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Celebrating 20 years of Frank Turner’s solo debut EP ‘Campfire Punkrock’, Xtra Mile Recordings are excited to release a special anniversary extended edition of the seminal release. Featuring the original EP with two added songs (The Real Damage and The Ballad Of Me & My Friends, both of which were included on the US version in 2007), plus 7 further live tracks recorded from Frank’s 50th solo gig in London 2006 - taking listeners right back to where it all began at the very early days of Frank’s incredible solo career. The 12” LP features new reworked artwork with shiny gold campfire on matt black cover plus coloured vinyl.

The original EP was recorded by Frank's guitarist Ben Lloyd at the Oxford home of Turner's bass player Tarrant Anderson and mixed by Tristan Ivemy. If features fan favourites ‘Nashville Tennessee’, ‘The Real Damage’ and ‘Ballad Of Me And My Friends’. Throughout April, Frank will tour UK performing tracks from Campfire Punkrock and the early years of his solo career. All dates are sold out including two nights at London’s Scala.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary. With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable.

Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary.

With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable. Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

This is the Dahmers third album “Creature Feature” and the band continues to dig deeper in to a world of dark things, the things that don't belong, provokes, gives you the creeps or just makes you want to look away. “Our vision has been to explore and develop the bands sound but also to maintain the bands profound and colorful essence. “We want people to get excited when they hear the album, take them with us to another planet and make 'em forget about all the trouble in the world for a while” - Christoffer Karlsson (Lead singer/guitar)
The album was recorded and co-produced by Johan Gustafsson aka “The Johan and only” from the Hives in studio Ingrid in Stockholm. There's a new level and feel to the production with guest musicians on some tracks. With instruments like brass, cello, flute and piano the songs reaches their full true potential, along with added synth elements this gives the band a fresh feel. There's a wide variety of songs on the album where every track has it's very own theme, sound and characteristics. Where deep subjects like darkness, sorrow and alienation are being explored along with the bands continuing homage to the classic slasher and giallo flicks of the 70's and 80's, but also songs about a Swedish fakir, cults, rats and creatures from outer space. This album is a celebration to trash culture and to the underdogs, all delivered with a catchy uplifting chorus that The Dahmers is known for.
Creature Feature will be released on the bands own label Eerie sounds and will be out on February Friday the 13th.

JAPAN & PORCUPINE TREE SYNTHESIST RICHARD BARBIERI RETURNS WITH NEW STUDIO ALBUM 'HAUNTINGS' GATEFOLD 2LP EDITION, PRESSED ON CLASSIC BLACK VINYL. Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music & left a lasting mark on artists from The Human League & Duran Duran to Gary Numan & Talk Talk. His subsequent & ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as 'In Absentia' (2002), 'Fear Of A Blank Planet' (2007) &, most recently, 'Closure/Continuation' (2022) further affirmed his status as one of the most intuitive & unique musicians of his generation.

'Hauntings' is Barbieri's first studio album since 2021's 'Under A Spell', deepening the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark & uplifting in equal measure, 'Hauntings' is influenced by a nostalgia for the past & future, & for things that didn't happen yet still manage to haunt the mind & soul. What is real & what is simulation? The album finds Barbieri at the height of his powers, his deft keyboard & sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London & drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, "Traveler" & "A New Simulation" bristling with the itchy modern anxiety that often runs through his best work. Contrasting the sound designs & electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums & percussion), Percy Jones (bass guitar) & Luca Calabrese (trumpet). This 2LP 45 RPM edition of 'Hauntings' is presented in gatefold packaging & pressed on classic black vinyl.

10 songs from what is possibly the best anarchopunk band currently in existence. The dynamics of the tracks are refreshingly simple, a powerful yet neutral- sounding recording, with very little embellishment or stylized production to hide behind, approaching filth with distorted guitars, haunting bass lines, and steady drum beats, all elevated by the combination of the three voices perfectly balanced between melody and hatred. In a quantized world, one can perceive an endearing dose of human spirit through their tense and disturbingly melodic expressions. A modern Anarcho Punk classic that is surprising to find 40 years after the wonderful bands that spawned the genre, especially England. Includes poster and insert with lyrics.

