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* More from the vaults of Alpha and Omega in the shape of `Warrior Dub’, previously an LP-only track appearing on the `Everyday Life’ LP in 1993, with the dub cut on vinyl for first time.

* As always from A&O, they reliably unleash a heavy-weight, mystical shimmering slice of 90s-style dub.

Arriving twenty-six years after his debut Cell, Particle further sharpens the fractured electronics and muted melodic language explored on 2021’s From Stasis, presenting a crisper, more immediate set of compositions.

Cadoo, also widely known as a founding member of pioneering electronic project Gridlock, has used Dryft as a consistent outlet for his electronic work across decades, bridging early post-industrial IDM with more contemporary, restrained forms.

Long recognized for beat structures that feel precarious, rhythms that seem to strain, erode, and reassemble in real time, he approached Particle with a renewed focus on allowing these patterns to fully resolve. Melodic elements are given a more direct role, actively driving momentum rather than hovering in the margins.

Emphasizing clarity and immediacy, Particle favors tactile sound design and forward-pushing arrangements over density or abstraction. The result is a notably focused Dryft release that functions as an all-encompassing signpost for Cadoo’s electronic output to date, informed by decades of exploration while remaining resolutely forward-looking

New album by SABA ALIZADEH, a groundbreaking voice in contemporary Iranian music who blends classical Persian traditions with avantgarde experimentation.

Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music, blending classical Persian traditions with avantgarde experimentation. His music, praised by THE WIRE as "a bridge between the ancient and the contemporary", turns sound and image into powerful narratives of memory and resistance. Over the past years, ALIZADEH (who relocated to the Netherlands a few years ago) has appeared at key festivals and venues such as Reeperbahn Festival, CTM, Flow Festival, Philharmonie Berlin, Kölner Philharmonie, solidifying his reputation as a singular live performer.
After the critically acclaimed releases "Scattered Memories" (his international debut, released on Karlrecords in 2019), "I May Never See You Again" (2021) and last year's "Temple of Hope", his new album fascinates again with a unique artistic voice, weaving together centuries-old sonic heritage and the urgency of the present through deeply immersive, meditative landscapes in two epic pieces. "Rituals Of The Last Dawn" may feel like a sad or resigned title (compared to the positively fierce "Temple Of Hope"), but at the same time the highly meditative music provides a good lot of contemplative strength. Appealing to an open-minded "world music" audience as well as fans of current streams of ambient or drone in its most subtle forms, ALIZADEH's latest work is a strongly needed soul food in bitter times. Created on the spot with his musical partners PIETRO CARAMELLI (guitar and electronics on "First Ritual") and LIEW NIYOMKARN (lap steel and electronics on "Last Ritual"), "Rituals Of The Last Dawn" is a pure, unfiltered emotional expression from one of contemporary Iranian music's leading artists.

Limited to 300 copies. Yellow Vinyl. Approaching Doom is the third album by Monsternaut, a darker and heavier representation of the band's established devotion to groovy riffs and to the point compositions. The songs took shape over several years, during which the arrival of a new drummer opened the door to more adventurous rhythms and riff ideas, pushing the band into new territory while staying true to their roots. Sonically, the album leans toward the grit and weight of early 90s metal rather than polished modern production, giving it a raw and immediate edge. Its lyrics and atmosphere follow a naturally darker direction as well, adding an extra layer of tension beneath the grooves. Recorded entirely the old fashioned way, straight to analog tape with no digital editing, it captures the band playing as they are, relying on performance, chemistry, and feel rather than correction. The result is a record that hits harder, feels more focused, and marks a confident new chapter in Monsternaut's evolution.

Repress on black vinyl. Goldfoil embossed cover. Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound! This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

Black Vinyl Repress


Das Berliner Indie-/Electro-Wave-Trio Dina Summer meldet sich mit einer ordentlichen Portion Synthpop auf ihrem zweiten Album ‘’Girls Gang’ zurück!

