboration with his soul brother Calico (svek, deep touch, lace, etc ) The journey continues…

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. SOYUZ's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release.

SOYUZ (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. SOYUZ's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in.

‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'.

On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends SOYUZ have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more.

‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

• A Guy Called Gerald’s soundtrack to Trevor Miller’s Trip City novel was originally released in 1989 on cassette bundled with the book. It went on to sell 12,000 copies in a year before becoming an underground cult classic.
• Reissued in 2021 on vinyl for the first time as part of a bundle with the book, the vinyl is now available to buy on its own.

In the summer of 1989, when Trevor Miller’s Trip City book was first released with a five-track cassette EP by A Guy Called Gerald, there had been no other British novel like it. For 2021, Trip City came back and the original soundtrack by A Guy Called Gerald was also reissued on vinyl for the first time as part of a bundle with the book. Now the vinyl is available to buy on its own.

“I remember back in the 80s, in my hometown, Tony Wilson (of Factory Records fame) was fond of calling Shaun Ryder the WB Yeats of his day. In that vein, whether or not I like to see myself in the canon of Anthony Burgess and Clockwork Orange - with these five tracks, A Guy Called Gerald feels very much like the Ludwig Van to my Alex DeLarge.” Trevor Miller

“Coming on the heels of the acid house classic “Voodoo Ray”, the cut-up vocals, driving bass and hand claps of “FX” and “Trip City” blurred the line between the fictional Tower club and its real-world counterpart The Limelight. This reissue further blurs the lines between past and present, memorialising those heady times
of the Second Summer of Love that anyone invested in the counterculture, much like Valentine, can’t afford to forget.” The Wire

“The EP comprises five acid rollers that showcase his transition into the world of sampling, with the title track functioning as the main theme.” The Quietus

After the great success of the first two releases of the RE-TOUCHED SERIES, Conform Records continues its journey by giving us a new gem to collect. Gaetano Parisio seems to have no intention of stopping and calls other 5 legends to get their hands on tracks of his label's catalog. The third release contains four tracks plus one digital only bonus with heavyweights Deetron, Steve Bicknell, Ken Ishii, Oscar Mulero and Alexander Kowalski all stepping up.

Once again Swiss legend DEETRON, through his class, hits the mark. His Vesuvius edit of Gaetek's is a slamming track with driving drums and worms synths that bring it into the present day with a real sense of style.

STEVE BICKNELL is another techno legend who runs his own 6dimensions label. His edit of a track from Gaetano's Ritmatica goes as usual directly to the point. Steve stays true to the original sense of the track by masterfully adding his "Lost" touch through reverbs and percussion.

KEN ISHII, a true Japanese techno titan, incredibly manages to bring color and life to Gaetek's Advanced Series Vol. II. The result is amazing! The track is a dance floor killer. Its vintage charm is the key!

The Spanish Maestro, OSCAR MULERO, brings his dark and hypnotic style to the original Gaetek track. His Ømre Edit totally distorts the original one using percussion and filters giving that hypnotic flow for which the Madrid artist has always been known and respected throughout the techno underground scene.

To close this majestic EP ALEXANDER KOWALSKI, the backbone of the German techno scene, through his incredible talent creates a true masterpiece. His edit of Gaetano Parisio's Quake is undoubtedly something special. The syncopated rhythm and the addition of synths, create a third millennium atmosphere. His crystal clear talent as a producer is captured in these 6.25 mins.

Lovers of true techno will not be disappointed. This is for sure!

Grady Steele (Formant Soundsystem) debuts on FELT with the tender spectre of Nausea, poignant patterns captured through the dusk-hued window pane.

Co-founder of the Formant Soundsystem, a travelling rig that’s powered forward-thinking dances in London and Paris, Grady Steele has championed both experimental and club music at the cutting edge. Concurrently to this, he debuted his own productions back in 2024 for Archaic Vaults. Uniquely intimate, his music shone lowkey and warm with an assured glow. It’s no surprise then to find his inimitable sounds land neatly on Fergus Jones’ FELT imprint.