Since reviewing Pomegranate Seeds: An International Benefit for Mutual Aid in Gaza, the compilation put out by the DISSIDENTS, I've been hunting for more VAMPIRE material, so when I saw I was assigned this LP I became very excited. VAMPIRE is an Australian band that plays apocalyptic anarcho- punk. A sense of extreme urgency pervades VAMPIRE's sound, and What Seems Forever Can Be Broken is ten songs that combine the demanding hardcore of CONFLICT, with a foundation of CRASS, and the rough-hewn delivery of raw punk. The resulting album is dark, hauntingly mesmeric, but also aggressive with a sense of communal voice. In other words, this is anarchopunk that is of the moment, and articulates exactly what contemporary punk is about without being preachy or elitist. This is that eye-to-eye, in-the-trenches vocalization of criticism that comes off as eye-opening and perspective-altering. What Seems Forever Can Be Broken is by far my favorite release thus far in 2025, but also might be the best album I've heard in a really long time. Like, this is benchmark-level material, so definitely give this a listen.

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe’s pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input, and a telephone pickup. Jones named it the »Flood Coil«, and it’s that instrument you can see on the album’s front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form.

Bjørgeengen’s video feed is generated by oscillators, then routed into Marhaug’s pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound changes the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone, and peculiar rhythmic snippets to show the scope of their technique.

A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow’s metal-inspired screams into »Aaltopiiri«-era rhythmic noise. It’s remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundsystem subs, and grinding blast beats that sound like Napalm Death’s »Scum« piped through a broken amp stack. It ain’t pretty, but noise/industrial freaks will revel in the fierce delights inside.

Oath sub-label Last Year At Marienbad is proud to present the latest spellbinding work from producer Holo, 'Astro', a record that emulates never-ending ethereal, emotively pure, and endlessly danceable frequencies…
Berlin-based Holo makes dance music that speaks in carefree whispers, through a brilliantly constructed sound that leans as much on the hypnotically emotive as on the core fundamentals of composition.
'Astro' is the next phase of his musical journey, and as a contained experience, it gives over all that Holo has become celebrated for, alongside explorations of invigorating spaces in which his sound has grown. The title track is an airy, free-flowing affair, with its semi-stepping drum pattern providing the frame for the light chimes of the keys to set the soul going. 'Spirits' ups the ante with its tempo change, its direction more towards a dancefloor in some faraway paradise.
'Sympatika' kicks off the B-side in a similar fashion, with its extensive groove fuelling bated breath for the arrival of the synths. 'Cycles' wraps up the EP, which again shifts focus to a more cavernous, absorbing kind of sound. A final blend of audio excellence that wraps up a one-of-a-kind record from a one-of-a-kind producer.

‘Bad Wiring’ by Jeffrey Lewis & The Voltage, originally released in 2019 and long ago sold out, is re-released in UK/Europe on Blang Records. Recorded in Nashville by Roger Moutenot (Lou Reed, Yo La Tengo, Sleater-Kinny) the album blends raw lo-fi garage-punk with acoustic interludes. His trademark literate lyrics, moving between the poignant and the hilarious, shift from personal anxieties to existential dread (often in the same song eg, ‘My Girlfriend Doesn't Worry'), record stores ('LPs') and under-appreciated artists ('Exactly What Nobody Wanted'). The album was greeted with widespread acclaim in 2019 with many reviewers declaring it his best yet. Jeffrey Lewis & The Voltage play End Of The Road in September with a UK/Europe tour planned to follow.
Press For Bad Wiring In 2019:
" The “and about our relationship” refrain of ‘My Girlfriend Doesn’t Worry’ will have you replaying the album instantly." grade A- Robert Christgau, Consumer Guide (top albums of the year 2019).
" terrific wordplay." ******* Rob Hughes, Uncut
"Thick with the evergreen anti-folkie's charm." **** Mojo
"Electrifying, again." **** Q Magazine.
"one of the most consistently enjoyable records Lewis has made in his 18-year career." ********- HotPress
"possibly his best studio album yet." **** The Skinny.
"Jeff Lewis sits comfortably with Lou Reed and Leonard Cohen as an exemplary songwriter. Reed always strived for street cool and Cohen’s words were imbued with mysticism and his love of women. Lewis has the courage to open up his heart and lay out all the horrible neurosis, paranoia, and despair that we all fall prey to. Reed the cool, Cohen the mystic and Lewis the honest. A better triumvirate you couldn’t hope for.” Louder Than War.
"There’s a strong suggestion that this is the best album his written to date and after listening to just a handful of songs you’d be hard-pushed to disagree – you’ll also be left wondering why in the hell Lewis is not better known than he is, this album is filled with unforgettable songs that set his songwriting apart from anything else you’re likely to hear today." Folk Radio UK.