Dina Summer ist ein kollaboratives Projekt, das aus Kalipo, einer Hälfte der legendären Electro-Punk-Band Frittenbude, und dem griechisch-deutschem DJ & Produzenten Duo Local Suicide besteht, die das Label Iptamenos Discos betreiben. Ihre bisherigen Werke umfassen das von Kritikern gefeierte Album „Rimini“ aus dem Jahr 2022, das einen nostalgischen Einblick in Retro-Disco-Vibes bietet, sowie die EPs „Who Am I“ (2021) und „Hide & Seek“ (2024). Seit der Gründung der Band vor fünf Jahren hat Dina Summers Musik mit Millionen von Streams, weltweitem Radio-Airplay und zahlreichen Spotify- und Apple Music-Editorial-Playlists für Aufsehen gesorgt und wurde von DJs wie Charlotte De Witte, The Hacker, Âme, Dixon, Joris Voorn, DJ Hell, Joyce Muniz und Dubfire gespielt. Das neue Album umfasst 11 Songs die sich mit Themen wie Empowerment („No More Tears“ & „Girls Gang“), Außenseitertum („Alien“ & „Zombie“), Vergänglichkeit („Promise Me feat, Curses & Joshua Murphy“), Nostalgie („Halkidiki“) und Beziehungen („Nothing To Hide“ & „Hypnotized“) auseinandersetzen. Legte ihr Debütalbum seinen Fokus eher auf den Club zwischen Italo-Disco und 90ies Elektro, erkundet die neue Veröffentlichung eine größere Sound-Palette, die von New Wave & Post-Punk zu Electroclash und Synth- & Indie-Pop reicht. „Girls Gang“ ist ein gutes Stück songorientierter als das Debütalbum, die Band erweitert ihr Repertoire auf einigen Songs unter anderem um echte (!) Bässe und Gitarren, vorallem aber setzt Frontfrau Dina neben ihrem Markenzeichen - Spoken Word - immer öfter auf ihre Gesangsstimme. Trotzdem knüpft das Album nahtlos an das Erstlingswerk an, man hört wieder jene poppige Melodien und Hooks mit denen sich Dina Summer zuvor schon einen Namen gemacht hat, ausgebreitet auf einem Bett aus Indiepop-Hymnen und Club-Brechern.

Scopeotaku’s latest is a continuation of themes he explored in System Failure. Mutating into darker dimensions, influenced by recent world events. reality error is steeped in strangled synths, tape hiss and distorted echoes. Featuring crushed low-tech rhythms and recordings inspired by science fiction B-movies. Scopeotaku seizes the means of production with full on DiY approach. Setting out to soundtrack a dystopian society that has lost touch with the soul of humanity. A world where corporate greed and disruptive extremist views amplified by echo chambers soaked in misinformation drown the voices of reason and compassion. Within this murky swamp however lies a glimmer of light and hope for us all to not accept the future but to shape it.

50 DiY tapes with download code included.

Recorded in Glasgow

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

Collecting Orders For 2025 Repress

Ruff n’ ready torque collides with the nocturnal as Argentinian donny JUAAN enters the fray.

A properly intoxicating melange of boisterous, straight-for-the-jugular biz and late-night seduction. Four distinct, durable traxxx tailor-made for the witching hour. Icily moody with a bit of menace and dread about it. It’s also very slick, optimised and fine-tuned for maximum dancefloor impact.

Critics often highlight his ‘90s-indebted approach, and while those influences remain ever-present, this one has more in common with dancefloor styles prevalent a decade prior. Shades of darkwave, Detroit In Effect and the nascent years of Chi-Town house depending on the track, but never do we run the risk of falling into pastiche.

Pure forward momentum with a decidedly mean streak coursing throughout. Plenty of sci-fi flourish, funked-out where it counts. Flush with dystopian romance and a decent dose of weirdo flex.

Quintessentially Kalahari.

