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Originally released in 1988 on the compilation Acid Tracks Vol. 3 via Needle Records, "The Other Side" has long been recognised as a potent example of early Chicago acid house. Now, more than three decades later, the track receives its first official 12" release - and, crucially, its first release with the original artists correctly credited. While historically attributed to Maurice Joshua, "The Other Side" was in fact produced by Da Posse (Hula Mahone), with vocals by Martell. This forthcoming release marks the first time that the original production has been properly acknowledged and presented in its intended standalone 12" format, restoring authorship to the artists responsible for the record's creation. The release is issued by Island Life Records, a Bali-based label with a growing reputation for carefully curated projects that bridge foundational dance music history and contemporary club culture. By formally reintroducing "The Other Side" with accurate credits, Island Life Records contributes an important corrective to the historical record of Chicago house and acid house music. Musically, "The Other Side" remains a striking artefact of its era: minimal, hypnotic, and emotionally charged, balancing raw machine-driven groove with an atmospheric vocal presence. It exemplifies the experimental, DJ-led ethos of late-1980s Chicago, where tracks were built for function, feeling, and longevity on the dancefloor rather than commercial visibility. The release is accompanied by a set of new remixes that respectfully extend the track's legacy into the present day. Remix duties come from Island Life Records founder Garry Todd under his Clouds Of Kouros alias, Johnny Aux (one half of Paranoid London), and Age Of Hyperion, with the digital including a remix from Garry Todd, each offering a distinct contemporary interpretation while retaining the spirit and tension of the original recording. This release stands not only as a long-overdue physical edition, but as a historically significant moment: the first time the original production has been released on 12", and the first time the correct creative contributors have been formally recognised.

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.

West Mineral returns with lushly amorphous actions by Shiner, Pontiac Streator & Ben Bondy aka Shinetiac; together fused for an immersive flux of vapoured dub, chopped and droned Billie Eilish, and fidgety algorithmic jams.

There's not a single, specific sound you can peg to the West Mineral axis at this stage in the label’s evolution - it's rather a set of shared aesthetics that freely bend into various interconnected shapes. Shinetiac's contemptuous, critic-baiting gear is the ideal example; on their last album, 2023's 'Not All Who Wander Are Lost', skittery, ketamized IDM sparkled over Spice Girls samples and the Foo Fighters' 'Everlong' was transmuted into Sneaker Pimps-style trip-hop. 'Infiltrating Roku City' might be a little less blatant with its out-and-out poptimism, but it takes a similarly dim view of conservative "big ambient" snobbishness. Just a few minutes of 'Bluemosa' should be enough to let you know what's up; the overall character of the sound is hazed, with frozen pads and garbled, dubbed-out voices smudged into a mess of effects and samples. But it sups up different nuances as it wriggles, absorbing scampering breaks, dizzy acoustic guitar strums and half-heard wordless vocals, flipping in the third act to emerge from its shell as minimalist balearic folk-pop - something like Bon Iver doing 'Electric Counterpoint'.

Brooklyn's Shiner, Philly's Pontiac Streator and Berlin-based Ben Bondy navigate the labyrinthine streaming landscape, guided by their own private experiences of mindless doom-scrolling and cruising the darkest corners of YouTube. They formulated 'Infiltrating Roku City' while they were rehearsing last year and spent the winter stitching together various recordings and jams into a layered, dry-witted commentary on our algorithmic reality. Laden with inside jokes and refried memes, it's surprisingly elegant gear; handling the most unseemly elements like sonic recyclers, earnestly repurposing pop and nostalgia to create an atmospheric echo of contemporary reality.