Nausea extends across seven movements, narrating sentimental parallels of familiarity. Grady posits concentrated pangs of post-rave nostalgia with rich melodic sustenance, a vivid introspection tempered with field recordings and live instrumentation. Strummed guitars and aching pads move purposefully with the suspended pace, an immersive beatless vista from its opening quiet moments through to the guttural noise-laden finale. It’s a brief, beautiful collection from Grady Steele and another string to FELT’s unpredictable bow.

Written, recorded and produced by Grady Steele

Mastered by Miles Whittaker

Cover photo by Alex Kurunis

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

Long gone and high in demand classy deep house beauty gets a very well deserved reissue on Ronin's new imprint Vibestate Recordings! Originally released back in 2002 on the now legendary Drifwood label.

Synthpop, minimal wave, post-punk, goth, new romantic - fans and critics alike have dug deeply into their vintage thesauruses to describe the beguiling work of Nation of Language. And if you can't precisely define the band, that's the point. Frontman Ian Richard Devaney has become prodigious in expanding what synthesizer-driven music can evoke, such that his output is as much an extrasensory journey as it is an all-too-human destination. With that experience in mind, he wrote the band's fourth album - the spectral, spacious Dance Called Memory - in the most humble of ways: chipping away at melancholia by sitting around and strumming his guitar. Nation of Language's first two albums, Introduction, Presence (2020), and A Way Forward (2021), came as pandemic godsends: gorgeous, relatable soundtracks to our collective doldrums. But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trade's Album of the Year. With that release, Pitchfork wrote that the band "are learning what it means to get bigger and better." This is Devaney's calling: soulfully translating individual despair into a comforting, collective mourning. The single "Now That You're Gone," which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfather's tragic death from ALS, and his parents' role as caretakers for this ailing friend. At its heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart. On Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). "What's so great about Nick is his ability to make us feel like we don't need to do what might be expected of us," says synth player Aidan Noell, who, along with bassist Alex MacKay, rounds out the Nation of Language lineup. They imbued Dance Called Memory with a shifted palette - sampling chopped-up drum breaks on "I'm Not Ready for the Change" for a touch of Loveless-era My Bloody Valentine or smashing all of the percussion of "In Another Life" through a synthesizer to cast a shade of early-2000s electronic music. Ultimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. "There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I've been drawn to at different points. I've read about how Kraftwerk wanted to remove all the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human," Devaney says. "As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators I'm focusing more on the human condition, and I need the underlying music to support that_ Instead of hopelessness, I want to leave the listener with a feeling of us really seeing one another, that our individual struggles can actually unite us in empathy."

The fourth edition in the label’s compilation series brings together an almost entirely new cohort of ten artists from across the globe. Personal means of expression are archived side by side, coming to light in the form of sparse amorphous percussion, layered voices, restless arpeggios and undulating, heavily filtered soundscapes.

All digital and physical proceeds from this edition go towards Medical Aid For Palestine and the Lebanese Red Cross.

Mastered by Kinn. Design by Severin Black.

2025 Repress

“We created a holiday inside our heads.”