If you could go back in time ten years, what would you want to tell yourself? This was a question Khruangbin posed to themselves when approaching the ten-year anniversary of their debut album, the once cult classic, now genre-defining work The Universe Smiles Upon You. “If we could go back and tell ourselves how much was going to happen to us after that record, what would we want to
celebrate?” asked Laura Lee, bassist, vocalist, and founding member of the band. Instead, they thought: “Let’s do it again.”
The Universe Smiles Upon You ii was recorded on January 4-6, 2025, in the same family barn of guitarist Mark Speer, across the
same dates where TUSUY was first conceived ten years earlier. Though the conditions were the same–dirt floor, brutally cold,
minimal sound isolation, all takes live–the songs aren’t. They’re re-approached, some changed more than others, harnessing the lightning-in-a-bottle energy of TUSUY while discovering what would be unique this time around, in this stage of the band’s life.
The result moves like ripples on the water across ten hypnotizing tracks, the barn creating a sense of spaciousness, serenity and creative freedom, nearby wildlife (listen out for the birds on “August Twelve ii”), rattles and creaks of the barn and all. It’s a tapestry of small movements in nuanced arrangements, slowly revealing the new life, stories and character of someone you’ve met again for the first time in ten years.

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

With Figures of Glass (Piano Etudes – Edits), Vanessa Wagner offers a new listening perspective on Philip Glass’s Piano Études, shaping a curated selection of edited versions drawn from her acclaimed recording of the complete cycle. These edits do not alter the substance of the works; rather, they refine their temporal focus, revealing their emotional force with renewed clarity.

Conceived in parallel with Figures of Glass, a hybrid project developed with visual arts collective Scale, the release extends a dialogue between piano and light, sound and space. Between piano and light, Vanessa Wagner interprets Glass’s Études at the heart of a scenographic installation, exploring the visual imagination embedded in the composer’s music. Minimal structures become spatial gestures; repetition opens onto perception, colour, and resonance. Taken together, these edits form a coherent arc through Glass’s language: from tension and propulsion to suspension and introspection, from rhythmic urgency to contemplative stillness. Wagner’s approach is marked by precision, restraint, and a deep attention to resonance, allowing each piece to unfold with an assumed expressive sobriety.

Figures of Glass also exists as a live creation, presented for the first time in Paris at the Théâtre du Châtelet on April 7, 2026. In both recorded and staged forms, the project invites contemporary listening contexts — from focused headphone listening to immersive visual environments — while reaffirming the Piano Études as a major landmark of 21st-century repertoire. Bridging modern classical piano, minimalist writing, and spatial listening formats, Figures of Glass (Piano Etudes – Edits) speaks equally to traditional classical audiences and new listeners discovering Philip Glass through curated, editorial-driven experiences.

Mononoke is a Berlin band founded by Fabian Rösch and Benjamin Geyer. Their musical passion is improvisation with a sound that moves between experimental electronic music, jazz, beat music and ambient.
This LP combines their two recent EPs which have been released on the Munich based label tunnel.visions,
each on one side.

APARt
APARt was created in the field of tension between spontaneous improvisation and careful studio work, marked
by the lockdowns during covid and social isolation. It was precisely this physical separation that gave rise to a
new experimental approach.
Each track is a puzzle, whose individual pieces were put together, moved around, and placed in new contexts.
Instead of jamming and rehearsing together, musical ideas were exchanged online so that they could be freely
interpreted, altered and redesigned.


modular
Newly found vivid playfulness, fresh approaches and a tilt towards the unexpected marks these songs. Capturing moments in our lives full of challenges, developments and salvation.
The same new and unusual process of working separately, shaped the subsequent second EP modular which
followed the same working structure but with a new component: the modular synthesizer, which decisively reshapes the sound: a collection of analog textures, broken structures and a touch of raw intimacy.
Each song is an episode, each sound a reminder of how music connects us.?
Even when circumstances, such as a pandemic, can threaten to pull us apart.

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Colton Bowlin grew up in the hills of Albany, Kentucky, where hard work and family shaped everything he knew. He grew up working six days a week at his late grandfather’s feed mill, grounding his songwriting in genuine small-town values and working-class experiences. On his new album Grandpa’s Mill, Bowlin traces memory, legacy, and the passing of time with the same quiet honesty that’s always been at the heart of his work, blending songs about his real life experiences with hard lessons learned and tales of rural life in Appalachia. The album was recorded and produced in Athens, Georgia with David Ferguson (Sturgill Simpson, Tyler Childers, Johnny Cash).

