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A shimmering blend of post-grunge, riff-doom and driving psychedelia from current and ex-members of Torche, Abrams and Royal Thunder OMNI is the latest album from Moon Destroys, bringing together current and former members of Torche, Abrams, and Royal Thunder for an exhilarating blend of post-grunge, riff-driven doom, and expansive psychedelia. Building on the atmospheric foundation established by She Walks by Moonlight, the band condenses its widescreen sound into a collection of immediate, hook-filled songs without sacrificing the depth and weight that define its music. The album balances crushing riffs, soaring melodies, and immersive soundscapes across eleven tightly crafted tracks, demonstrating the group's ability to merge heavy rock, doom, and psychedelic influences into a cohesive and memorable listening experience. The performances showcase both powerful musicianship and an instinct for dynamic songwriting, delivering an album that feels equally massive and accessible. OMNI represents Moon Destroys at its most focused and confident, offering a compelling statement from a band whose collective pedigree continues to push modern heavy music in exciting directions. For Fans of KING BUFFALO, TORCHE, ASG, MONOLORD, GREENLEAF, DOZER, CAVE-IN, THE SWORD, OKAY YOU WIN Limited edition pressed on ice blue vinyl! Featuring current and former members of Torche, Abrams and Royal Thunder

Appleton announce the release of a brand new EP, 'Side By Side', which will be released Friday September 4th, marking the first new Appleton body of work in over two decades.
Nicole says: "The reaction to 'Falling Into You' and our first Appleton show in over twenty years has been incredible We feel so grateful that people still connect with these songs and are excited about what we're doing now. This EP feels like the natural next chapter." After reissuing their cult- classic 2003 album 'Everything's Eventual' on vinyl, this January Appleton returned with 'Falling Into You' their first new music as a duo in 23 years.
While nostalgia may have sparked the reunion, 'Side By Side' is firmly focused on the present. Across four original tracks, the EP blends the melodic pop songwriting and distinctive harmonies that made Appleton favourites first time around with a fresh, contemporary sound that reflects where Natalie and Nicole are today. For both sisters, the project has been a reminder of the unique creative bond they've always shared. "We've always had a special connection when we sing together" says Nicole. "Making these songs reminded us of that. It never feels forced it just feels natural." More than twenty years after they first burst into the charts, Appleton aren't looking backwards. They're simply enjoying making music together again side by side.

The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light. Between tours and festival appearances, the masters of devilry wrote their third full-length, Bloody Dreams. Punkier, with a psychedelic lean, yet festooned with a feral black metal aura, the album gleams from the abyss. Engineered by Davis M. Shubs and Grammy-nominated engineer Eric Bogacz, Bloody Dreams dances darkly. Tracks “You Worms' Vain Delusions” to “Death Anthem,” “Sex with Succubus,” and the decaying bonnet of “Farewell Waltz to Unfortune's Palace” lead the charge, while guests include Mirai Kawashima (Sigh), former drummer Chris Ulsh (Power Trip), and Ur Èmdr Œrvn (Arkha Sva) enhance DEVIL MASTER's supernatural power. There is no shadow without light...Bloody Dreams invites you into and out of the abyss. Short: The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light with their new album, Bloody Dreams. FFO: Venom, GISM, Celtic Frost, Midnight, Discharge, Christian Death

Sam Tompkins kehrt mit seinem zweiten Album ARE WE GONNA SING? zurück. Die 12 Tracks zeigen
ihn von seiner bisher ehrlichsten und persönlichsten Seite.
Entstanden in seiner Heimatstadt Eastbourne und produziert mit Manta, Humble the Great, HARGS
und Mac Jamieson, verbindet das Album emotionales Storytelling mit rohem, authentischem Songwriting.
Thematisch bewegt es sich zwischen Nostalgie, Freundschaft, Liebe und Selbstfindung.
ARE WE GONNA SING? erscheint als Standard-CD und LP

A fresh blend of NDW, analog synths, and a touch of New Wave or Krautrock makes the songs absolutely awesome. The tracks from this East Berlin band are practically sing-along earworms.