Screwing Chief Keef's enduring 'Citgo', 'Clublyfe (hulu)' emphasises the original's AFX-pilled euphoria with Robert Miles-style piano hits, replacing Young Ravisu's brittle 128kbps trap rhythm with a glitchy rattle that picks up dembow spikes as it rolls. 'I Hate Being Sober' vaporises the Chicago drill pioneer's 'Hate Bein' Sober', blocking out his voice with glitchy, downsampled interference and elasticated Rhodes. The trio team up with Orange Milk's goo age on the sublime 'Crisis Angel', catching a ray of Malibu's sunshine in the process, and reduce Billie Eilish's voice to a Romance-does-Celine cinder on 'Billie', stretching it to fit next to gassed Future ad-libs and swooping 808 Mafia sub womps. And although the album takes a murky diversion on 'Roku Axes Ultra’, and a cloud-stepping centrepiece ‘Purelink’ in homage to the eponymous dubbed ambient dynamos, it's back on course with 'Jiafei (NETFLIX)', taking aim at TikTok bot videos and welding screams from Florida metal band Underoath to AI-strength vocal curlicues.

Dictaphone are back with their 6th full length called "Unstable". In the 25th year of the project Brussels born composer and mastermind Oliver Doerell is surrounded again by a lot of musicians & friends. Roger Döring is there, his clarinet and saxophone play has always been a trademark sound of the band - also Alexander Stolze's ghostly violins. The dark atmosphere and experimental sound of the new album is a reference to the 80s belgian art music scene, which Doerell had the luck to experience in his formative years. Minimal jazz meets musique concrete meets a postpunk mind. On this new album “Unstable“ more voices and vocals than usual can be heard - especially Helga Raimondi (who already sang on the last album “Goats and Distortions 5") . As a collage artist she is also responsible for the visual side of Dictaphone - she designed the cover artwork and the visuals for the live shows.

The Brussels-Berlin-Teheran connection: Other guests on "Unstable" are the voices of Kaveh Ghaemi and Ashkan Afsharian, who Doerell met during a modern ballet production by Modjgan Hashemian (2008). The trumpet of Shahab Anousha can be heard in the track “La fin“ - Oliver Doerell and Shahab Anousha also share the spoken words Project “Noufān”. For nearly 20 years Oliver Doerell is linked to the Iranian Diaspora in Berlin and the Dictaphone track “Rattle” from the classic album “ Poems from a rooftop “ (2012) has been a hit in Teherans underground scene since the beginning. Furthermore the title track “Unstable“ is a homage to Ian Curtis of Joy Division. The words of this piece are based on the setlist of Joy Divisions last show.

Dictaphone played more than two hundred shows all over the world (including festivals Mutek, Transmediale, Unsound , Benicassim and many others). Their music can be heard in countless films, tv series and theatre pieces - (“the responder“ (BBC) , “the love he knows” (Ali Mohammad) , “Don´t move“ (Modjgan Hashemian) , Ring (Felix Ruckert) among others.

A limited vinyl reissue of the third album of Dictaphone from 2012, with a new artwork.

Already formed in the late nineties in Berlin, Dictaphone was born by Brussels-bred multi-instrumentalist Oliver Doerell. In 2000 Oliver Doerell found a partner in Berlin's Roger Döring, who shares Doerell's love for the Brussels-based music of the eighties. In the following years the duo and several guest musicians (e.g. Stephan Wöhrmann (SWOD) , Malka Spigel (Minimal Compact) & more) released the critically highly acclaimed "m.= addiction" (2002), the "Nacht" EP (2004) and "Vertigo II" (2006) via the City Centres Offices label of Thaddeus Herrmann and Shlom Sviri (Boomkat, Modern Love). In 2009 the violin player Alex Stolze joined the band. During their two decades of existence Dictaphone played shows in more than 20 countries with festival appearances at Mutek, Transmediale, Unsound, Benicassim & more. Their latest release "Poems from a rooftop" from 2012 came as a very limited edition through the Berlin-based boutique label Sonic Pieces. In 2017 the band released the long awaited third album "APR 70" on denovali. The label now also offers a reissue of the trio's past repertoire.

Dictaphone never make music for the sake of it, they always want to create something which was missing before. And they did.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

Written during a period of geographic and artistic transition, Country Music traces Severin Black’s movement from London to Berlin, unfolding through cycles of isolation and adaptation. Composed on the city’s periphery, the album’s material was continually dismantled and reassembled, reflecting a process of both artistic and personal reconstruction. The album marks a shift in production methodology, moving away from the immediacy of summed live takes toward a more deliberate, stratified multitrack approach. Sparse yet hypnotic, the record distills layers of sound formed by constant relocation, recurrent solitude, and a recalibration of instinct. In many ways, it echoes the experience of exile, not in a political sense but in the quieter, more insidious form of displacement that alters one’s perception of time and self. The music drifts between structure and dissolution, a reflection of existing at the threshold of different spaces—both physically and sonically.