A Deeper Life, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

A Deeper Life whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

Mit Laughter In Summer präsentiert die legendäre Singer-Songwriter-Ikone Beverly Glenn-Copeland (bekannt durch das Kultalbum Keyboard Fantasies) ein zutiefst berührendes neues Werk – entstanden in Zusammenarbeit mit seiner Partnerin, der Künstlerin und Produzentin Elizabeth Copeland. Das Album ist ein musikalischer Liebesbrief, der Erinnerung, Hingabe, Verlust und Freude miteinander vereint.
In neun emotionalen Songs – allesamt in One-Takes aufgenommen – entfaltet sich eine außergewöhnliche Intimität, getragen von Glenns charakteristischer Stimme, warmen Chorarrangements und einem unverwechselbaren Gefühl spiritueller Verbundenheit. Der Sound reicht von kontemplativen Balladen wie „Children’s Anthem“ bis zu leuchtenden, hoffnungsvollen Momenten wie „Let Us Dance (Movement One)“.
Produziert wurde das Album von Elizabeth Copeland und Alex Samaras (Hotel2Tango / Howard Bilerman). Es folgt auf Glenns gefeiertes Album The Ones Ahead (2023) und seine Zusammenarbeit mit Sam Smith für Ever New (2024).
Laughter In Summer erscheint auf rosefarbenem Vinyl, als limitierte Dinked Edition auf milchklarem Vinyl inklusive Bonus-7" mit Coverversionen von Marvin Gaye – „What’s Going On“ / „Save The Children“ – sowie digital und auf CD.
Für Fans von Alice Coltrane, Terry Callier, Joanna Newsom, Sam Amidon und spiritueller Folk-Avantgarde.

Konfiguration: 140g Pink 12" vinyl, 3mm spined sleeve, Gloss machine varnish, 12" printed insert, Gloss machine varnish

Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.

DJ Feedbacks :


Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!

2026 Repress

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”

As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

Mit "Tourist History" veröffentlicht die britisch-irische Indieband Two Door Cinema Club eines der einflussreichsten Debütalben der 2010er Jahre in einer besonderen 15th Anniversary Edition. Das Album, das 2010 erschien, gewann den Choice Music Prize als Irish Album of the Year und markierte den Start einer Weltkarriere, die von Festival-Headliner-Shows bis zu über 1 Milliarde Streams von "What You Know" führte.

Zur Feier des Jubiläums erscheint Tourist History in drei liebevoll gestalteten Formaten - inklusive bisher unveröffentlichter Remixe und Raritäten.

Seit dem Garageprojekt in Bangor haben Alex Trimble, Sam Halliday und Kevin Baird eine beeindruckende Karriere hingelegt - mit Top-10-Alben wie Beacon, Gameshow, False Alarm und Keep On Smiling und ausverkauften Touren weltweit. Diese Jubiläumsausgabe ist ein Muss für Indie-Fans und Sammler - ein Meilenstein moderner Gitarrenmusik.

"The complete Helluva Boss: Season 1 (Original Soundtrack) from hit animated series Helluva Boss created by Vivienne “VivziePop” Medrano. Includes a brand new original song “BUZZZN,” full version of “My World Is Burning Down Around Me”, “Rock Version” of “I.M.P Jingle,” and a Garry Blipp cover of “Oh Millie.”

Featuring original music by Sam Haft and vocals from cast members including Brandon Rogers (Blitzo), Bryce Pinkham (Stolas), Richard Horvitz (Moxxie), Vivian Nixon Williams (Millie), Erica Lindbeck (Loona), Norman Reedus (Striker), Cristina Vee (Verosika Mayday), Mara Wilson (Mrs. Mayberry), Barrett Wilbert Weed (Octavia), Alex Brightman (Fizzarolli), James Monroe Iglehart (Asmodeus), Rochelle Diamante (Beelzebub), and more!"

„What Separates Me From You”, das erfolgreiche vierte Studioalbum von A Day to Remember, kehrt als
limitierte 15-jährige Jubiläumsausgabe auf Vinyl zurück.
Mit Klassikern wie „All I Want” und „All Signs Point to Lauderdale” markierte dieses genreübergreifende
Album eine bedeutende klangliche und inhaltliche Weiterentwicklung der Band aus Ocala, Florida. Während
sie ihre charakteristische Mischung aus Metalcore und Pop-Punk beibehielten, wurden auf dem Album dunklere und ernstere Themen als auf ihren früheren Werken behandelt. Nach seiner Erstveröffentlichung im
Jahr 2010 erreichte „What Separates Me From You“ Platz 11 der Billboard 200 und führte unter anderem
die Top-Hardrock-Albumcharts an. 2016 wurde es von der RIAA mit Gold ausgezeichnet.
Diese besondere Edition von „What Separates Me From You“ wurde auf Coke Bottle Clear Vinyl gepresst und enthält ein einzigartiges Jubiläums-Artwork sowie eine Akustikversion von „All I Want“.
Heute sind A Day to Remember – bestehend aus Sänger Jeremy McKinnon, Rhythmusgitarrist Neil Westfall, Schlagzeuger Alex Shelnutt und Leadgitarrist Kevin Skaff – weiterhin mit Tourneen und Aufnahmen
aktiv. Bis heute haben ADTR über fünf Millionen Alben verkauft, über 3,5 Milliarden Streams gesammelt,
zwei Goldalben, vier Goldsingles und eine Platin-Single erhalten. Ohne Anzeichen einer Verlangsamung
veröffentlichten sie Anfang 2025 ihr neuestes Album „Big Ole Album Vol. 1“.

