Suche:artist

We all remember Surgeon 16 Recordings and UK Skullfuck banging out some of the most intense music of the 90’s. Next up is a new label from ½ of UK Skullfuck, UK artist, Dr Machette. He had a great solo release on Special Forces back in 1998, The Damaged Skull EP. Machette Recordings #1 is a throwback to the punk-hardcore vibe of the mid-nineties. The sheer brutality of these tracks is off the scale. Without a doubt some of the most intense, uncompromising filth the scene has been subjected to in decades. Self-funded by Dr Machette himself so show some support for this label as he has lots more great music to come.

Jennifer Touch release her next LP 'Aging at Airports' on Fabrika Records. The idea for the record title came before the music even existed as Touch was spending an increasing amount of time in airports while touring. In her own words: "It felt like I waste a large part of my life waiting for the next show to come, to entertain and perform my music and build timeless moments with others. This waiting, the slowly ticking time at the gate, was in complete contrast to what I want to do as an artist: to be in flux, to create things that will last forever. The airport, as a busy hub, was like a symbol of this ambivalence. And a reminder: every second, whether waiting or on the move, I have to accept that I am fading, that my creative power, my face, and my body are fading. As a (performing) artist, everything feels like a strange contrast. While you want to stay true to yourself and speak authentically from the soul, you are also expected to appear forever young, and powerful. Artists are often wanted to distract people, but creating this art forces me to confront my own transience. I feel the struggle to fit into this powerful artificial framework that the world has set and the desire to break free from it."

2026 Repress

With Moving Pressure 02, Rene Wise allows us to dip into a psychedelic undercurrent, yet maintaining a very grounded mentality. Its an effortlessly rolling type of minimalism, but lets be clear; its a type of minimalistic spirit backed up by a rich, kaleidoscopic sound design. MP02 is an immersive batch of mystical dance floor journeys which, in four steps, navigates the realms of gaseous sound design to more subaquatic dynamics, working with a palette of serpentine rhythms that pull us into his distinctive, subtly hypnotic world.

A1 Silo Cybin opens the release with the artists unmistakable kick drum pattern, the heartbeat of his sound. Theres a trippy, swampy energy here, enhanced by robotic vocals and broken claps that weave polyrhythms into the track. The minimalist core pulses with playful energy, while detailed textural elements softly emerge like a waves bubbling foam. Up next we have Complicated, which offers a more minimalist composition, yet injected with rich rhythmic structures. Small circular modulations swirl in the background, filling the air with a delicate yet persistent energy, while his signature vocal snippets further enhance the groove. On the B side, Rough Escorts taps into a brighter psychedelic dimension, conjuring the ethos and trademark of Moving Pressure as a whole. Listen closely a fine connection to Wises previous work on MP01 shines through, maintaining the sonic coherence of the project while pushing further into a lush space. B2 Bleep Police, dives into dystopian bleep territory. Here, the artist strips techno down to its essence, intertwining bleeps with percussion into a hyper rhythmic whole.

A living organism composed of intricately layered sonic structures. A variegated interplay of texture and rhythm. Multi dimensional sound. Welcome to Moving Pressure 02.

Seoul-based artist and producer Mang Esilo marks the beginning of Green Green Records with this release.
Rooted in Techno, Electro, Acid, and Breaks, the record delivers a raw and energetic dancefloor sound built on tight rhythms, acidic textures, and driving grooves. Mang Esilo’s music has always placed the dancefloor at its core, focusing on rhythm, movement, and direct physical energy.
With this first step, Green Green Records presents its own vision of underground dance music from Seoul to the world.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

This special collector's edition is available in a strictly limited run of only 250 copies. The vinyl version is pressed on transparent vinyl and features metallic paper packaging along with a printed inner sleeve made from dyed paper stock. The entire release was designed by the exceptionally creative graphic designer Weronika Lipniewska, resulting in an edition that is as captivating visually as it is musically.

EY AY (Deluxe Slay Jazz) is the second album by Piotr Checki - an artist who, following the intimate, home-recorded debut PE, returns with something radically different: a living, spontaneous work captured in real time. If PE was a personal document of moments enclosed within a controlled studio environment, EY AY is its opposite - a sonic organism that breathes, pulses, and unfolds in the here and now.
The album was created in just two weeks during a period of intense inspiration. Ch?cki developed a series of compositional sketches which were then expanded together with drummer Tymek Papior and pianist Marcel Balinski during a single six-hour recording session. Crucially, the entire album was recorded as one-take performances. No overdubs, no edits, no second attempts. It is a document of pure presence - a moment that can never be repeated.
The subtitle Deluxe Slay Jazz carries an additional personal layer of meaning. It serves as a subtle yet significant nod to one of Checki's greatest passions: ski jumping. The initials "DSJ" may also evoke the cult classic ski-jumping computer game released in 1999, beloved by an entire generation of players.
With EY AY, Checki redefines his approach to music-making. Instead of constructing rigid structures, he places trust in the process. Instead of production, interaction. Instead of perfection, authenticity. This is music that does not strive to be finished - it simply exists.