Starkes Albumdebut des Surf-Psych-Groove-Instrumental-Trios Goblyns. »Hunki Bobo« brauch sich hinter Größen wie The Meters, W.I.T.C.H, Khruangbin und Can nicht verstecken. The Meters, W.I.T.C.H, Khruangbin und Can: das sind nur einige der Bands, die die Psychrock-Newcomer Goblyns als Einflüsse auf ihren Sound nennen. In Südafrika gegründet leben die drei Bandmitglieder mittlerweile in Berlin und Amsterdam. In Europa schrieben die Drei auch die Songs für ihr Debutalbum. Die acht Tracks auf »Hunki Bobo« wurde in einem fünftägigen Studiorausch im schwülen Juli 2023 unter der erfahrenen Leitung von Andre Leo aufgenommen. Leo ist vor allem für seine Arbeit mit Medicine Boy und Wombed bekannt und hat zusammen mit den Musikern etwas ganz besonderes erschaffen. Das Album hat eine einzigartige Dynamik und steckt voller Energie. Jeder Song strahlt einen Groove aus, dem man sich schwer entziehen kann. Ob düstere Krautrock-Hypnose, grooviger Surf, Psychedelica. Goblyns fesseln den Hörer an das gesamte Album.

Hearing colours is back! And is pleased to present its fourth reference, by the hand of Ricardo Villalobos and Washington Miranda.
Both tracks were recorded more than a decade ago and are already classics for those who follow and know these legends.
Let yourself be hypnotized by these masterpieces.
Limited copies

Poem by Alea Coble (February 2026) - Written for Andrew Weathers, Chattonooga Recording Project

Listen to my story and everything will come out true. - Bessie Smith

35° 02' 44.27" N -85° 18' 34.85" W:

Howl. Hammer strikes firing pin. Its echo ricochets over river bend. The woodpecker’s syncopated pop-pop-pop clink and thwap in time with cops practicing prayer at the firing range.

Quick. Sketch a few constellations onto a postcard: empty shotgun shells, these pre-forgotten fossils snaking rusted railroad spikes, like snagged rosary, fallen poplar petals draped over cerulean glass ashtray scattered along glittering fractures, ignored like a treaty. Train tracks reverberate necrophilic boomerang-hunger for mountain air without that coal dust. Eat. Eat. Everything is real estate. Even the air is for sale. Buy it cheap while I.C.E. carves through the valley along the Trail of Tears in unmarked SUVs, traffic stops.

Howl. Callback to estranged entanglements oscillating over holler and highway. Meet on the porch. Haint-blue ceiling. Some ghosts can’t get through anyway. They got tied up on the Walnut Street Bridge by a mob of white spit. Howl. The South should scare you.

But the woodpecker is still nesting, hungry, typing uncannied punctuation marks into black oak: a deed. Home? Takes a side-eyed knowing to call by name. The moon sickles in a sweating glass of iced tea.

Speculation cycle: symmetry as ancient as sour-dank betrayal of the tongue, bitter bones binding blood and lead, alchemical forgetting like I found a hairbrush in the yard while planting wild irises, like someone is charging $10 for an old glass Coke bottle, like semicolons itching restless under new sod from no-one-knows-where. Howl. Sing back. History is soil-in-stereo.

How will this line end? Like riverbank? Like atlatl arching hope smash-through a stained glass window? Words fall out of the sky, and 30 American flags snap at attention on the bridge. Howl. A shift in the wind gallops through the streets tossing her head back, laughing.

Tennessee River, who once kissed Pangea, how she softens at the knuckle-suck of it all, that secret-sweet stowed in the feathers of sandhill cranes lifting up on warm summer breeze: slow-shooting stars bending toward unbothered brevitas.

Howl. The red wolf knows her truest kin is always her shadow’s shadow.