Mit über 8,5 Millionen Followern in den sozialen Medien besitzt Alexandra Kay, die Hauptrolle in der
Netflix-Serie „Westside“, die seltene und außergewöhnliche Fähigkeit, eine echte Verbindung zum Publikum
aufzubauen, indem sie einfach sie selbst ist – mit gefühlvollen Melodien, ihrer „erfrischenden Art des
Geschichtenerzählens … maßgeschneidert für das Country-Genre“ (People) und ihrem „engelsgleichen, aber
dennoch erhebenden Gesang“ (American Songwriter). Der strahlende und hartnäckige Shootingstar, den
Billboard als „verständige, vielversprechende Singer-Songwriterin“ lobte, etablierte sich als eine Größe in
der Branche und veröffentlichte 2023 ihr Debütalbum „All I’ve Ever Known“. Das Projekt erreichte weltweit
Platz 1 der iTunes All Genre- und Country-Charts und sicherte ihr unabhängig davon einen Platz in den
Top 10 der Billboard Country Album-, Emerging Artist- und HeatSeeker-Charts.
Die bezaubernde Sängerin ist bereit, 2025 auf die nächste Stufe zu heben und gibt einen Einblick in ihr
zweites Album: die verträumte Romantik von „The Last“ und das ansteckend eingängige Mitsing-Stück
„Cupid’s A Cowgirl“. Nachdem sie gerade ihre „Cupid’s A Cowgirl“-Tournee als Headliner durch die USA
und Kanada beendet hat, macht sich der aufstrebende Star auf den Weg über den großen Teich zu ihrer
internationalen All I’ve Ever Known U.K. & Europe-Tournee, die in Amsterdam, Glasgow, Birmingham,
Belfast und Manchester bereits ausverkauft ist.

Miles Kane, gefeierter englischer Rocker und Mitbegründer von The Last Shadow Puppets zusammen mit
Alex Turner von den Arctic Monkeys, veröffentlicht mit Sunlight In The Shadows sein erstes Easy Eye
Sound-Album in Zusammenarbeit mit dem GRAMMY-prämierten Produzenten Dan Auerbach (The Black
Keys). Das Album wurde gemeinsam mit Auerbach, Patrick Carney, Daniel Tashian und Pat McLaughlin geschrieben. Überlagert von üppigen, kreischenden Gitarren und vollgepackt mit Hooks, bewegt sich
das Album auf dem schmalen Grat zwischen rauem, energiegeladenem Rock und entspannten CrooningHymnen, alles mit einer Prise von Miles’ charakteristischer Tremolo-Gitarre und einer ganzen Menge Spaß.
Über die Entstehung von Sunlight In The Shadows sagt Miles: „Alle Wege, die ich in den letzten 20
Jahren gegangen bin, haben hierhergeführt“.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

HILOMATIK is proud to announce its first-ever vinyl release: the HILOMATIK A-Sides EP. This milestone edition delivers a tangible piece of HI-LO’s world, including seven techno tunes ranging from minimal to peak-time, from Township Rebellion, Roemisch, Dok & Martin, Modea, Helang, Pagano, Deus Deserto, Frank Arvonio, Alex Lentini and STOMP BOXX - a mix of established and young, talented producers.