The shedding of the previously used Nape moniker signaled a decisive sonic transformation, informed by extended time spent in the Pyrenees and a renewed engagement with folkloric material. Severin began playing the clarinet while making this record, and though its presence is minimal, it reveals itself as an interest in acoustic simulation, particularly the digital approximations of classical instruments that emerged within 1990s synthesizer technology. This interrogation of authenticity and mediation parallels the album’s thematic engagement with memory, where recollection functions not as a retrieval of fixed experience but as an iterative process of distortion and reconstruction. The relocation to Berlin reignited an affinity for grime music, evident in the syncopated brass of Pilgrim Wine and the fractured vocal layers of March, while memories of childhood in rural Wales permeate the record’s atmospheric spaces. The album includes contributions from longtime collaborator Vanessa Bedoret and Berlin-based artist Pavel Milyakov (Buttechno).

Country Music situates itself within an unresolved dialogue—between past and speculative futures, between folk lineage and digital fragmentation, between place and its embodied and sonic traces. What emerges is not a fixed statement but a process, an ongoing negotiation between what is left behind and what is brought forward. Words by Chantal Michelle

Mastered by Owen Pratt / Design by Severin Black / Center label image by Nicky Kidd / Back cover text by Alya Kanıbelli

Partisan’s stacked catalogue continues to evolve with another spaced out whirlwind. Heading up the release is jack-of-all-trades iO (Mulen), whose versatile sound and consistent craftsmanship have long defined his reputation for distinct, high-calibre production. His Hyperspace EP delivers four high-energy, acid-tinged cuts that pay testament to his trademark precision — modern in execution yet infused with a nostalgic rave soul. Leaning into techno, new beat, and gritty tech house with attitude, each track feels purpose-built for peak-time impact. It’s no surprise that a label as established as Partisan and a timeless producer like iO (Mulen) have crossed paths, exceeding the high expectations their names evoke.
Another essential addition to Anthea’s Partisan artillery.

Especial is delighted to reprise the label’s relationship with Osaka’s acid master, Akio Nagase. Following his debut, Global Acid EP and follow up African Acid EP covered a range of influences, all with the heavy dose of Roland TR-303, here he completes a trilogy of EPs, culminating in a homage to his love of dub reggae.

Having made reggae influenced dance music under the Makedub alias for decades, here he takes it a step further, utilising a knack for catchy hooks and acid lines, while fusing reggae and live desk-dub mixing.

I Love Smoke, a chant, the stand-out, those classic vocals flowing in and out with a 3AM (Eternal) bump. Riotously expounding the virtues of smoking ’Mari Jane’, the hypnotic stoner vibes are wrapped around Nagase’s meditative and dancefloor heartbeat.

Night Time High Acid swings, the low-end rumble and kick build before the TR-303 and harmonica lead interweave, samples and sirens encase in an ethnic, tribal slo-mo dub flow.

Things shift with the 4/4 bump of Creation Dub. A call to rise wrapped in the warmth of Dub House beats. Melody and dub flow, no need for 303. Vox are space echo’d to the limit. Keys stab, horns call, slip side away.

To finish, Harmonica Dub is just that. Heavy mouth organ solo, the blues calling atop a dub-techno stepper beat. Rimshot, stabs, echo. All encompass that psychedelic flavour of Akio. Dub, Love and Respect. Thank you Mr Kikumoto for the acid, thank you Mr Nagase for beats

The much-missed Vaughn Benjamin reminds us why his approach to reggae lyricism remains peerless with “Charges,” a standout track from the Polarities LP released on 7” vinyl for the first time. Arriving amidst an era of global economic shifts, the release feels forcefully timely. Genius metaphorical wordplay and wide-ranging subjects are distilled into a cohesive whole as the global economy and its entrapping neo-colonial rules come under the microscope. Produced by Zion I Kings with Tippy I at the helm, the track is anchored by the rock-solid drumming of Lloyd “Junior” Richards and the propulsive bass of David “JAH David” Goldfine. This release features a previously unheard B-side dub, giving space to the celestial synth work of the late Andrew “Drew Keys” Stoch. This series honours both the vocal and version culture of the reggae sound system and the profound lyricism of Vaughn Benjamin.