The live EP arrives on vinyl via a collaboration between boutique label Crafting Room Recordings (Maximilian, Soft Top) and indie festival Left of the Dial. The live record follows a massive 2025 where a limited vinyl run of the Spill EP and debut EP 'Hullo, Reality!' both sold out soon after their releases. With champions already found at BBC Radio 6Music (Steve Lamacq, Emily Pilbeam) and earning a spot on the 2026 artists to watch lists for DIY, DORK, and Far Out, ELLiS.D is rapidly cementing his status as one of Europe's most striking, tireless and "sought after live acts" (Far Out Magazine). "As our first sold- out headline show outside of the UK, it felt like a real milestone for myself and the band. We wanted to capture the amazing connection we've felt playing to European audiences, with nowhere better to do it than the basement of a boat in Rotterdam. Each of the tracks on the EP have been staples of our live set for a long time but switching into the mindset of performing and recording for the EP gave us a fair few jitters pre-show. Once we crashed into 'Chasing The Blue' that all melted away. Elmo on sound did a brilliant job capturing the energy of the performance and the audience gave us the response we were hoping for!"

“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – “Take It Easy (Love Nothing),” from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake – debuted in the top two slots on the Billboard Hot 100. “First Day of My Life,” also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.” These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

Neues Tea Glass Coloured Vinylformat des erstes Albums von Resavoir auf seinem neuen Label L'UNIVERS - nach drei von der Kritik gefeierten Releases bei International Anthem und Touren mit Khruangbin, BADBADNOTGOOD und Kassa Overall. ""Themes For Dreams"" markiert eine Kehrtwende und zeigt den Chicagoer Musiker/Produzenten Will Miller von seiner meditativen Seite. Auf 13 bemerkenswert stimmigen Tracks verzichtet die LP auf Schlagzeug und setzt stattdessen auf eindringliche Melodien, die schweben, verklingen und nachklingen. Mit Arrangements, die sich wie eine warme Decke anfühlen. Als Gastmusiker dabei sind Marta Sofia Honer, Jeremiah Chiu, Macie Stewart, Matt Gold, William Corduroy und Molly Rife. ""Man denke an die Ambient-Werke von Künstlern des elektronischen Jazz der 70er und 80er Jahre wie Beverly Glenn Copeland und Laraaji."" - Tasha Viets-VanLear, Chicago Reader

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

STEELOVER is a Belgian Melodic Rock / Metal band. The band was formed in the early 80's by three friends living in Liege, Belgium, the guitarists Pat Freson & Mel Presti and the bassist Nick Gardi. In search of a drummer, they threw their sights on Rudy Lenners (Scorpions) upon his return from Germany, having left the famous German band Scorpions. Rudy proposed to contact Vince Cardillo, a singer who had already on the one hand good experience and on the other hand he already recorded an album in London, “It will fit perfectly” explained Rudy. They all felt the magic during the first rehearsal. In no time, Steelover recorded their first album "Glove Me” which was released under the Mausoleum label. This album sold over more than 400.000 copies of which more than 76,000 in Poland. They followed with a tour across different countries like The Netherlands, Germany, France and Belgium including Forest National opening for Bon Jovi and KISS. Vince decided to leave the band. Replaced by Dani Klein, the second album was recorded but never released. Dani left the band after a short time with Mel Presti to start a new band under the name Vaya Con Dios.
The band came back in 2017 with a new E.P. (including single "Wild and Free") mixed by the legendary producer and and mixing engineer Tommy Hansen.
In 2019, Rudy Lenners greeted the audience one last time before retiring from his musical career. Vince had returned to the band at this point…after the show Vince, Pat & Nick decided to continue the Steelover adventure and in 2022 released the album “Stainless” on the Escape music label (ESM368). This was a great metal album and fans old and new longed to hear more. It’s now 2026 and Steelover are back with a brand-new recording featuring 11 tracks of hard rock / heavy metal. The band are very much in the style of that 80’s metal sound, a sort of mixture of Scorpions and Saxon if you like. These new songs all hit the mark making “Devil’s Highway” an album that needs to be checked out…

Kid Drama presents 'Machines and Other Things', his first full-length album for Metalheadz and a project shaped by instinct from a producer three decades deep into his craft.