The 10,000 strong party drew together DJs, fans, listeners, singers, live acts and MCs together to showcase every shade and style encompassing a 174 heartbeat. As the Finsbury Park fun continues and round two promising even bigger stage takeovers and a myriad of artist weaponry, we present an equally bursting drum & bass double disc, the 'Hospitality In The Park 2017' LP. In the same vein as our all- day summer special, this huge 70 track mash- up spans across a full 360' perspective of the genre; representing the established, up and coming, soulful, obscure, liquid, innovative, dark, techy, neuro, jungle style and everything in between.

Included are over 25 brand new exclusives from reputable drum & bass titans Danny Byrd, S.P.Y, Makoto and Keeno, there are VIPs from Metrik and Nu:Logic, remixes from Hugh Hardie, Total science, Camo & Krooked and Calibre, and a 'Bullet Proof' banger from Krakota. Across two mixed CDs we've drawn for this year's surefire summer weapons with Fred V & Grafix, The Prototypes, 1991, High Contrast, The Upbeats, Breakage in the mix. With this year's Incubator stage pulling artists that are rising through the ranks, up and comers' Whiney, Unglued, GLXY and Kyrist bring exciting new offerings to the compilation.

Both fans and artists came together from all over the globe last year and we expect no less in 2017. Equally, this compilation gives an international perspective covering all corners of the globe from Japan's Mountain, the USA's Flite and Ownglow, the Netherlands Black Sun Empire and New Zealand's Shapeshifter. Drum & bass is stronger than ever and it's here to stay. See you at the park!

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

We've got a bit of an obsession with Hozan Yamamoto here at Mr Bongo! A legend of Japanese jazz, he is rightly regarded as a true master and was recognised as a "living national treasure" by the Japanese government in 2002. Over five decades he pushed the genre into new directions, absorbing fusion, funk, spiritual jazz and many other sounds, resulting in a discography studded with gems of rare beauty. Exploring his back catalogue has taken us on an engrossing journey that now sees us reissuing another work from this ground-breaking musician.

Though not translating perfectly into English 'Akuma Ga Kitarite Fue Wo Fuku', (kitarite has not been a modern expression in Japanese) roughly means 'The Devil Comes Playing The Flute' / 'The Devil Is Coming While Blowing The Whistle' or 'Devils Flute’. It is the original soundtrack to Kôsei Saitô’s 1979 mystery and suspense movie, ‘Devil’s Flute’. The film is based on a story by the famous author, Seishi Yokomizo, and is centred around a much-loved fictional Japanese detective, Kosuke Kindaichi. A Japanese Sherlock Holmes that has been popular for generations.

Hozan Yamamoto was invited to compose the soundtrack directly by the producer of the film, Haruki Kadokawa. Mr Kadokawa also hired keyboard player and producer Yu Imai as assistant producer on the project, resulting in a stunning cosmic, breaks and beats-laden, funk, disco soundtrack extravaganza.

When it comes to the soundtrack and the technology of the time, Hozan Yamamoto and Yu Imai got inventive, tripped out, funked up, and experimented, creating a quirky soundtrack masterpiece that needed to be heard more outside of Japan. Differing from the more traditional Japanese music orientation of some of his other albums such as 'Beautiful Bamboo-Flute' (also released on Mr Bongo) the album showcases a number of genres, from lush atmospheric incidental music to disco and funk grooves, experimental nuggets, drum and flute workouts, to neo-classical and more.

A special record that showcases the further depths of this wonderful musician's talents.

Sound Records proudly presents ‘Morpho’, the debut LP from UK-based producer Benyayer, formerly one-third of celebrated electronic trio Dark Sky. A deeply personal record and a symbolic transition, Morpho captures the emotional and sonic evolution of an artist in metamorphosis.

Having stepped into the solo spotlight following his successful Infiltrator EP, Benyayer (aka Matt) delivers a bold, vinyl release that combines seven previously digital-only tracks with a brand new cut, ‘The Return’, all meticulously curated and pressed for the first time on wax.

Bridging influences from techno, UK bass, Afrofuturism, and electronica, Morpho is a meticulous exploration of rhythm designed to excite, cause chaos, personal reflection and movement. Each track is a raw, rhythmic exploration that draws on his time spent busking on the streets of London with found objects, experimentation with modular synths and years of experience honing his craft as a performer at some of the finest establishments in the electronic music landscape.