Taking inspiration from the sounds of Space 92, Eli Brown, Adam Beyer, and label boss HI-LO himself, this EP balances hard-hitting rhythms with hypnotic, minimalistic moments, making it a must-have for techno enthusiasts. Released on all digital platforms in May 2025, this first vinyl release on the label marks a new and very exciting chapter of HILOMATIK.

Igorrr ist das visionäre Projekt des französischen Multi-Instrumentalisten und Produzenten Gautier Serre, der seit zwanzig Jahren unter diesem Namen operiert. Seit der Unterzeichnung bei Metal Blade Records im Jahr 2017 hat sich Igorrr von einem Ein-Mann-Projekt zu einer vollständigen Bandidentität entwickelt, wobei Gautier als Mastermind und kreative Leitfigur fungiert.Das Projekt ist bekannt für seine kompromisslose Verschmelzung von Classical, Death Metal, Electronic und Breakcore - eine Musik, die sowohl von Bach und Chopin als auch von Cannibal Corpse, Aphex Twin und Meshuggah inspiriert ist. Mit jedem Album überrascht Igorrr selbst die treuesten Fans mit radikaler Vitalität und experimentellen Wendungen.Current Lineup:• Gautier Serre: Machines• Jb Le Bail: Vocals• Marthe Alexandre: Vocals• Remi Serafino: Drums• Martyn Clément: GuitarsAktiv seit: 2005Herkunft: FrankreichCHART-ERFOLGE & STREAMING-ZAHLEN• #12 Official German Album Charts (Spirituality & Distortion)• #57 Swiss Official Album Charts (Spirituality & Distortion)• US Billboard Charts: Multiple Top 10 Positionen• Über 74 Millionen Streams auf Spotify gesamt• 255.000 Follower auf Spotify• 28 Millionen Streams für "Spirituality & Distortion" alleinLIVE-PERFORMANCE & TOURNEEN• Massive Headlining-Tour in Europa (1.500-2.000 Kapazität)• Ausverkaufte US-Shows: Regent Theater LA (1.100), Irving Plaza NYC (1.110), The Crocodile Seattle (750)• Major Festival-Auftritte: Hellfest, Wacken, Download, Sweden Rock, Graspop, Nova Rock, Bloodstock• Weitere US-Shows für 2026 geplantSPECIAL FEATURES• Gastauftritte: Scott Ian (Anthrax), Trey Spruance (Mr. Bungle), Mike Leon (Soulfly)• Echter Chor in Kirche aufgenommen für authentische AtmosphärePLAYLISTING-ERFOLGSpotify: All New Metal, Alternative Metal, Kickass Metal, New Music Friday (USA/UK)Apple Music: Avant-Garde Metal Essentials, Extreme Metal, Metal Rewind, Breaking MetalDeezer: Industrial, Metal Radar, French Metal