Somewhere between heaven and hell…there is Fallen Angel. Dark Entries continues its mission of shining light on a generation of composers and musicians lost to AIDS with Brandy Dalton’s Fallen Angel, his soundtrack work for the award-winning Fallen Angel series. Brandy was known for many years in the LA underground for his performances with his boyfriend, Robert Woods, who was the resident DJ at Club Fuck. Eventually, they recruited John Munt to form the band Drance, becoming infamous for their high-energy performances and songs that tackled taboo topics like sadomasochism. While Drance explored the aggressive sounds of industrial and EBM, Dalton continued to produce a wide range of electronica, from abstract sonic textures to techno bangers. The Fallen Angel album collects 16 sweaty, sticky cuts composed for the pornographic series Fallen Angel, a trio of leather-focused films released by Titan Studios. The sounds here span from the fractured cyberpunk-rave of “Swelled” to the tabla-laced trance of “FA2,” taking listeners on a journey through hedonistic recesses chock full of crunchy digital drum machines and wailing FM synths.

This album was originally released on CD in 1999 by Titan Studios, capitalizing on the success of the film franchise. It will be reissued on LP as well as CD, featuring 6 bonus tracks. Artwork for the album, designed by Eloise Shir-Juen Leigh, features stills from the Fallen Angel film. Also included is an insert with liner notes and photographs. This album is dedicated to Brandy, who passed away from AIDS-related illness in 2006, after battling with the disease for 17 years. Brandy’s passing was preceded by his best friend and Drance co-founder Robert’s death in 1995. Documenting a sonic shift in the 90s bathhouse music, Fallen Angel provides a hardcore BDSM ride, building upon the analogue archival soundtracks that Dark Entries has previously released.

Générique unveils a rich musical world that brings French chanson, indie rock and electronic textures together. The five tracks, recorded at La Frette Studios in Paris, are brought to life by an ensemble of acclaimed Anglo-American musicians directed by Mercury Prize-winning producer James Ford and Loren Humphrey. Tinged with dark, mischievous poetry that glimmers with sensuality, Générique is a hymn to liberated women. A call to live and love freely.

Tori thanks: Mark & Tash, Mom, Dad & all the family, Irene. Mollie & Dave Ward & Arminda & Beene. Johnnie & Chelsea, Ahmet, Val, Ron, Craig. Vicky, Patti, Linda, Sharon, Laura, Andrea, Kris, Bonnie, Lee Anne, Danny, Jason, Rick, Steve, Andi, Bob, Nikke, Fran and all at Atlantic, Christian. Elyse, Matthew, Peter, Carla, Stella, Nisha & all at East West, Carol Kinzel at CAA, Mike Dewdney at ITB, Dave Brock at Rima Travel UK, Mog at Warners UK, Richard Bates, Tim Shaxon at HHB, Tony Larkin at TI. Audio, Steve Trim at Stirling Syco, John & Heather & all at SSE, Jason Ogarro at Macwarehouse, Neil at Neve, Su & Bruce at Digidesign US. John Philip Shenale - vintage keyboard finder, James Naylor at Corney & Barrow and a special thanks to David Slade. Hugs to Lesley Chilkes, Cim Mahoney & Bernice Brobbery - The Glam Squad. The Bude Contingent: Cliff "The Fish' Bowden, Super Debs & Adam at Martian, Thea & Dana, Hayley & Emily, Ros, The Falcon Hotel, Mick & Pearl and Phil and Jody, Stolichnaya & Van Nelle. And finally to all the musicians.