This initial vinyl edition is limited to just 300 copies. Designed in collaboration with Harry Cresswell, each sleeve features a deconstructed butterfly motif, laser-cut on both sides of heavy matte stock, paired with a matte-printed inner sleeve and a transparent vinyl disc, making each copy a true collector’s item.

The LP arrives amid support from tastemakers like Gilles Peterson, Benji B, and Tom Ravenscroft (BBC 6 Music), as well as heavyweight artists including Ben UFO, Bicep, Laurent Garnier, Bonobo, and Modeselektor.

Benyayer's new live show, built around these very tools, has already been trailed to great acclaim across Europe, adding a powerful performative dimension to the record. With previous performances at Berghain, Fabric, Glastonbury, MUTEK, Dimensions and Melt Festival. Benyayer's solo trajectory continues to rise with intent, mystery, and a fierce sense of artistic purpose.

"Invaders Must Die" is The Prodigy"s 5th album, and is 40 minutes of having your head battered by future nostalgia, serotonin levels twisted by feel-good horrorcore and your synapses snapped by whiplash attitude. It"s the sound of The Prodigy mixing up genres, contorting the past and rewiring the future, ram-raiding through the tranquility of music"s status quo like a blot on the landscape of England"s dreaming. The first thing you notice about "Invaders Must Die" is how complete it sounds, a consistent collection of bangers all firing from the same cannon. The next thing you notice about "Invaders Must Die" is just how melodic it is. Not just melody in the vocal sense but in the heyday-of-hardcore keyboard-hookline sense. Yes, if The Prodigy have learned anything from the hugely successful live shows it was that those old skool rave anthems still rock hard - and are every bit as iconic to their generation as punk was to the nation"s forty-somethings. So "Invaders Must Die" is awash with references to the free party generation, thundering along like the mother of all E-rushes, all hairs tingling, spine jumping and lips buzzing. But not a retroactive arms-in-the-air, water-sharing nostalgia trip, but a set fuelled by punk"s saliva-dripping rabid snarl. "Invaders" also features Dave Grohl drumming on "Run With The Wolves".

BIG reissue for a BIG record!

Support from Gilles Peterson, Natasha Diggs, Osunlade, Rich Medina, Skratch Bastid, Bobbito Garcia, DJ Koco aka Shimokita, and GUTS ( Heavenly Sweetness ), amongst many others!

This is a landmark release from Maleet, the Northern NJ Producer, originally signed to Kenny "Dope" Gonzalez's ( Masters at Work ) label in the early 2000's

Now fresh off of a feature on the latest TEYMORI ( Amin Payne ) LP, Maleet creates his own blend of Afro-Cuban Orisha based music and Soulful House with vibrant live instrumentation

Synthesizers, Fender Rhodes, Percussion and Horns are the chosen ingredients here, while the thumping drums communicate directly with the Highest energies above! The results are songs that lift your spirit and move your body, simultaneously

Right on time for the season, these songs will be populating dance floors around the globe, through the Summer and beyond

Two dance floor heaters, one direct link to the HIGHEST!

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

Manchester dub techno explorer Andrew Hargreaves has just dropped his new album, Objects, on Lempuyang, and now some choice cuts from it get some tasty rework action. Deadbeat's Nephilim version of 'Notions' kicks things off with underlapping kicks that cuddle and comfort. 'Ruptures' (Federsen remix) taps into the stripped-back and sparse Basic Channel template, while 'Perspectives' (Merv remix) brings more light to the EP with subtle beams piercing the surface and energising as they do so. 'Assertions' gets an Ohm & Octal Industries remix that is more heady with widescreen synth layers constantly in flux.

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

Diving into the deeper part of BERG AUDIOs catalog with four beautiful gems finally available on vinyl, all taken from the featured artists past or upcoming solo EPs on the label. Artwork by Juli Jah.

Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

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Born in Victoria, B.C., and shaped by formative years in Vancouver, artist and producer Sophia Stel found a rapt cult fanbase with her 2024 debut EP Object Permanence, a fiercely vulnerable collection of genre-agnostic earworms fueled by her full-bodied, affecting alto. By following her intuition and going against the grain of online fads, Stel is setting trends, not chasing them - always creating from a place of true originality. Her self-directed, sometimes spurâÇ`ofâÇ`theâÇ`moment digicam visuals for tracks like "I"ll Take It" and "You Could Hate Me" have the fuzzy realism of vintage photos or cherished memories: effortlessly cool without ever trying to be. In addition to earning co-signs from Troye Sivan and A.G. Cook and being selected for this year"s DAZED 100, she recently made her runway debut at Ann Demeulemeester"s PFW SS26 show and embarked on her first headline tour, which included a performance at Pitchfork Festival in Paris, following the release of her sophomore EP How to Win At Solitaire. Continuing to push the boundaries of today"s music landscape while honing a truly singular, post-genre sound that"s all her own, Stel is currently working on her debut album.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. The compilation also features all-new illustrations from Alan Oldham, the Detroit-rooted visual artist who gave Djax-Up-Beats a distinctive visual identity from very early on, and design by Lost Communication. Each volume of the series also features liner notes from music journalist Oli Warwick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. Volume 1 - The Acid Trip focuses on an area the label is best known for - acid house and techno. After the pioneering breakthroughs Chicago-based producers made with the Roland TB-303 in the late 1980s, acid music creation was starting to become more widespread when Djax-Up started in late 1990. The rebellious, rave-ready sound was an instant draw for label founder Miss Djax, and so her label ended up reflecting the development of acid as it spread from the Chicago roots across the world. Volume 1 - The Acid Trip looks at the diverse approaches to acid taken by artists on Djax-Up. Tracks on the compilation include an early outing from Ludovic 'St Germain' Navarre and Bjorn Torske's Ismistik alias, as well as Dutch pioneers such as Edge Of Motion, Spasms, Random XS and Acid Junkies, and Chicago heavyweights Mike Dearborn and Gene Hunt. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.

An artist that never stops exploring new territories in sound, Brendon Moeller returns to Delsin with six deep techno steppers following up his Highly Concentrated EP from 2022. Low in frequencies, high in energies. Over the course of six tracks Moeller morphs his iconic dub informed productions into highly intelligent rhythmic arrangements. From introvert techno loops to adventurous dub stepping heavy hitters, it's a full pack of an exciting new chapter in Moeller's extensive catalogue.

2026 Repress

Two formidable producers deliver an absolute weapon of a release, each taking charge of one side of the vinyl.

Already on his second release with the Time Passages family, Tal Fussman needs no introduction.
For Skatman, this marks his first appearance on the label, though he has been on the radar of the label boss for quite some time.
His music is hypnotic, subtle, and deeply rooted in the dance floor — perfectly aligned with the timeless aesthetic of Time Passages X.

As sublabel of Time Passages, TPX continues its strictly limited approach: only 300 copies, untitled, and with no digital release.
Two tracks that speak louder than words.

Building upon the striking elegance of their first collaboration, Tobias Freund and Shun Watanabe reunite as Tobias. Doltz. for another extended excursion into designer electronica with a warm, dubby glow at its centre. Their first album Versus arrived on Delsin in early 2025 as a result of a chance meeting at Eden Festival the year before. The spark of inspiration led quickly to a complete and coherent first body of work, and the same can be said for its prompt, equally inspired follow-up. Dealing in the gentle hum of digitally sculpted ambience and needlepoint micro-pulses, Freund and Watanabe evoke the experimental spirit and mellow immersion of golden-era clicks n' cuts techno. While that early 00s phenomenon sometimes cracked around the edges of its DSP limitations, here a rich and porous sound world blooms out from the crisply defined structure of each track. At times the palette opens up to more organic sound matter, and there is ample space for full-bodied synths to ratchet down the rhythm, but a strong digital core of granular processing and exacting sound design form the bedrock of the album's subtle, sublime sound. Even though its calm demeanour radiates an instant charm, like all great electronica Frontiers Of Science is an album of hidden depths to be absorbed steadily over subsequent trips.

The highly praised, crazed heavy house hitters from Frits Wentink's golden Pearly world finally find their way onto vinyl. What started as a humble love letter to classic house music, in the form of sparse Bandcamp drops, quickly developed into an essential bag-on-sight imprint for house enthusiasts around the world. Four of these previously digital-only gems are now available on vinyl for the first time. Pearly Soundsystem coming in strong.

Counting to forty two... I draw a breath from a single drifting oxygen molecule and swim my self into the eye of truth. Behind that eyelid floats a teardrop - falling - leaving behind a resonating noise that becomes an invisible language, echoing the questions of reality. Teardrops turns to rain, tinting existence and grounding gravity in my soil. While my footprint takes shape within a flourishing garden, I'm searching for a logical answer to the life that has never been but always existed. Through all, I remain my own nature. credits w/p: Joline Scheffler design: Janu Krohm mastering: Giuseppe Tillieci a.k.a. Neel @ Enisslab, Rome

Due to popular demand: Two tasteful edits from the first, long-sold-out ITTY release, now available on a 7”. The A side is dubbed out and extended, with cut beats, dusty horns and a strong vocal. On the B side Got to Find a Way is a flip on the prince of soul, as poignant as ever after a year of protests.

Three years after the release of Volume 1, Innershades returns to home turf with a second entry in his Heritage series. The New Beat territory that its predecessor tackled serves as the starting point for the A-side of Volume 2 as well. The glistening arpeggios and choir patches on "Mind State", alongside the unyielding kicks, alarm-like synth lines and plodding tempo of "System Breakdown," reaffirm how the genre's hallmarks smoothly align with the artist's own inclinations. The B-side draws from the broad spectrum of styles that emerged a bit later, in the beginning of the nineties, when it seemed the dance floor would move unimpeded between and bridge genres, its boundaries often not as firmly established. "Fuse Memory" nudges the pace forward, driven by the 909 and a staple hypnotic lead. When the drums come to a halt, a 303 emerges to flesh out the break. "Rhythm Composer" continues in a similar early techno vein, but pulls the track into outer space via its formant-heavy leads and Detroit-tinged sci-fi sweeps. On ALT023 Innershades appears in fine fettle, providing another batch of up-front club tracks that approach history as motion rather than memory, translating the past into forward momentum.

Neel and Donato Dozzy welcome Zara to their Spazio Disponibile playground. Over the course of four tracks she brings an excellent showcase of her fluid, bass heavy and hypnotic techno experiments. From the deep stepping 4th Arc to the teeth grinding live version of Plastique. On the B-side she brings the groove back in with some lively off-rhythm techno hypnotica. It's a suiting addition to Spazio's label roster that pushes techno once more outside of the ordinary.

House royalty unite. Ralphi Rosario’s Chicago pedigree meets Bob Sinclar’s global dancefloor finesse on this uplifting, piano-charged vocal house weapon. A driving 4/4 groove underpins soaring chords and a powerful lead vocal from Donna Blakely, while Lego’s production keeps the low-end tight and club-focused. A great Chicago-classic where Bob Sinclar transformed it into a club weapon with energy, poise, breakdown drama and hands-in-the-air moments.

Big-room soulful house with crossover appeal.

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

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

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

Written, recorded and produced by Grady Steele

Mastered by Miles Whittaker

Cover photo by Alex Kurunis

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

One of the first punk bands to set up an "indie" label, they were also pioneers of "alternative" music, mixing punk with experimental sounds. Swell Maps released four singles and two albums in a brief but eventful career, in partnership with Rough Trade, topping UK indie charts and influencing acts including Sonic Youth, Nirvana, Stereolab, and Blur. The original line-up split in 1980, but still their studio albums, A Trip to Marineville and Jane From Occupied Europe, attract new generations of enthusiasts. In 2021, Jowe organised performances
with ten musicians to play a diverse selection of Maps material over two consecutive nights at London's Cafe Oto, and did it again at the Rough Trade launch for Jowe's book on Swell Maps in 2022. Concerts followed across the UK and Europe, with more planned. This ongoing project has resulted in a new studio album, C21, released through Tiny Global Productions. The material was composed at various times between 1979 and the present, including older songs never recorded professionally, a remake of Soundtracks' astonishing Jelly Babies and plenty of surprises. C21 offers memorable melodies, wild riffs with super hooks, yet never veers from their adventurous spirit, radical ideas and eccentric musical shapes. The current collective of musicians features: Jowe Head, David Callahan of Wolfhounds / Moonshake / solo fame, Jeff Bloom out from Television Personalities, Alternative TV's Lee McFadden, Lucie Rejchrtova (Crazy World Of Arthur Brown), Chloe Herington from chamber rock faves Chrome Hoof, and Luke Haines, who led Auteurs and Black Box Recorder and plays with REM's Peter Buck. SWELL MAPS will be performing throughout 2026 across the UK and Europe and are proud to present this stellar document, which maintains the group's devotion to D-I-Y ideals and impulses. The vinyl album covers were hand-screened and stamped by a feminist cooperative in Valencia, Spain and are offered in three randomly picked variants. The Guardian is going to run a 1400-word piece on the release.