Igorrr ist das visionäre Projekt des französischen Multi-Instrumentalisten und Produzenten Gautier Serre, der seit zwanzig Jahren unter diesem Namen operiert. Seit der Unterzeichnung bei Metal Blade Records im Jahr 2017 hat sich Igorrr von einem Ein-Mann-Projekt zu einer vollständigen Bandidentität entwickelt, wobei Gautier als Mastermind und kreative Leitfigur fungiert.Das Projekt ist bekannt für seine kompromisslose Verschmelzung von Classical, Death Metal, Electronic und Breakcore - eine Musik, die sowohl von Bach und Chopin als auch von Cannibal Corpse, Aphex Twin und Meshuggah inspiriert ist. Mit jedem Album überrascht Igorrr selbst die treuesten Fans mit radikaler Vitalität und experimentellen Wendungen.Current Lineup:• Gautier Serre: Machines• Jb Le Bail: Vocals• Marthe Alexandre: Vocals• Remi Serafino: Drums• Martyn Clément: GuitarsAktiv seit: 2005Herkunft: FrankreichCHART-ERFOLGE & STREAMING-ZAHLEN• #12 Official German Album Charts (Spirituality & Distortion)• #57 Swiss Official Album Charts (Spirituality & Distortion)• US Billboard Charts: Multiple Top 10 Positionen• Über 74 Millionen Streams auf Spotify gesamt• 255.000 Follower auf Spotify• 28 Millionen Streams für "Spirituality & Distortion" alleinLIVE-PERFORMANCE & TOURNEEN• Massive Headlining-Tour in Europa (1.500-2.000 Kapazität)• Ausverkaufte US-Shows: Regent Theater LA (1.100), Irving Plaza NYC (1.110), The Crocodile Seattle (750)• Major Festival-Auftritte: Hellfest, Wacken, Download, Sweden Rock, Graspop, Nova Rock, Bloodstock• Weitere US-Shows für 2026 geplantSPECIAL FEATURES• Gastauftritte: Scott Ian (Anthrax), Trey Spruance (Mr. Bungle), Mike Leon (Soulfly)• Echter Chor in Kirche aufgenommen für authentische AtmosphärePLAYLISTING-ERFOLGSpotify: All New Metal, Alternative Metal, Kickass Metal, New Music Friday (USA/UK)Apple Music: Avant-Garde Metal Essentials, Extreme Metal, Metal Rewind, Breaking MetalDeezer: Industrial, Metal Radar, French Metal

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

If any album could conjure up the revolutionary spirit of Jamaica in the mid 1970’s, Tapper Zukie’s invincible M.P.L.A. set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts. Who embraced its militant themes and crossed the album over to a whole new audience. Tapper Zukie (b. David Sinclair, Kingston, Jamaica.) had already returned from a trip to London England by the mid 70’s .Initially sent with help from his parents, brother Blackbeard and producer Bunny ‘Striker’ Lee to remove the youth from his troublesome ways on the streets of Kingston, Jamaica. He had performed some live shows in London and made some recordings for Larry Lawrence, that produced his debut ‘Jump and Twist’. Alongside other recordings that would emerge as his ‘Man A Warrior’ set. But feeling homesick he had returned to Jamaica in 1974 to work with Bunny Lee. His work would consist of arranging sessions and collecting payments to bodyguard, the now very successful producer. His frustration of Bunny Lee’s reluctance to record him led him cutting ‘Judge I Oh Lord’ for producer Lloydie Slim. Bunny Lee’s then recording of Tapper’s ’Natty Dread Don’t Cry’ and its subsequent release aboard, led to an altercation between Tapper and producer. The police had to be called and an offer to provide the singer with a set of rhythms put this matter to rest. The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert alongside some free studio time at King Tubby’s Studio would result in the M.P.L.A album.

The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards ‘Freedom Blues’ and provided the backdrop to M.P.L.A. The Ossie Hibbert rhythm again cut at Channel One based on The Royals ‘Pick Up The Rockers’ would provide the backdrop to Tapper’s ‘Pick Up The Rockers’. These and the remaining Bunny Lee rhythms, were all cut in a one hour session, at King Tubby’s Studio. ’Don’t Get Crazy’ cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett’s ‘Don’t Get Weary’. ‘Go De Natty’ cut on Cornell Campbell’s ‘Please Be True’, originally a cut to Alexander Henry’s ‘Please Be True’. ‘Stop The Gun Shooting’ runs over Horace Andy’s ‘Skylarking’.’Ital Pot’ cut on Johnny Clarke’s version of Burning Spear’s ‘Creation Rebel. ‘Marcus’ see’s Tapper professing over Johnny Clarke’s ‘Poor Marcus’ .’Chalice To Chalice’ pulls on Johnny Clarke’s ‘Give Me a Love’,’ Don’t Deal With Babylon’ answers Junior Ross and The Spears ‘Babylon Fall’ and ‘Freedom’ rides on the great rhythm of Junior Ross and The Spears ‘Liberty’. An outstanding album cut by one of Jamaica’s finest DJ’s and producers the mighty Tapper Zukie. We hope you enjoy this now timeless set.