Here is the latest record from Konformer, Konformer II, the follow up to Konformer 1!

3 years in the making Konformer II is a further & deeper probe of the world of electronic influenced instrumental, psychedelic Krautrock from the Nuremberg based trio, recorded at Frank Mollena's Lonestar Studios.
Rainer Ruder (bass), Andreas Berg (drums) and & Kristian Krauss (keyboards) continue their exploration with a bass loop anchored odyssey, a trip into the future with a firm nod to the past.

Released on Before I Die 03/07/26 on limited Black Vinyl LP with a full colour art book featuring artworks from independent artists from the city.

The band will commence a short UK Tour of Southern & Northern Grassroots venues from the end of August 2026 culminating in a performance at Manchester Psych Fest on Saturday 5th September.

Sought after double pack of entrancing 2000s minimal techno from Iranian artist Attila Jahanvash, originally released on Frankfurt's Z - Schallplatten.

K' Alexi Shelby is a prominent figure in electronic music with a career spanning decades. The cultivation of his massive music catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists like The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson and more. He makes a welcome return to COD3 QR with the jazzy house of opening track, "House Music de Chicago".

Voltaire has built his career through passion and a perfectionist approach to music, creating a richly emotional eclecticism, with inspiration from the pioneers of Detroit to the glorious electro decades of the 2000s and 2010s. Today he's a COD3 QR regular and released his debut album, "Echoes" on the label last year. He leans into the realms of house with a deep techy edge, for new track "Some House".

Finder is the alias of Radial (Jeroen Liebregts), originally from The Netherlands but today residing in Spain. He started mixing records around '98 and in 2002 teamed up with Bas Mooy to started the now legendary label, Audio Assault. He's also released on Token, Perc Trax, Mote-Evolver, Numb, Drumcode, Planet Rhythm, Mord, Will & Ink and MDR, alongside his label, Radial Records. As Finder he goes in a new direction with "Team Dream".

Benny Rodrigues a.k.a. ROD's other moniker, The Lost Souldancer has already seen him drop "No More Voices" and "Life and Death" for the label. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He returns with another emotional journey on "Magnolia".

Producer and manager of Slates Records, Squal G is a French artist who has been passionate about electronic music since the '90s. Initially a DJ, he soon turned to machines and computers. This enabled him to progress with his production and remixes. He never tries to stick to a single style, which, depending on his inspiration, can lead him to be more or less hard, while remaining in the spirit of techno. A popular COD3 QR regular, he's back with the intense techno of "Crackle".

French producer, DJ and live artist, Electric Rescue is world renowned. His productions have been signed on labels like Cocoon, Virgo, Arts, F Communications, COD3 QR, Soma, Sci + Tec, Boys Noize and his own Skrypto¨m. Ahead of his forthcoming artist album (to be released on COD3 QR in October) he closes the vinyl with the electro-tech and wonderfully wonky machine funk of "Internet Was an Illusion".

Second Skin is Nene H's declaration of liberated identity. Across nine tracks, Nene traces the metamorphosis from conformity to authenticity that unfolds after a breakup. They trace a step-by-step transformation: the shedding of imposed narratives and the layering of a new, liberated self. The result is a sonic diary of emancipation, where musical ideas move through noise, South West Asian modalities, trap, future bass, house, trance, minimal and deconstructed club music fusing and mutating freely. With their second album, Second Skin, Berlin-based artist Nene H deepens their commitment to radical honesty through sound. Where their debut was a tribute to their late father and a processing of personal grief, the second album turns inward toward identity, the fracturing and reassembling of the self that follows the dissolution of a long-term relationship. They carefully infuse shattered Southwest Asian motifs with their vocals. Vocals appear and disappear like traces of memory. The opening track, Where Was I, continues the story of their previous album Ali. From there, the question "where was I?" transforms into an existential inquiry. The starting point of both their personal journey and the journey of this album. After stepping through that door, the album unfolds into a deliberate balance: four deconstructed pieces and four more straightforward 4/4-driven tracks. The sibling tracks on A2-A3 and B3-B4 share the same DNA, though their destinies are not the same. Every element is placed with intention; every sound carries its own narrative thread. Each track gestures toward a different genre, a different world, yet together they form a coherent, flowing story. It's the story of closure and liberation.