Billy Prestons viertes Studioalbum „That’s The Way God Planned It“ erschien im August 1969 bei Apple
Records. Die Veröffentlichung erfolgte kurz nach seiner Zeit bei den Beatles und wurde von George Harrison produziert. Der Titelsong wurde in Großbritannien ein Charterfolg. Auf dem Album wirkten außerdem
Keith Richards, Eric Clapton, Ginger Baker und Doris Troy mit.

This debut marks a bold new chapter-- raw beats, refined moods, and Cold Busted's signature aesthetic wrapped in premium physical formats.

[a] 7393B3 [8pm]

Far from being a nostalgic exercise, the record reasserts their daring artistry, merging legacy and rebirth. Known for melodic minimalism, elegant melancholy, and pulsing electronics, the band has often been compared to Depeche Mode, New Order, or Joy Division, yet their singular identity has always set them apart. On this new album, they reinvent their sonic language, blending vintage synths with classical textures and luminous modern production. The result is a sensory journey where light and shadow converse, where poetry meets pulse, reaffirming their timeless relevance. Their influence extends across genres: sampled by Madlib, reinterpreted by Tricky, reimagined by Theophilus London, and remixed by DJs such as Marcel Dettmann. Tributes, reissues, and appearances in cinema and fashion underscore their resonance, from Lucie Borleteau's Chanson Douce movie to catwalks by Chloe.

Born in Marseille in the early 1980s and led by Alain Seghir alongside Catherine Loy , Brigitte Balian , and Beverley Jane Crew , Martin Dupont left a mythic legacy with tracks like ' Inside Ou't and 'Just Because...' before dissolving in 1987. Rediscovered through Minimal Wave reissues, their music captivated a new generation of underground and electronic enthusiasts. Today, Martin Dupont are reborn. Seghir and Crew, joined by Sandy Casado, Thierry Sintoni, and Olivier Leroy, embark on a world tour that affirms their unique ability to move and inspire. You Smile When It Hurts proves that their visionary sound has never been more alive

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms & Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album was an extraordinary time for the band. The song writing became an unfolding narrative as the world got stranger and more disturbing every day. With people’s freedoms being pushed to the brink, the suffering Covid caused and the terrible events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a strange kind of inspiration that was at times unsettling. It really made us appreciate the power of music and how lucky we are to be able to express our feelings in this way.

 “It seems there is light at the end of the tunnel, but there are always shadows within that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’ bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

Long Ryder guitarist/mandolinist Sid Griffin states 'High Noon Hymns' is “two thirds the distilled altcountry genre we helped found back in the 1980s, one third Paisley Underground adventurism yet with a dash of our own crazed soulfulness thrown in." Due to the unexpected passing of Long Ryders' bassist Tom Stevens, bass duties on the new album were shared by Murry Hammond of Americana stalwarts The Old 97s and The Long Ryders’ own Stephen McCarthy. McCarthy also performs live with The Jayhawks and occasionally records with the Dream Syndicate. Guests appearing in the album include DJ Bonebrake of X on vibes and young bluegrass wunderkind Wyatt Ellis on mandolin. The album was recorded at Kozy Tone Studios in sunny Poway, California.

Colombian-Argentinian label We Shine In The Darkness is back with a second serving, and this time they throw it back to 1996 to revisit a classic anthem. It's Julian Sanza and La French Toast who add their own 2025 spin to iconic trance cut 'Seven Days & One Week', maintaining its bleepy and bleary-eyed synth sequences but reworking them into a deep and breezy house groove. On the flip, 'Mad Vibes' is apparently an "homage to a local scene bar" and is an emo-licked post-disco chugger with moody lines and distant vocals tugging at the heart.

Two legends from New York City here for the price of one, as Downside Up Recordings boss Brandon De Carla - noted for his incendiary PAs and DJ sets around the Big Apple from the 90s onwards, as well as releases for labels as luminary as Kevin Saunderson's KMS - enrols the even more celebrated Joey Beltram to add a remix to his three originals here. De Carla's productions sure are uncompromising, not so much as inviting you onto the dancefloor as prodding you on with their itchy, wriggly sense of metallic funk and spaced out atmospherics, especially the latter on the beatless but substantial, grungy DJ tool that is closing track 'Valley Of The'. Beltram's mix, meanwhile, is pinned down by handclaps that sound like they were forged in a steelworks, but again manage to wrangle a sense of irresistible funkiness from the heaviest duty ingredients. Proper 3am techno gear, make no mistake.