Ltd Edition!

Das beeindruckende Solo-Debütalbum von Sydney Minsky-Sargeant, dem Kopf der Alt-Electro-Band Working Men's Club.

"Lunga" ist das beeindruckende Solo-Debütalbum von Sydney Minsky-Sargeant, dem Kopf der Alt-Electro-Band Working Men's Club. Während der Katalog von Working Men's Club Industrial-Post-Punk für den Indie-Dancefloor neu interpretiert, ist "Lunga" eine introspektive Platte, auf der Minsky Sargeant über das Erwachsenwerden und die Zeit zwischen Kindheit und Erwachsensein reflektiert. Die Tracks von "Lunga" wurden über mehrere Jahre hinweg in den Pausen zwischen den WMC-Verpflichtungen geschrieben und dann mit Alex Greaves im "The Nave" in Leeds aufgenommen. Die Lieder sind nachdenklich und suchend, mit einfachen Refrains, die oft über spärlichen Gitarrenlinien wiederholt werden. Minsky Sargeant spielt den Großteil der Instrumente selbst und erschafft mit zarten Drum Fills, unheimlichem Cello und dezenten Synthies eine bezaubernde Welt. Minsky Sargeant dachte, er hätte ein neues Wort kreiert, als er die Platte betitelte - etwas, das die selbsthinterfragende Stimmung der Platte und die Erforschung der Beziehung des Menschen zur Natur zusammenfasst. Dass sich "Lunga" dann als der Name einer unbewohnten schottischen Insel herausstellte - zerklüftet, isoliert und in ständiger Bewegung - ist der Beweis für eine einzigartige künstlerische Vision.

Das beeindruckende Solo-Debütalbum von Sydney Minsky-Sargeant, dem Kopf der Alt-Electro-Band Working Men's Club.

"Lunga" ist das beeindruckende Solo-Debütalbum von Sydney Minsky-Sargeant, dem Kopf der Alt-Electro-Band Working Men's Club. Während der Katalog von Working Men's Club Industrial-Post-Punk für den Indie-Dancefloor neu interpretiert, ist "Lunga" eine introspektive Platte, auf der Minsky Sargeant über das Erwachsenwerden und die Zeit zwischen Kindheit und Erwachsensein reflektiert. Die Tracks von "Lunga" wurden über mehrere Jahre hinweg in den Pausen zwischen den WMC-Verpflichtungen geschrieben und dann mit Alex Greaves im "The Nave" in Leeds aufgenommen. Die Lieder sind nachdenklich und suchend, mit einfachen Refrains, die oft über spärlichen Gitarrenlinien wiederholt werden. Minsky Sargeant spielt den Großteil der Instrumente selbst und erschafft mit zarten Drum Fills, unheimlichem Cello und dezenten Synthies eine bezaubernde Welt. Minsky Sargeant dachte, er hätte ein neues Wort kreiert, als er die Platte betitelte - etwas, das die selbsthinterfragende Stimmung der Platte und die Erforschung der Beziehung des Menschen zur Natur zusammenfasst. Dass sich "Lunga" dann als der Name einer unbewohnten schottischen Insel herausstellte - zerklüftet, isoliert und in ständiger Bewegung - ist der Beweis für eine einzigartige künstlerische Vision.

“BLUE” is a collaborative album between Russian artist Pavel Milyakov and Kyiv-based singer Yana Pavlova. Seven pieces compiled of minimalistic guitar loops, sax (including recordings by Alex Zhang Hungtai), dubby bass guitar and shadowy vocals. Mic noises, clicks and other sonic imperfections are a natural part of these tracks, as they are all composed with the use of random and unpredictable algorithms, purely improvised. Perfect soundtrack for the troubled summer days (and nights).