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

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

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

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

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

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

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

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

FRQNCY LDN, the new project from Alex Lavery and James Ford (producer du jour and one half of Simian Mobile Disco), are releasing their debut album ‘The White Edition’ on 5 September via PRAH Recordings. Alongside the news of their debut album, the duo are sharing the first taste in ‘Matthias’ Wajd’, which they describe as “a rousing, instrumental piece from the middle of the set where the whole ensemble became balanced providing moments where Raven played violin with haunting yet uplifting melodies within the cavernous reverb of the church. Interestingly, at this moment, most of the audience who had been laying down rose to watch the performance like a gig, like an awakening.”

Initially conceived as a live project with earlier performances at churches in London and at Glastonbury, FRQNCY LDN’s music is a mix of strings, gongs, oscillators, FX, and spoken word, and the result is a musical experience unlike any other. Now that immersive magic has been captured on their debut release through Prah Recordings.

The music that FRQNCY LDN are releasing as their debut album is from an extraordinary live take from a performance at St Matthias Church in Stoke Newington last year, and thanks in no small part to the serendipitous bunch of musicians they assembled: composer and violinist Raven Bush, clarinettist Arun Ghosh, cellist Satin Beige Chousmer, and harpist Chloe Chousmer-Kerr. Alongside Lavery and Ford and assisted by engineer Animesh Ravel, they were able to capture the music to a world class level.

FRQNCY LDN has its roots in a supermoon that occurred three summers ago, after the hottest day of the year. Two of Lavery’s friends gave a sound bath that evening. “I’m not overly into astronomy or anything but the experience was nuts,” he says. “I had to find out what had just happened. What felt like forty minutes was actually two and a half hours. We were all out. It was so profound that I was hooked.”

He immediately signed up for a sound therapy course where he learned about what he calls a “brain hack” to meditation. “The thing about sound therapy is there’s a lot that’s meditation-based, and I find meditation really difficult. I’ve got a very busy brain. What was alluring about this process of sound immersion, a sound bath, whatever you want to call it, is it’s basically a hack to making your brain get into a meditative state.”

FRQNCY LDN’s early shows crystallised their ideas into a project, and Lavery brought poet Nikita Gill on board as a vocalist. “One of the first poems she gave to me, ‘Unwitches’ was in response to me explaining that I’d love this project to be perceived as something anyone could access. It’s not just for the sound meditation or the yoga, or the mushroom crowd. No one should be turned off by connotations from where the music comes from, I love music but I’d never be into that because it’s too woo-woo. Nikita said she’d had this poem for a long time but she’d never found the right home for it.”

And in an increasingly busy and fraught world, the need to tune out for an hour or so, and maybe tune in to something more profound, is only going to get bigger.

Forever at Last - the debut EP by Melbourne’s HighSchool - is finally back in print on vinyl. Six brilliant tracks that introduced the world to an exciting new band, it’s been out of print long enough and is being reissued ahead of their 35-date World tour. Produced by Archie Shannon (Floodlights), the band’s ingenuity shines with them effortlessly mining myriad influences. Where first singles ‘Frosting’ and ‘New York, Paris and London’ delighted with their potent mix of sun-dappled indie pop and industrial post-punk, their next two ‘De Facto’ and ‘Sirens’ pointed to the dancefloor with the band infusing DFA / New Order / Future Islands sounds while the final pair saw ‘Jerry’ taking a darker turn, playing on the band’s gothic image before closer and title track ‘Forever at Last’ pushed the synth to the fore. A perfect record.

Eco-vinyl pressing

Recorded on a packed night at Portland’s beloved haunt The Showdown, this live album captures Jeffrey Martin at his most raw and spellbinding. Although technically a live recording, the album possesses the same fidelity as his studio work, utilising the same stripped-back techniques that allow him to captivate any audience. This performance captures the full power of Jeffrey’s live presence - complete with his remarkable storytelling, both in and between songs - and firmly places him among the most compelling American singer-songwriters of today.

Hotel Lux announce their second album 'The Bitter Cup', which will be released October 31st. News of the album comes alongside the outlining of an extensive UK winter tour and new single, Costermonger. The band's 2023 debut album Hands Across The Creek won an abundance of press support, from the likes of: Dork, The Guardian, Mojo, Uncut, DIY L&Q, Clash, So Young, NME. BBC 6 Music playlists were also achieved. Recent single Another One Gone marked the start of new chapter for the band, after talking time to rediscover their identities, both as musicians and as a bunch of mates heading into their late twenties.

On new single, Hotel Lux say: "Costermonger is a musical translation of a BBC documentary detailing the rise and the fall of Deptford Market, High Street and the surrounding housing. The title itself refers to a Cockney word for a market trader. Sadly, the subject matter of the lyrics are as relevant now as they would’ve been back in ‘67 when Lewisham council first started pulling down the council housing.

On ‘The Bitter Cup’, Hotel Lux took it upon themselves to self-produce. “Something that felt completely natural, but also entirely necessary” Recorded at Big Jelly Studios, the band had enough confidence to lead on carving their own sound for this new record. Written completely collaboratively, and recorded live to replicate the emotional intensity of their live shows, this new record finds the band at their most vulnerable, while, also, at their most confident.

LIMITED EDITION (500 COPIES) 20TH ANNIVERSARY REMASTER, AVAILABLE ON VINYL (2LP) FOR THE FIRST TIME IN ALMOST TWO DECADES. HOUSED IN GORGEOUS GLOSSY GATEFOLD SLEEVE AND PRESSED ON RED & ORANGE VINYL TO COMPLIMENT THE ARTWORK
City Calls Revolution is our second full-length album, created as we absorbed the new wave revival and math rock movements that emerged in the early to mid-2000s, while simultaneously reconstructing elements of classic progressive rock, hard rock, and experimental music in our own way.
The album strongly reflects the attitude we cultivated as a live band—deeply influenced by the American and Japanese bands we shared stages with at the time—and embodies the punk spirit that shaped us.

Recorded and mixed in March 2005 at Headgear Studio in Brooklyn, New York, by Paul Mahajan (known for his work with Yeah Yeah Yeahs, TV on the Radio, and others), the album was originally released in May of the same year on both LP and CD by Beta-lactam Ring Records, then based in Portland, Oregon. Long out of print, it now returns two decades later as a newly remastered edition to be released by Riot Season Records in the UK.

In 2026, GREEN MILK FROM THE PLANET ORANGE celebrates its 25th anniversary—and also marks 10 years since Damo joined as our current bassist. It is a joy and an honor to have this album, filled with songs we still play live today, reissued in such a milestone year.

Starting January 2026, we will bring this LP on tour across 27 shows in 11 European countries, including the UK. We look forward to seeing all of you at the venues.
/// 2026 Winter European Tour ///

After receiving ecstatic reviews from all over the world for their 2023 debut „To The Gods We Swear“, Norwegian heavy metal warriors ROZARIO return with a vengeance. Their new album, „Northern Crusaders, is not just a follow-up — it’s a statement of intent. This is a band on their own Northern Crusades“, carrying the flag for classic, melodic heavy metal into a new era. The new album is an explosive collection of 12 powerful tracks that blend soaring, epic melodies with hard-hitting rockers — all packed with massive sing-along choruses, fierce conviction, and unstoppable energy. Behind the wall of sound lies an impressively crafted production, driven by massive drums, thunderous bass, blazing guitars and a powerful, commanding vocal performance. Every riff hits hard, every chorus soars high, and every note bleeds passion and conviction. ROZARIO have added fresh firepower to the lineup with the incredible young guitarist Taran Lister, whose talent brings an extra edge and intensity to the band’s signature sound. „Northern Crusaders“ was recorded at Holter Studio, once again with the amazing Trond Holter (Jorn, Wig Wam) at the helm — the band’s trusted producer and unofficial sixth member — ensuring a sound that’s as grand and powerful as the band’s vision itself. 1. Fire And Ice 2. We Are One 3. Down Low 4. Free…Forever 5. Crusader 6. Coming Home 7. Die Like Warriors 8. Until The Gods Are Calling 9. Sleepless 10. The Warning 11. Haunted By The Past 12. Betrayed Black Vinyl