Detroit original, Terrence Dixon, returns to Tresor Records to kick off 2026 with ‘When Stars Remember’. Despite his thirty-year career, Terrence has always managed to keep a lower profile than his peers; he has given few interviews, preferring instead to speak through his music, with cryptic song titles hinting at the thoughts swirling around their creation.
However, ‘When Stars Remember’ finds him stepping forward. “I wanted to get closer to the dancefloor. I consciously made this one feel louder…made with Tresor specifically in mind.” And the EP does just that: whilst many of the hall marks of a Terrence Dixon production are present, the drums are more forward; the synth arpeggios so bold that ‘monumental’ seems a better descriptor than ‘minimal’.
“I put three or four sounds together on the same track, layering to make something bigger”, he says of opening track ‘Mono Collapse’, though the statement could apply to any of the music appearing on the release as all four pieces fold in sonics to create something hypnotic; more than the individual parts: “If you stick with the same layered tones, and repeat it over, after a while your brain changes it on its own; you hear a lot of things: things that you didn’t notice at first, things that maybe aren’t even there.”
The absence of things is another main theme of the EP, especially what Dixon sees as ‘The Forgotten’, a group of fundamental principles like common sense, trust, loyalty, honesty and respect that are missing from modern life. “This world is different…the love is gone. But I love everybody, man. I think, secretly, everybody love everybody, but they just don’t know it.”

Eight years have passed since 8 regards obliques, the album in which Jaumet reinvented his spiritual jazz classics, letting them drift into other dimensions. Since then, an intense tour alongside Thomas de Pourquery and a new recording adventure with Zombie Zombie have taken him on the road. Yet it is in the inspiring calm of his brand-new studio in Bagnolet that he found the material for Du cortex à l’iris, his new album recorded for his label Versatile Records. Du cortex à l’iris continues this delicate balance that defines Jaumet’s signature: a constant tension between hypnotic abstraction and an almost animal groove. "To reduce the distance between my cortex and my senses, in order to compose mental images with sounds," he says. This intention runs through the entire album: a desire to make people dance, yes, but with echoes of EBM, bursts of cinematic landscapes, and that singular way of slowly inducing trance rather than declaring it. Saxophone, synths, analog drum machines: the arsenal remains familiar, but the approach is even more direct. Playing fast, composing in the moment, letting the hand run before the mind corrects. Capturing something primal, spontaneous, almost raw – as if the sound were really passing, this time, directly from the cortex to the iris.

Zach Bryan hat seinen Status als einer der einflussreichsten Künstler der zeitgenössischen Country- und Americana-Szene im Jahr 2026 eindrucksvoll untermauert. Sein im Januar 2026 digital veröffentlichtes sechstes Studioalbum „With Heaven On Top“ (WHOT) stieg direkt auf Platz 1 der US Billboard 200 Charts ein und umfasst 25 von ihm selbst geschriebene Titel. Am 13.März folgt nun die Veröffentlichung auf CD und Vinyl.
Der Erfolg wird durch enorme Reichweiten untermauert: Die Lead-Single „Plastic Cigarette“ erreichte innerhalb kürzester Zeit die Marke von 50 Millionen globalen Streams. Zuvor setzte Bryan bereits historische Maßstäbe, als er im September 2025 vor über 112.000 Fans im Michigan Stadium das größte Einzelkonzert der US-Geschichte spielte. Im Rahmen seiner anstehenden Welttournee wird er am 31. Mai 2026 auch in der Berliner Waldbühne auftreten.