Initially conceived through the lens of the classic Headz sound, the album only found its true identity once Kid Drama stopped looking backwards and allowed his own Autonomic influences to take hold. Slowing the tempo and focusing on groove rather than function, he built a body of work unconcerned with club trends, instead prioritising atmosphere, texture and progression.

Written sequentially rather than assembled from a large pool of tracks, 'Machines and Other Things' captures a distinct moment in time. Across the album, layers of tape saturation, analogue processing, noise and environmental detail sit alongside melancholic melodies and intricate rhythms, creating a sound that feels tactile and deeply immersive.

Also featuring collaborations with Goldie, dBridge, Loxy and LaMeduza, 'Machines and Other Things' finds Kid Drama drawing on the past without being defined by it, delivering a body of work that feels unmistakably his own.

Spanish producer Notzing joins Alpenglühen with Vermiström, a four-track EP exploring the deeper edges of experimental dance music.
Over the past few years, Notzing has established himself as one of the most compelling voices in Spain's underground techno scene. His sound is stripped back yet immersive, built from hypnotic drones, stretched loops, and subtle rhythmic developments that gradually pull the listener into a trance-like state.
With Vermiström, each of the four tracks unfolds organically, evolving with patience and precision. Intricate, unconventional rhythms intertwine with long-form sequences and richly processed textures, creating a constantly shifting sonic landscape.
What truly defines this EP, however, is its profound sense of depth and its unmistakable dub aesthetic. Every element occupies its own carefully crafted space: textured atmospheres, meticulously sculpted percussion, and syncopated sequences that seem to exist at two different tempos simultaneously. Creative use of delays and spatial effects subtly references the language of Jamaican dub, while an exceptional level of sound design and mixing gives the record remarkable clarity and dynamic range.
Rather than revealing everything at once, Vermiström unfolds gradually. Each listen brings new details to the surface, as subtle shifts in texture, rhythm and space slowly reshape the music from within.

"The electroclash genre sure has been having a bit of a renaissance moment. During its first coming an odd 25 years ago the French act Sweetlight was a favorite over here. Originally active between 2002 and 2010, they quickly positioned themselves within a refined strand of the global underground scene: inspired by 90s acid house club culture, they rose to prominence by releasing a sparse selection of original tracks and a multitude of remixes that were both dancefloor-effective and immediately recognizable. After the EPs stopped coming, the project seemed to have faded. But their tracks never left our bag: they combined minimalism with ambiguous elegance and retained a distinct, timeless quality, easily transcending the turn-of-the-century style they were most closely associated with. We are delighted, in what we consider nothing less than a full-circle moment, to release "Selected Recordings: 2004 - 2006" and shed light on an underrated yet, in our eyes, absolutely essential project. ALT022 is an anthology release featuring four extensive, remastered cuts. Abusator, arguably the act's hallmark track and a crossover hit, kicks off the EP. It is joined by Mecaniques Remontees, which opened the milestone Suck My Deck mix by Ivan Smagghe, and Too Shy, both initially part of the same EP back in 2004. Noir Comme Le Beat, an unreleased curiosity from the same era, closes the record. You will find dark, endless, ever-modulating arpeggiator basses, Detroit-via-Paris chord progressions, and spartan drums. The work is, in the artists' own words, low-profile, detail-oriented, and built for late hours. It's an ideal compilation or - depending on the case - introduction, especially now that new work is rumored to be finally on its way."

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Some records arrive with a clear purpose.

Others take years to reveal why they belong together.

PLNK008 is the first solo release by Natural Goofy on Planka Records. Following a series of appearances across various labels and collaborations, this record offers a deeper look into the sound he has been quietly shaping over the years.

A collection of recordings gathered over time, connected less by genre than by a shared sense of mood and movement.