The music of La lucha es un poema colectivo was conceived and composed during a long artistic residency at IRCAM in Paris in November 2023 and will be released by Superpang. ‘In November 2023, we were in residence in Paris when we found ourselves in the midst of protests and strikes by workers at the Centre Georges Pompidou. They were demanding the respect of their rights. Entering that place as outsiders, making art while hundreds of people outside risked losing their jobs, was disorienting.

This is the starting point for the title of this album, evocative yet at the same time tangible. A phrase, as often happens, borrowed from those who had, in turn, borrowed it before us, words that are not and
cannot be only ours. Words too heavy to be slaves to context or syntax, yet words that resonate within us, move us, and open rifts in our history as a group. A strange plunge, strange despite the fact that the premises were clear from the start, with well-defined lines of a unified design. And if we ask ourselves, looking around, not so much what but rather with whom we would like to share it, we imagine the music of this album within that groove, in that intangible bond that unites a collective of people who, upon reading this sentence written on a wall, in a street, pause for a moment, slow down, rest their gaze, and know they are still alive.”

Originally released by Panjabi MC in 1998 and propelled to worldwide success in 2002, “Mundian To Bach Ke” is widely recognized as one of the most influential Punjabi tracks ever recorded. Featuring the unmistakable vocals of Labh Janjua, the record fused traditional Punjabi bhangra with contemporary hip-hop production, creating a groundbreaking crossover sound that resonated with audiences across continents. Today, it remains a cultural landmark that helped introduce Punjabi music to international audiences and paved the way for the worldwide rise of South Asian artists.
Now, Spanish electronic music heavyweight Dario Nuñez joins forces with Afro House tastemaker Juany Bravo to breathe new life into this timeless anthem. The remix transforms the iconic vocal hook and instantly recognizable melodies into a high-energy Afro House and tribal-infused club weapon, blending modern production with the infectious spirit that made the original a worldwide phenomenon.
Also included on side A is the new remix by Benin-born, Brooklyn-raised DJ and producer, Amémé. Celebrated for his "AMÉMÉ House" sound, he blends deep house, tech, and ancestral African tribal percussions. The remix bridges two very distinct styles, classic South Asian bhangra and modern, spiritual Afro-house energy, all with Panjabi MC's personal blessing.
On side B the classic original version alongside the remix featuring Jay-Z !

After a wildly busy and successful first year in operation, CLOSE PROXIMITY announce ”House of Hades EP” on Belters 4U.
This is their most accomplished EP yet, that is a tribute to the artists of the 90s electronic scene who’s music continues to inspire today.
Jam packed with all things trance, progressive and euphoric…the EP is isnpired by the duos biggest influence…Underworld.
2026 is off to a flyer for those London lads CLOSE PROXIMITY.

“The Artistry of Freddie Hubbard” war das erste von zwei Alben, die der Trompeter unter der Ägide
von Bob Thiele für Impulse! Records aufnahm. Das im Juni 1962 entstandene Hard-Bop-Album fing Hubbard in einer entscheidenden frühen Phase seiner Karriere ein und rückt seine technische Brillanz, seinen
warmen Ton und sein rhythmisches Gespür in den Fokus. Zur Seite stand ihm dabei ein ausgesprochen
bewegliches Sextett, dem unter anderem der großartige Posaunist Curtis Fuller angehörte, der damals auch
mit Hubbard in Art Blakeys Jazz Messengers zusammenspielte. “Das sind einige wirklich vielversprechende
junge Talente, die ein klassisches Format neu beleben”, kann man in der AllMusic-Rezension des Albums
lesen, das dort vier von fünf Sternen erhielt. “Hubbards Soli zeigen, warum er der meistdiskutierte junge
Trompeter jener Zeit war.”

Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.

Songs, interpretiert von Memphis Slim, Sonny Boy Williamson, Big Bill Broonzy und anderen. Als United Artists 1959 ,Blues in the Mississippi Night" endlich veröffentlichte - nachdem man das Album jahrelang als ,zu kontrovers" eingestuft hatte -, erhielten die mitwirkenden Künstler Pseudonyme, um ihre Familien zu schützen. Das war der Preis dafür, dass sie die brutale, ungeschönte Wahrheit aussprachen. Heute wissen wir, dass ,Natchez, Sib & Leroy" die legendären Bluesmusiker Big Bill Broonzy, Memphis Slim und Sonny Boy Williamson waren. 1947 nahm Alan Lomax die drei Giganten mit einem Presto-Disc-Aufnahmegerät in den Decca Studios in New York City auf, nachdem sie im Rahmen seiner ,Midnight Special"-Konzertreihe in der nahegelegenen Town Hall aufgetreten waren. Lomax bat sie, ein paar Songs zu spielen und über ,den Blues" zu sprechen, und ermutigte sie, offen über die Ungerechtigkeiten des Lebens der Schwarzen in Amerika zu reden. Das Ergebnis war ,Blues in the Mississippi Night", eine bahnbrechende Aufnahme ihrer Songs und Geschichten, die die Ursprünge der Musik in Blut, Schweiß und Tränen der Afroamerikaner aufzeigt, die im Mississippi-Delta unter den Ausbeutungsbedingungen der Jim-Crow-Gesetze lebten. Einfach gesagt: Die Aufnahmen sind atemberaubend in ihrer brutalen Ehrlichkeit und ihrer fesselnden Meisterschaft. Heute hat das Lomax-Archiv die Originalbänder dieser historischen Aufnahme digital remastert, um sie zum ersten Mal seit 1959 wieder auf Vinyl zu veröffentlichen. Im Paket enthalten ist ein 20-seitiges Deluxe-Booklet mit einer vollständigen Transkription der gesamten Aufnahme sowie brandneuen Liner Notes von Anna Lomax Wood und einer Einleitung des renommierten Schlagzeugers und Produzenten Steve Jordan (Rolling Stones, John Mayer). ,Ich fordere jeden, der das Leben und die Wahrheit liebt, auf, sich diese Aufnahme anzuhören", sagt Jordan. Wenn man sich die Texte und die Musik darin anhört, wird das schnell klar. Dies ist eine unverzichtbare Aufnahme - ein Eckpfeiler in der Plattensammlung jedes Blues-Fans und ein unbestreitbarer Teil der amerikanischen Geschichte.

With Fuck, Marry, Kill, Tink delivers her most provocative and conceptually sharp body of work to date, firmly reclaiming her position as a premier storyteller in the modern R&B landscape. Moving beyond the diary-entry style of her earlier years, this project utilizes the titular game as a brutal yet honest framework for the complexities of modern intimacy. Tink navigates the chaos of the dating world with a dual-threat precision that few can match, seamlessly blending the grit of her Chicago rap roots with the velvet textures of contemporary soul. Under the executive production of Hitmaka, the album finds its heartbeat in the friction between high-gloss production and raw, unfiltered lyricism.

The album is meticulously structured to mirror the chaotic cycle of urban romance: the adrenaline of fleeting lust, the heavy stakes of long-term commitment, and the inevitable coldness of a bridge burned. In the "Fuck" segment, Tink radiates a lethal confidence, delivering anthems of autonomy and physical desire that demand space in the club and on the charts. As the project transitions into "Marry," she peels back the armor, offering a vulnerable look at the desire for stability and the terrifying leap of faith required to trust a partner. However, it is in the "Kill" section where Tink’s songwriting truly bites; here, she chronicles the aftermath of betrayal and the empowerment that comes from cutting ties, transforming her heartbreak into a weapon of self-preservation.

Ultimately, Fuck, Marry, Kill is a masterclass in "Toxic R&B" that refuses to settle for easy answers. Tink captures the specific anxiety of a generation trying to distinguish between a temporary thrill and a permanent soulmate, all while navigating a world of ghosting and digital infidelity. By leaning into her flaws and her triumphs with equal intensity, she creates a sonic space where listeners feel both seen and vindicated. This isn't just an album about love—it's a survival guide for the heart, narrated by an artist who has seen every side of the game and lived to write the definitive soundtrack for it.

L'Oriole is the meeting point between violinist and composer Clara Lévy and sound artist Stéphane Clor. Combining violin, violoncello piccolo and a unique orchestra of resonators and transducers, the duo explores birdsong, resonance and the transformative power of sound. Acoustic instruments are projected into cymbals, drum skins, aluminium cans and other resonant objects, creating rich layers of colour, texture and spatial depth. Inspired by the work of Olivier Messiaen and his fascination with birds, L'Oriole unfolds as a journey through imagined birdsongs, suspended sonic landscapes and raw bursts of acoustic energy.

2026 Repress

SHDW's label Mutual Rytm rounds out another year with 'Symbiosis' - an excellent split EP from Greek artists ANNE & Sera J, featuring six fresh cuts and four digital bonuses.

The release title comes from the Greek word 'Symbiosis', which means living closely together for a significant period and can be used to speak of a mutually beneficial interaction between individuals. And that is precisely what can be said of ANNE and Sera J, who have grown through life as partners and, more recently, as musical peers. This split EP is their first release alongside one another, and one that presents the story of their innermost feelings, with their full label debut following fine contributions to the label's 'Federation Of Rytm II' compilation back in March.

ANNE has had a busy few years making her mark with potent techno on labels such as Soma, Hardgroove, and Life In Patterns, while Sera J is just as revered for his tunes on the likes of Out Of Place, DifferentSound and more.

ANNE takes the A-side, firstly with the fiery diva vocals and thumping techno drums of 'Heal My Soul' and then the more physical and banging drum programming of 'Turn Back Time'. It's a big, metallic cut with rumbling bass and sleek synths peeling off the groove, while her final track 'Zephyrus' has plenty of infectious bounce and eerie pads to keep dancers on their toes.

On the flip, Sera J kicks off with the electrifying synth stabs and cantering techno power of 'Blue Dancers' and then offers up 'Common People' as twisted leads and slamming drums all run through with alien sound effects and bright stabs. To close, 'Delusion' is a psychedelic cut with roaming leads that bring plenty of cosmic energy to the unrelenting kicks.

In addition, each artist serves up a pair of digital bonuses: ANNE with the hurried funk of 'Serene' and loopy intensity of 'Victor', and Sera J with the liquid, dubby dynamics of the hard-hitting 'Intensity' and monstrous energy of 'Bodies Don't Lie.'

Shiverstruck, the latest album from IAN SWEET, finds songwriter and multi-instrumentalist Jilian Medford at her absolute best. Produced and mixed by Ben Allen (Deerhunter, Washed Out, Belle and Sebastian), the record centers a deliberate return to analog instrumentation, with acoustic guitars, piano, strings, and live drums at the forefront. Medford’s writing is more confident, direct, and emotionally exposed than ever, with soaring, melodic tracks like “Criminal Kissing” and “Jilian” revealing a striking new dimension of IAN SWEET.

IAN SWEET’s music has amassed millions of streams worldwide and earned praise from FADER, The New York Times, Stereogum, The New Yorker, Rolling Stone, and Pitchfork, which named Show Me How You Disappear one of the Best Rock Albums of 2021 and profiled Medford as a Rising artist that same year.

MADMADMAD’s EP “Overload” is a thrillingly chaotic, genre-warping ride —think Mr Oizo on acid— that fuses fuzzy basslines, jagged guitars, and analog synth delirium into a dancefloor-ready collage of sound. From the Kraftwerk-tinged pulse of “Overload” to the acid-soaked, breakneck energy of “The Way” channeling The Chemical Brothers or Gesaffelstein, the record constantly shape-shifts while maintaining a raw, propulsive core. Tracks like “Mezcal” drift into hypnotic, minimal grooves reminiscent of Aphex Twin, while “Tout le Monde” and “Turn It Up” inject playful, off-kilter funk inspired by Tom Zé, Prince, ESG, and Beck. The title track closes on a high with a gritty, disco-infused groove nodding to early Daft Punk. Across the EP, MADMADMAD embrace disorientation as an artistic statement, drawing inspiration from Dadaism to mirror the overwhelming, information-saturated chaos of modern life.

October London is a chart-topping R&B force, blending classic soul influences with modern appeal to bridge generations of listeners. Backed by multiple Billboard No. 1 hits and major award recognition, he's proven both his artistry and commercial staying power. As he expands into new audiences—from Doggyland to a forthcoming 2026 album and tour—October continues to evolve while honoring the roots of timeless R&B.

This is the fifth album overall and the second release from MOON RECORDS, originally issued in 1983.

The artist had previously shot to fame amidst the global City Pop boom thanks to the track "Machi no Dolphin" (Dolphin in the City), featured on the 1982 album *Midnight Cruisin’*.

Participating musicians include Hiroshi Sato (Key), Hidetoshi Yamada (Key), Makoto Matsushita (G), Yuji Toriyama (G), Mitchie Nagaoka (B), and Koki Ito (B), among others.

LP / Standard Edition (Black Vinyl) / E-style single jacket with wraparound obi strip.

Tiki Nation finds Truckstop Tomahawk charting new territory at the outer edges of modern exotica. Created by Robert Kress—one half of Kava Kon—the album treats tiki not as nostalgia, but as a living, evolving sound world. These tracks roam freely through imagined geographies: remote islands, half-remembered myths, roadside rituals, and sun-bleached dream states where vintage exotica collides with forward-leaning composition.

Rather than simply revisiting mid-century tropes, Tiki Nation recontextualizes them—layering cinematic arrangements, unexpected textures, and playful titles that hint at folklore, travel, and quiet surrealism. The result is music that feels exploratory and unbound, equally suited for deep listening, late-night reverie, or drifting into unfamiliar landscapes with a drink in hand.

The album’s visual centerpiece deepens this atmosphere. The cover art, Pele’s Release, was painted by Catherine Robbins, a self-taught artist and longtime Hawaiʻi Island resident who created the oil painting in her rainforest studio just miles below Kīlauea’s erupting summit. That proximity to raw, elemental power mirrors the album itself—beautiful, mysterious, and quietly volatile.

Tiki Nation stands as a bold statement of intent: exotica untethered from the past, alive in the present, and pointed firmly toward uncharted horizons.

Marking the band's long-awaited recording return, the 7-inch release features the
title track "Pandemonium" alongside the exclusive B-side "Candlelight", available
exclusively on vinyl and omitted from the digital release.
With "Pandemonium", DEATH SS once again channel their unmistakable artistic vision,
transforming apocalyptic imagery, esoteric symbolism and occult references into a striking
metaphor for today's world. Demons, broken seals and the Great Beast become powerful
symbols of war, fanaticism, mass manipulation, collective anger and the profound spiritual
crisis affecting modern society.
As always, DEATH SS invite listeners to explore multiple layers of interpretation beyond the
song's narrative. Beneath its dark imagery lies a reflection on human consciousness and the
urgent need for inner awakening, reinforcing the symbolic and philosophical approach that
has distinguished the band throughout its entire career

"Paired Works is a double EP by Justine Perry and Paula Koski, developed in parallel within the same time and environment. Evolving through years of shared surroundings and creative exchange, the record emerges as a natural extension of that connection.
Produced separately, the tracks document two distinct inner worlds shaped through proximity. Justine Perry leans into deep, hypnotic forms, while Paula Koski moves through dubby and spacious structures driven by texture.
Across four sides, the record shifts between focused, forward-moving passages and more atmospheric moments, creating a subtle push and pull. Rather than settling into one singular moment on the dancefloor, it stretches across the shifting phases of a long club night.
Timeless and elegant in its approach, Paired Works marks the debut release on Ostgut Ton for both artists.“

It's the solo debut that confirmed Q-Tip could flourish well beyond the formidable confines of A Tribe Called Quest: Amplified. The signs had been there for years, of course, though this was the first time his instinct for jazz-inflected grooves and immaculately sculpted production stood entirely on its own, embracing a more radio-facing disposition and preserving the musicality that had long distinguished his work. 'Breathe And Stop' and the irrepressible 'Vivrant Thing' became the obvious calling cards, then 'Higher' and the Busta Rhymes-assisted 'N.T.' show just how effortlessly Q-Tip could reconcile crossover appeal with genuine artistic finesse.

*repress*

Phonica unveil the second in a series of three 12" samplers featuring a selection of tracks from their new compilation 'Ten Years Of Phonica'.

Phonica favourite Lo Shea kicks off Sampler number 2 with the ominous 'Home', a bassline-heavy house cut that continues on from his streak of high quality and inventive 12" releases on Seaghdha. Medlar and Red Rack'em join forces for the submerged 'Morning Light'. It's deep house in its truest form and here's hoping they continue to collaborate, because on the basis of this, they're onto something very special.

Moiré is another producer Phonica have been hugely impressed with, his highly original 12"s for Werk Discs and Rush Hour blew us away and his contribution 'Solar Signs' doesn't disappoint. Cult producer STL rounds out the 12" with 'Freaky Fingers'. His distinctively twisted take on house and techno is in full effect on this one, whistles and all. As STL releases on labels other than Something or Smallville are a rarity, it's yet another coup for Phonica.

Phonica Records was established in September 2003 and set up shop in Soho, London, adding to the high concentration of independent records stores that inhabited the area. Founders; Simon Rigg, Heidi Vanden Amstel and Tom Relleen joined The Vinyl Factory with the aim of creating an exciting outlet for innovative dance music, traversing all sub-genres and cultures. Over the past decade the emporium has developed into a well-respected destination for DJs and enthusiasts, and has subsequently become a bustling hive of conversation and inspiration as part of a wider community of music lovers.

While trends and movements in music have grown and faded over these years, Phonica has always remained in a state of evolution. It is this openness to change alongside a commitment to it's original ethos and an enduring ardour for quality, cutting-edge sounds that has fuelled the shop's staying power.

To celebrate reaching this milestone, Phonica Records have invited some of their favourite artists to produce a track for an eclectic yet cohesive compilation, which will hopefully go some way towards sonically unfolding the 'Ten Years of Phonica.'

In order to celebrate their 20 years anniversary Permanent Vacation is releasing a series of EPs with some of their core artists and friends of the past two decades. First EP comes stacked with high quality tracks from Lauer, Midnight Magic, Pional, Curses and PV's own Benjamin Fröhlich. The
music is in a fabulously Permanent Vacation tradition and covers the spectrums from Disco, Italo, beefy House and poppy Electronic.

MAEVE returns with a new chapter led by Mano Le Tough, continuing the label's long-standing vision of releasing timeless, emotionally resonant electronic music.

Leading the way is a special 3-track 12" featuring a collaboration of Mano Le Tough with DJ Koze, Remcord and Jonathan Kaspar, - the first in a new run of releases scheduled throughout 2026, with further singles and an EP to follow from Maeve artists and new talents.

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

Simsara Records is proud to announce Syrr, the new album by Egyptian artist Maryam Saleh, arriving 27 March 2026. A mythic and introspective work, Syrr transforms memory, loss, and lived experience into a shifting world of sound, voice, and embodied emotion. Written and composed by Saleh, the album traces a three-part journey—Origin & Image, Vessel, and Intuition & Echo—in which the self is fractured, questioned, reassembled, and ultimately expanded. Blending raw expression with subtle dramatics, Saleh crafts an immersive sonic autobiography rooted in intuition, embodiment, and human becoming.
Co-produced by Maryam Saleh, Maurice Louca, and Kamilya Jubran—who also perform keys, oud and backing vocals throughout—the album’s songs are set to or inspired by existing Egyptian and Arabic song forms (including mawwal, lullaby, madih, muwashshah, taqtuqa and more). The project underwent a rigorous three-year journey of songwriting and composition by Saleh with Kamilya Jubran as mentor before recording.
“Syrr” is mixed by Mokhtar El Sayeh and mastered by Heba Kadry, with artwork by Pauline Gouablin (photography), Omar Mostafa (image editing, treatment and inserts design), and Maged El Sokkary (typography and illustration). Lyrics translation by Nariman Youssef. Produced by Simsara Music with support from the Arab Fund for Arts and Culture (AFAC).

Brown Horse—named one of Brooklyn Vegan’s 10 Artists Shaping the New Indie-Country Boom—return with their third and best album in as many years, Total Dive. With songs from each of the four members (Patrick Turner, Nyle Holihan, Emma Tovell and Rowan Braham) the writing charts a world of small revelations and painful changes. Total Dive is out April 10 via Loose Music; pre-order today on LP and CD.

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

Crackazat returns to Freerange for his latest EP entitled Shine, and sees the artist in his finest form to date! An absolute anthem in the making the title track appears here in Club Mix and Mana’s Dub form, plus an amazing flip of Crouching Tiger from Baltimore legend Karizma Shine is a soulful, jazz-inflicted epic which will have any dance floor worth it’s salt fully locked in. Crackazat’s own vocals bring hints of Jamiroquai whilst his production calls golden era MAW and Blaze to mind. Add an incredible arrangement, live horns, bass and drums to this already heady concoction and you get an idea of why we’re so excited about this release. These kind of club tracks are few and far between these days! Next up we have one of Crackazat’s own Mana’s Dubs of Shine.

A chance for Ben to strip things back, loop things up and dub things out. Keeping the funk intact, we’re treated to a feelgood party-starting house track which has a classic sound that can’t fail to warm the cockles! Flip over for a proper curve-ball from everyone’s favourite Baltimore house hero Karizma who turns Crouching Tiger into the kind of twisted, rolling, jazzy and leftfield workout we love him for. A driving force of the city’s underground, he always comes with the raw energy and fearless creativity. A staple of the dance floor and a leader beyond it, Karizma represents the past, present, and future of Baltimore House and once again proves why he’s such a don.

Drop this one and run for cover whilst the dancers throw crazy shapes! Closing out the EP we have Crackazat’s Mana’s Dub take on previous single Watchu Say. Looping up the killer piano hook and his live bass line, Ben manages to craft the kind of warm, uplifting slice of house music which simply works. And for those who love a big drop, this one should fit the bill with a trademark Mana’s Dub seratonin-boosting build that hits all the right buttons.

2026 Repress

ANNE & SERA J return for the second edition of their Symbiosis series on Mutual Rytm.

ANNE, known for potent techno on the likes of Soma and Hardgroove, and Nechto and Life In Patterns associate Sera J, have had standout years that have seen them put out a stream of essential club tracks. They are partners in both life and music, and the first volume of 'Symbiosis' on SHDW's Mutual Rytm imprint was their first release together. Delivering an honest representation of their innermost feelings, having also contributed to the label's 'Federation Of Rytm III' VA in February, this new six-track EP (plus bonus cuts) presents a 'mature and refined connection between their souls'.