Daniel Lopatins (Oneohtrix Point Never) Soundtrack für Marty Supreme, gepresst auf schwarzem und transparentem Vinyl. Kommt mit japanischem Obi-Band und doppelseitigem "Koto Endo / Marty Supreme Offizieller Ball"-Poster. Der Film Marty Supreme ist eine Abenteuerkomödie von Josh Safdie aus dem Jahr 2025 und ist lose vom Leben Marty Reismans inspiriert, die in den 1950er-Jahren spielende Geschichte ist jedoch fiktiv. Die Hauptrolle des titelgebenden Tischtennisspielers übernahm Timothée Chalamet. Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Tyler Okonma, Abel Ferrara und Fran Drescher ergänzten das Schauspielensemble. Marty Supreme ist der erste Film von Josh Safdie nach Beendigung der kreativen Zusammenarbeit mit seinem Bruder Benny. Das Werk wurde Anfang Oktober 2025 im Rahmen des New York Film Festivals uraufgeführt. Der US-Kinostart war an Weihnachten 2025. Ende Februar 2026 soll der Film in die deutschen Kinos kommen. Die Filmmusik von Daniel Lopatin wurde im Jahr 2025 für einen Hollywood Music In Media Award (HMMA) nominiert. Im Rahmen der Critics' Choice Movie Awards 2026 wurde Marty Supreme in die Shortlists für die Kategorien Casting & Ensemble", Szenenbild", Kamera", Kostüme", Filmschnitt" und Filmmusik" aufgenommen. Im Dezember 2025 gelangte der Film auf die Oscar-Shortlists für das beste Casting, die beste Kamera, das beste Makeup & Hairstyling und die beste Filmmusik. (Quelle: Wikipedia)

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Kim Rapatti (Mono Junk) is a long-running Finnish electronic music producer and the operator behind DUM Records. In the early 1990s, releasing across multiple aliases was a practical way to keep output organized and to present a broader label roster. Mars 31 Heaven was one of Rapatti's period-specific side names, used to separate a more inward strand of work from the main Mono Junk line.

Mono Junk presents Mars 31 Heaven: Collected Works '93–'95 is the first time these recordings have been compiled onto a single release. The tracks were previously scattered across various compilations, with "Little Elephant" later reappearing on a Mono Junk release. Audio was sourced from the original DAT tapes and remastered by Michael Diekmann. "Osaka House Remix" and "World of Isolation" originally appeared on the B-side of DUM Records' Blue File Compilation (1993). "Violins" and "Abyss" appear on vinyl for the first time after CD-only appearances ("Violins" on Dum Trax, 1995, and "Abyss" on Unitunes and Came From Outer Space I), and the original mix of "Osaka House" is previously unreleased. Housed in full-colour sleeves designed by Ed Cheverton.

In the ever-evolving yet foundational landscape of instrumental groove music, F-Spot Records is proud to debut "Monkey Part 2 b/w Lully" from up-and-coming, multi-faceted keyboardist and composer Max Naseck. Raised in Dallas, Texas, but having worked throughout the Los Angeles music scene for almost a decade, Max Naseck, joined by guitarist Brandon Bae and drummer Julian Allen, brings his new trio project to life. After chasing this sound and style of playing for several years, Appropriately given the name "The Left Hand of God" by some of his musical peers, Max takes the classic soul jazz trio setting of holding down both the bass and melody elements and moves them to a unique combination of funky Moog synth (Key bass) and a Wurlitzer 200A electric piano. This 45 provides a fresh yet retro sound that is sure to leave listeners grooving and locked in.
From the first notes and tight 4-on-the-floor rhythm, "Monkey Part 2" kicks off the A-side with a unique psychedelic blend of soul, funk, and a touch of disco. With Allen's groovy touch, Naseck perfectly locks in with his left hand, followed by Bae's precision-picked electric guitar, which completes the trio's solid groove, further propelled by Naseck's right hand taking the melodic lead. Then on side B, "Lully" brings the tempo down to a more soulful, atmospheric blend that's equal parts Khruangbin & modern jazz pioneers, a la John Scofield. Recorded live together in one room, Max brings his strong compositional style to the table, showcasing how three musicians can interact in a playful, melodic, and groove-focused way.