Rather than chasing functionality, the record follows instinct. Loops are allowed to breathe. Details appear slowly. Tension builds almost unnoticed. Elements drift in and out of focus. The intention was never to arrive somewhere quickly, but to stay inside a feeling for as long as it remains interesting.

The release also includes a special reinterpretation of one of the EP's tracks by dear friend and talented Italian producer Shkedul.

The original version of the track will be available exclusively as a digital bonus on Planka's Bandcamp.

These tracks were not designed to demand attention. They reward it.

For those willing to spend time with them.

Limited edition. Vinyl only.

4 tracks by one of the most solid German techno project at the moment !

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

Matrix Disruption is the vinyl debut of Cluster B, a project that confidently navigates the dark territory of hypnotic tech, progressive house, and trance nuances. Four tracks crafted with patience and vision, where the groove is never an end in itself but becomes a narrative tool.

The EP opens with the title track, "Matrix Disruption," where mechanical rhythms and synthesizers interweave into a dense, hypnotic fabric.

"Escalation" pushes the accelerator, building tension layer by layer, leading into a climax that leaves no escape.

“Dancing in the moment" takes the dancefloor to deeper, more suspended territories.

“Human Touch" closes, introducing a more human and melodic respite.

A work that looks to the dancefloor, designed to be played on vinyl and do its job where it counts.

This is white08's debut EP on Spulenmusik, featuring four tracks pressed to vinyl and two additional digital tracks, including an Idu Berg remix. The percussion work is deeply layered, creating rhythmic textures that reveal themselves gradually as the music unfolds. Each track maintains a minimal aesthetic while building rich, organic layers of sound that feel natural rather than constructed. The energy throughout the release is present and purposeful, but it emerges from the textured foundation rather than announcing itself loudly. This is music that rewards close listening, where the interplay of percussive elements and careful arrangement creates a coherent sonic experience.

In the early ‘10’s the WPH Summer Special was a yearly tradition: a stamped vinyl only releases featuring lost tracks, one-off collabs, dreaded digital only gems, etc. Some summer specials were so hot we released them in the winter to battle the cold…

Guess what? It’s back! Four killer tracks on one slice of vinyl. Satoshi Fumi remixing Ian O’Donovan to devastating Detroit-styled effect, Red D taking things deep with some dreamy deep house magic, Fabrice Lig going from ‘Border 2 Border’ on vinyl with Red D & Lady Linn and then Uit De Hoogte teaming up with Lefto for an oldskool house jam that will only be available on this release.

If this doesn’t get your heat up…

Ame: Thanks for ‘Border 2 Border’

Frankey & Sandrino: Great music in here, thanks!

Ben Sims: Ian O’Donovan one…asap!

Axel Boman: The dancefloor is open indeed.

Terre Theamlitz: Thank you for ‘Sweet Synthie Pauline’.

Simon Caldwell: Lovely E.P. of reminiscence!

Satoshi Fumi: Cool pack J

Red Rack’em: Love the Satoshi Fumi remix.

Severino Panzetta: Grooovy!

Jimpster: I can imagine the Ian O’Donovan working nicely. Classy stuff!

Harri Subclub: Play and support from me.

Massimiliano Pagliara: Great tunes!

Two artists close to our hearts come together for this milestone, delivering two complementary tracks. On the A-side, Dorisburg serves up a sun-drenched tech house groove, while Human Space Machine takes things into classic progressive territory on the flip.

Two favourites, and two standout tracks. Polygonia's tripper Black Swords on the A-side glides between deep waters and shimmering bubbles at the surface. Fluid yet staccato, and in a league of her own. On the flip, the highly anticipated return of Melatonin Man who delivers a fantastic electro-leaning digger tune; Timeless Time.

Synth heavy club tracks from Jack Tiraquon aka Space Dimension Controller.

The original A-side version surfaced in 2025 as the sold out (now repressed) Rush Hour Store exclusive white label “SHOP006”.
For TQN007, Tiraquon has invited the elusive YMC to help reshape the material with a new edit.