The second instalment of 'Symbiosis' reflects not only their deep personal connection, but also their collaborative synergy as musical peers with the same goals. The EP captures the essence of their mutual artistic journey and showcases the strength of their bond both in life and through their shared creative vision - to create a storyline through sounds coming from their souls and convey a narrative that many listeners may find relatable.

SERA J kicks off with the lithe and melodically elegant techno of 'Your Soul Is Art' which will have both heart and heels dancing. 'Illusions' is a more heavy and dubby cut with paired back grooves and pulsing synths, while 'Glacial Pace' is an urgent deep techno roller with turbocharged stabs and huge icy hi hats locking you into a trance.

ANNE steps up on the B-side with 'Floating Waves' exploring physical, chunky drum funk and raw synth textures. 'Planetary Dust' is a dark and moody astral techno journey to the stars, before 'Sweet Seventeen' brings a more melodic cut with a sense of hope and joy in the bright pads that shimmer above the glitchy grooves.

Both artists also offer two digital bonus cuts with SERA J's 'Syncrosonix' and 'Space Velocity' delivering perfectly reduced minimal techno monsters, while ANNE's 'Gentle Loop' and 'Starburst' are interplanetary trips with widescreen cosmic synths.

2026 Repress

ARTS is back with a classy debut, this is Geinst, a very young Artist coming from France. His music is Unique, Literally one of a kind. We are happy to present Uchronie EP. When people don't express themselves, they die one piece at a time, don't forget it.

Deluxe 12" Tip-On (pasted card) Gatefold Edition (Limited Edition)

A new solo album from Seu Jorge reveals his 'other side' on this new solo album featuring Beck and Maria Rita. Produced by Mario Caldato Jr. (Beastie Boys), the album moves between jazz and bossa nova and is the result of a 16-year musical journey.
Seu Jorge is ready to present to the world the most ambitious project of his international career. After 16 years in the making, “The Other Side” finally arrives on streaming platforms in May. A departure from the soul and samba that defined his solo career, the new album is a sophisticated orchestral celebration of Brazilian music, moving between jazz and bossa nova.

The seed for this meeting between the Brazilian soul and orchestral sophistication was planted by a longtime friend and admirer: the legendary producer Mario Caldato Jr., known for his work with the Beastie Boys and Jack Johnson. The partnership, however, goes back further. “It’s not often that you find a voice and talent as vibrant and powerful as Seu Jorge’s. That’s what I felt in 1999, when I met him in Los Angeles,” recalls Caldato. “Since then, our friendship and admiration have only grown, allowing us to create music together with total freedom.”

The spark for “The Other Side” came from a moment of pure sensitivity. “This album was born when I recorded Jorge playing a simple version of ‘Girl You Move Me,’ by the band Cane and Able, on a nylon-string guitar. The performance was very sensitive and dynamic, which moved me deeply,” says the producer.

It was then that Caldato had the idea to invite multi-instrumentalist and arranger Miguel Atwood-Ferguson to orchestrate that demo. The partnership, which began in 2009, blossomed organically. “I shared some ideas with Miguel, and he understood perfectly, creating a beautiful arrangement that elevated the song to a much more luxurious and sophisticated dimension. That experience planted the seed for this orchestral adventure. "

With his characteristically deep, velvety voice, Seu Jorge guides the listener through a repertoire that revives gems of MPB. The artist cites as references the catalog of the German label ECM Records and the arrangements of Claus Ogerman, a conductor who worked with Tom Jobim and João Gilberto.

Recorded in stages between 2009 and 2018, the album is a true work of musical
craftsmanship, created with calm and friendship. The live rhythmic foundations were
provided by Seu Jorge’s band. “Jorge has a lot of confidence in and pride for his musicians, allowing them to express themselves freely. Each one brings a special flavor to every song; this was their album too, ” notes Caldato Jr.

“It was a week of pure joy for me and for all of us, recording and capturing that magical spirit and vibe,” adds the producer, who saw the work come together with arrangements by Miguel Atwood-Ferguson. “When it came time for mixing, everything felt very natural. The album revealed itself and came together magnificently. For me, it’s a timeless album.”

The album features covers of songs such as “Crença” by Milton Nascimento (from his 1969 debut album); “Caboclo” by Arthur Verocai, in a version with psychedelic guitars; and, of course, “Girl You Move Me” by the Canadian band Cane & Able, which inspired the project. Among the tracks featuring guest artists, “Vento de Maio” by Márcio Borges (a hit with Lô Borges and Elis Regina) features an intense duet with Maria Rita. Another major collaboration is with American singer Beck, a self-proclaimed fan of Brazilian music and Grammy winner. Together, they perform “River Man” by the revered British singer Nick Drake.