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on
Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and
exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will
accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms &
Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album
was an extraordinary time for the band. The song writing became an unfolding
narrative as the world got stranger and more disturbing every day. With people’s
freedoms being pushed to the brink, the suffering Covid caused and the terrible
events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a
strange kind of inspiration that was at times unsettling. It really made us appreciate
the power of music and how lucky we are to be able to express our feelings in this
way.

 “It seems there is light at the end of the tunnel, but there are always shadows within
that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid
bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’
bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet
and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

Shadow Child’s ‘Say It Now’ is an ode to the Portsmouth producer’s rave-heritage and how it has inspired him.

· Featuring a soaring vocal sample, ravey piano stabs and a dangerous bassline, this is a release that tells the story of Shadow Child’s music journey.

· London Records have pressed four mixes onto wax, including a thumping techno cut from Dusky, a floaty progressive house interpretation from Cinthie and asoundsystem-ready, jungle banger from S.P.Y, as well as Shadow Child’s original mix.

· This 12” features artwork from renowned print artist and designer Jimmy Turrell, who has worked with names such as Chanel, Adidas, Apple, Rolling Stones, Dazed and Chemical Brothers, just to name a few

Montecarla is a new Italian duo born from the idea of creating the soundtrack to a film that doesn’t exist. Blending modern disco, Italian library music and playful cinematic flair, they turn the sensual and ironic mood of 70s/80s erotic soundtracks into something fresh and contemporary.

Their debut album, “Primo Appuntamento,” introduces the Montecarla universe: a fictional Mediterranean city where elegance, desire and mischief shape the music’s identity. Real instrumentation, theatrical details and a refined groove transform each piece into a miniature scene familiar, yet entirely reinvented.

Montecarla position themselves at the crossroads of nostalgia and innovation, offering a stylish, compact sound ideal for playlists exploring Italian groovers, nu-disco, lounge atmospheres and retro-future aesthetics.

“Primo Appuntamento” is both an introduction and an invitation seductive, cinematic, unmistakably Italian.

Taupe’s latest album release, waxing | waning delivers jazz experimentalism, ‘skronk’, avant-rock, and electronics, by the Glasgow-based trio, due out via Minority Records. Across its seven tracks, waxing | waning captures Taupe’s approach – bold and boundary pushing – shaped by a fresh shift in the band’s dynamic and compositional approach.

Taupe’s waxing | waning, co-composed and realised by its players in a studio that was once an undertaker’s premises in Glasgow, is an absolutely affirmative album, an act of cultural defiance in desperate times.

Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn. However, waxing | waning is from its opening, stuttering blasts, an exercise in seeking out and claiming new territory, finding unique and novel permutations in which jazz, rock, electronics interbreed at breakneck pace. Here is a group determined to say and do things they don’t get to say and do elsewhere in their musical lives.

‘Lemonade Tycoon’ hits the ground skronking. It’s cubistic jazz, cumulative in its impact, avoiding the white lines of the conventional freeway, bridling, bustling, coming at you from all angles – a three way conversation of astonishing rapidity, fast track, telepathic communication – everyone from James Chance to Albert Ayler coming at you at once, before morphing in to a spidery scrawl of electronics and furious percussion. ‘Anti-Bird-Spike BirdNest’s‘ title somehow sums up the sort of mental images evoked by the music – its sheer creative disobedience, as if being chased in vain, like a delivery rider evading capture by ICE agents -– shapeshifting, assuming different shades, sprouting metal quills and, in its midsection, seeming almost to swallow itself alive, before regurgitating itself in a sublime mess.

‘Interlude (Stride)’ is not exactly ambient, more a horizontal enmeshment of percussion, drones, reverberant noise, electronics, a sonic mulch. ‘allcapsallbold' reminds of early Aksak Maboul, in its playfulness, a haywire series of short phrases, subject to mechanical interference, a complex weave of irregular rhythms, increasingly eloquent sax phraseology and caustic guitars, which land heavier and heavier. ‘Pet Boss' is the new jazz equivalent of a highly evolved, mature conversation among brilliant equals, sharp, empathetic, complementary, rising to a collective, joyful noise. On the title track, electronics descend like a shower of bright particles, intensifying in their luminosity, whitening the skies, as sax and drums kick up a tempestuous, spontaneously sculpted noise that summons the ghosts of the great free jazz players, before a dark calm descends slowly. Finally, ‘Turn Push Kick’, a burgeoning chatterstorm of electronics, before the group kicks in, at angles to one another, led by abrasive guitars, reminiscent of Sunn O))) in their ritualistic concussion, riffing, digging deep amid squealing sax and piledriving percussion.