This is the first physical transmission from Tiraquon Recordings since the sold out compilation in 2022

“La Conga Vieja” channels the spirit of the Nickodemus, Quantic and Tempo’s evergreen hit “Mi Swing Es Tropical” - a driving 4/4 groove built on Afro-Latin percussion, salsa piano, and punchy horn lines. What started as an improvised moment at a Puerto Rico show playing a borrowed, decades-old conga became the foundation for this uptempo dancefloor cut. Featuring vocals from Puerto Rican poet Flaco Navaja and trumpet from Carlos Sarduy, the track blends classic Latin rhythms with modern club sensibility. Perfect for DJs moving between tropical, house, and global sets. Includes a bonus beat, radio edit, and instrumental.

This release pairs 'In the Heights' standout Flaco Navaja with Grammy Award–winning trumpeter Carlos Sarduy (Chucho Valdés), delivering a globally rooted, crossover-ready sound. The track comes from internationally respected producer/DJ Nickodemus, whose catalog spans five albums and 11 Turntables on the Hudson compilations, backed by strong digital metrics (52k+ followers, 704k+ monthly listeners, 300M+ streams), including “Mi Swing Es Tropical” (63M+) and multiple other high-performing tracks. The release also features Italian percussionist Gabriele Poso, whose catalog has surpassed 10M+ streams. Nickodemus tours globally to consistent demand, with strong listenership across the USA, France, Spain, Germany, UK, Netherlands, Mexico, Italy, Canada, and Australia. Supported by press in Billboard, Rolling Stone, Complex, The FADER, and Paste, plus global radio (BBC 6, FIP, RFI, KCRW, KEXP).



c 03: La Conga Vieja (Radio Edit) feat. Flaco Navaja & Carlos Sarduy
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]



[c] 03: La Conga Vieja (Radio Edit) [feat. Flaco Navaja & Carlos Sarduy]
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]

“4 brand new tracks from Coki, included much anticipated collab with Durrty Goodz “We Nah Business”

Opéra de Nuit emerge from their long slumber to grace Dark Entries with the frostiest of reissues. Formed in 1982 in Valréas in the southeast of France, Opéra de Nuit only released 3 records throughout their career: EPs in 1984 and 1986, with a full LP following in 1988. But devotees of dark music will need no introduction to this band, who are almost definitional of the coldwave genre, and whose rabid cult following has each record readily trading for three-digit prices. Opéra de Nuit’s sound is pure hellish heaven: frigid synths, jangly guitars, and sorrow-laden vox. Check out the pummelling desperation of “Annabella,” the uber-brooding vibes of “Boris Transylvania Camp,” or the elegant anthem “Karen Lloyd” (and don’t forget to watch the video!). This reissue collects their entire newly remastered discography - thirteen lucky tracks. This reissue marks the first time that their work will be reissued on vinyl and digital, and is presented in gatefold jacket with lyrics and photos. Whether you’re new to the genre or a veteran of the coldest waves, Opéra de Nuit brings the essential sound of immortal despair.

Joaquin ‘Joe’ Claussell returns to the Spring Revisited project, and he delivers another jazz-infused house mix of a classic funk track by the iconic Fatback Band. Spring Revisited is collaborative project between Ace Records and Acid Jazz, inviting influential house music producers to reinterpret classic tracks from seminal New York label Spring Records, a pioneer in funk, soul and disco. After a series of sell-out and chart-topping 12” and 7” releases, as well as a 2LP compilation, the project continues with these two new mixes of the Fatback Band’s ‘(Do The) Spanish Hustle)’. Claussell combines the original classic funk elements with Latino percussion and samba-styled trumpets.

First up is his 'Sacred Rhythm Version’, which lifts the tempo and loops a section of the original's percussion. Keeping the trumpets, and soulful vocal phrases, he adds a DJ-friendly kick drum and shows off his improvisation skills with a vibrant synth line. On the flip, he strips back some of the drums and horns and focuses on the bassline with the 'Spanish Harlem Dub,' which is a moody rework utilising some funk-infused organ chords. On the original track Joe says: "I can vividly recall the very first time I heard Spanish Hustle blasting through my brother Jackie’s stereo system. Not long afterward, I experienced its energy again on the dance floor at a discotheque known as The Inferno, where it was masterfully delivered by the legendary René Hewitt. The record left an imprint on my spirit that never faded.’ A spectacular continuation of the series, presented in the nowsignature Spring Revisited housebag, resembling an original worn-in promotional 12”, pressed in a strictly limited run!

Few bands have defined the sound of American melodic rock quite like Night Ranger. From the thunderous riffs of “Don’t Tell Me You Love Me” to the soaring anthem of “Sister Christian,” this new Best Of collection captures the very essence of their decades-long career — now reimagined for 2026. Featuring the classic hits alongside fan favorites and standout tracks from their most recent albums, this compilation spans the full spectrum of Night Ranger’s signature sound: anthemic choruses, blazing guitar solos, and unforgettable melodies. Highlights include the power-pop perfection of “(You Can Still) Rock in America,” the heartfelt balladry of “When You Close Your Eyes,” and the cinematic sweep of “Four in the Morning.” But “Best of the last 20 years… and Some Hits” is not just a look back. It also celebrates the band’s creative output over the last 20 years, spotlighting tracks like “Time of Our Lives,” “High Road,” “No Time to Lose,” “Somehow Someway,” and “Truth,” proving that Night Ranger’s energy, songwriting, and musicianship have only grown stronger with time. These songs show that the band continues to innovate while staying true to the melodic rock roots that made them legendary.

The current lineup — Jack Blades (bass and vocals), Kelly Keagy (drums and vocals), Brad Gillis (guitars), Eric Levy (keyboards), and Keri Kelli (guitars) — delivers every track with the energy and precision that have kept Night Ranger at the forefront of rock for more than four decades. This edition also features two bonus tracks that make this compilation truly special: a fresh studio take on “Wasted Time” recorded at Sweetwater Studios, accompanied by an exclusive music video, and a festive live performance of “Feliz Navidad” that showcases the band’s playful side. Perfectly timed ahead of their summer 2026 tour, this Best Of serves as both a definitive introduction for new fans and a must-have collection for longtime followers. Whether revisiting the classics or discovering the new 2026 renditions and recent masterpieces, Night Ranger – Best of the last 20 years… and Some Hits is a celebration of enduring melodies, electrifying performances, and the unforgettable spirit of one of rock’s most iconic bands.

Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.

Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.

Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.

The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!

Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.

exclusive artwork by David Shrigley.

Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.

Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.

The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!

Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.

exclusive artwork by David Shrigley.

Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.

God Bless The Band is released on 28th August 2026. God Bless The Band celebrates an incredible two decades of Courteeners, featuring tracks from their seven studio albums - St. Jude (2008), Falcon (2010), Anna (2013), Concrete Love (2014), Mapping the Rendezvous (2016), More. Again. Forever. (2020) and Pink Cactus Cafe (2024) - along with two brand new tracks ‘The Luckiest Man Alive’ and ‘Plus One Forever’ produced by Liam Fray and James Skelly. Formats include heavyweight black 2LP and CD plus retail exclusive Crystal Clear 2LP.

Louisiana Red's "Anti-Nuclear Blues" is considered a classic among acoustic blues albums and comes out on CD (w/bonus tracks) and LP in random coloured vinyl , limited to 500 copies worldwide - for fans of Buddy Guy, Junior Wells, Sonny Terry, Lightnin' Hopkins Louisiana Red was born in Alabama in March 1932 and died in Hanover almost exactly 80 years later. The early life of Iverson Minter, also known as Louisiana Red, was marked by suffering.

His mother died of pneumonia a week after he was born. When he was five years old, his father was executed by the Ku Klux Klan. After that, he lived in orphanages until he was able to spend the rest of his childhood with his grandmother. As a teenager, he was sentenced to hard labor for burglary and subsequently sent by Uncle Sam to the Korean War. Iverson had wanted to become a blues musician ever since he had met Muddy Waters. In the late 1950s, he played in John Lee Hooker's band. In the mid-1970s, he moved to Europe, where he gained recognition among a wider audience through appearances at the WDR Rockpalast and the Montreux Jazz Festival. In the 1980s, Fritz Rau signed Louisiana Red for his successful festival series, the "American Folk Blues Festival." In 1983, he released his acclaimed album "Anti- Nuclear Blues," whose content and message are more relevant today than ever. The original vinyl edition has since become a sought-after rarity. Now, the album is being released for the first time on CD, featuring six bonus tracks from the 1981 "American Folk Blues Festival," as well as a reissue on vinyl with a fresh sound.

The man with the hat returns to where it all began. A lot of water has flowed down the Rhine since Rune Reilly Kölsch set out 16 years ago to conquer the raving planet with “Loreley.” But just as that rock stands firm against the floodwaters, so too is Kölsch’s instinct for great tracks, great emotions, and great moments. “Anti Promi Energie” is yet another track that generates incredible energy with astonishing ease. The B-side isn’t just a true standout within the Kölsch canon; it also opens a remarkable new chapter in the label’s history: “Verschwinden” can best be described as techno-folk—or simply as the ideal final track after a night of partying, before the dawn swallows up the happy souls.
Der Mann mit dem Hut kehrt dorthin zurück, wo alles begann. Seit Rune Reilly Kölsch sich vor 16 Jahren mit “Loreley” anschickte, den Rave-Planeten zu erobern, ist viel Wasser den Rhein hinuntergeflossen. Doch so unumstösslich wie jener Felsen den Fluten standhält, so stabil ist auch Kölsch’s Gespür für große Tracks, große Gefühle und große Momente. “Anti Promi Energie” ist wieder so ein Track, der mit erstaunlicher Leichtigkeit unglaubliche Energie erzeugt. Die B-Seite ist nicht nur innerhalb des Kölsch-Kanons eine echte Besonderheit, sondern schlägt auch in der Geschichte des Labels ein bemerkenswertes neues Kapitel auf: “Verschwinden” lässt sich am besten als Techno-Folk beschreiben – oder einfach als der ideale letzte Track nach durchfeierter Nacht, bevor der anbrechende Tag die glücklichen Seelen verschluckt.

This album is a beautiful union of the enchanting rhythms of Bossa Nova and the sophistication of jazz. Standout tracks from the album include Garota De Ipanema, Desafinado and Corcovado. This highly requested LP were released on a limitednumbered white viny LP in 2025 and now it will be re- released on 180g 'One Step Pressing' Vinyl LP.

This Mirror Weighs a Ton, Interpol’s first album in four years and debut for Partisan Records, finds the band turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light.

Produced with Grammy- and Oscar-winning Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by Dave Fridmann, the album introduces vibrant new textures into Interpol’s world. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. At its center remains the creative relationship between Paul Banks, Daniel Kessler and Sam Fogarino, a partnership now approaching three decades and defined by intuitive alignment and momentum that continues to generate new possibilities. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.

“This Mirror Weighs A Ton” / “See Out Loud” is a study in duality, with Interpol moving fluidly between familiarity and departure. The title track unfolds from a skeletal progression into something vast and textural, built from warped bass, a wordless female voice and a sense of motion that feels tidal, bending the band’s familiar language into somewhere more expansive and unfamiliar. By contrast, “See Out Loud” carries the DNA of Interpol’s earliest work, sharp, propulsive and direct, while complicating it through layered vocals, shifting perspectives and a rare lead vocal turn from Kessler. Both tracks reflect the interplay between structure and spontaneity that defines This Mirror Weighs a Ton, expanding Interpol’s world through fresh textures while keeping the instinctive chemistry between Banks, Kessler and Fogarino at the center.

The double single is accompanied by two visualizers directed by Nick Steinhardt.