After traveling through Mexico, Miami, the Bahamas, and New Orleans, Nishioka recorded his fourth album South American Journey in Los Angeles,
released in 1979. From this album, two of his most celebrated tracks—“GYPSY SONG”, a fan favorite with numerous cover versions, and “NEVER LAND”,
featuring the distinctive sound of steel pans and a Japanese reggae vibe are now being pressed on 7-inch vinyl for the first time in a limited edition!

The recording features members of the So What Review band, including Junshi Yamagishi (guitar) and Osamu Ishida (guitar), along with renowned steel pan
player Robert Greenidge, known for collaborations with Van Dyke Parks and Taj Mahal.
(FLATT THE LAIDBACK)

Kyozo Nishioka Profile
(Born May 7, 1948 – Died April 3, 1999)
Singer songwriter from the Shima Peninsula in Mie Prefecture, affectionately nicknamed “Zo-san”.
After enrolling at Kinki University and moving to Osaka, Nishioka became a regular at the folk cafe Dylan in Namba, opened in August 1969 by Masaji Otsuka
and Yoko Ishimura. Dylan was a gathering spot for folk music enthusiasts from all over Japan.
Nishioka formed the folk group The Dylan with Masaji Otsuka and You Nagai, performing at folk camps and the Nakatsugawa Folk Jamboree. In 1971, Nishioka
left the group, and Otsuka and Nagai continued as The Dylan II. Nishioka wrote and composed the song “Puka Puka” under the pen name Zokyozo, which became
one of his signature works. The song was first released in July 1971 as the B-side of The Dylan II’s single “Otoko rashii tte Wakarukai” on URC Records.
Nishioka began his solo career, releasing his debut album “Dylan nite” in July 1972, produced by Kinji Yoshino on Bellwood Records, which included his own
version of “Puka Puka”. In September 1973, he appeared at the farewell concert of Happy End titled CITY – LAST TIME AROUND at Bunkyo Public Hall in Tokyo.
His 1974 album “Machiyuki Murayuki” was produced by Haruomi Hosono, and his 1975 album “Rokka My Baby” featured support from Shigeru Suzuki’s band
HUCKLE BACK. Nishioka recorded three albums under Hosono’s production, deepening their friendship.
Together with his wife and lyricist KURO, Nishioka wrote songs for artists such as Eikichi Yazawa. The couple traveled the world, recording overseas albums such
as “Nanbei Ryoko” (1977), “Yoh-Sollo” (1979), and “New York to Jamaica” (1981), incorporating reggae, calypso, and other global sounds. In the 1980s, he released
works under the duo name KYOZO & BUN with Yoshifumi Okajima, and in the 1990s returned to solo projects with albums like “START” (1993) and “Farewell
Song” (1997).
After KURO’s passing in 1997, Nishioka continued his musical activities until his own death in 1999 at the age of 50. His music transcended the boundaries of folk,
blending jazz and tropical elements to create a unique world view, leaving an indelible mark on Japanese music history.

NYZ (David Burraston) presents this collection of generative music pieces carefully extracted from a PreenFM2 gifted to him by Aphex Twin. PRN2_M15t is being released at the same time as an LP titled Stria from Dr. John Chowning who invented the original FM synthesis algorithms which were sold to Yamaha and used in the creation of the DX series of keyboards. An interview with Chowning, conducted by David Burraston, will be published at the same time.

David Burraston is an award winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independent art/science music studio since 1981. Numerous research publications include a 2006 PhD thesis Generative Music & Cellular Automata, which developed and applied fundamental new concepts from generative music practice to a key problem in complex systems theory.

His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. He was recently interviewed by Bandcamp Daily and The Wire Magazine.

David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin.