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For our fifth release, we invited Voorman and Siphonophora. Previously, we did pure split EPs, with one artist on each side, but for this one it felt more natural to have both artists share both sides of the record. There is a clear connection between their sounds, so bringing them together came naturally. The A-side is the more intense side, with repetitive elements that gradually change and build, while additional layers and distinct sounds are introduced throughout. These details slowly emerge around the sequences, adding depth and movement while keeping the sound deep and immersive. On the B-side, things get more stripped back. There is more space between the elements, with slower sequences and a calmer feel. The atmosphere and smaller details are given more room to truly shine through. Four deep and hypnotic cuts, moving from intense pressure into a deeper, more reduced sound.

Symbol Of The Land marks Dialog's first beat-driven album, broadening the duo’s vision of dubwise electronic music into a long-player shaped by collaboration and global exchange.

Over the last two years, Helsinki-based producers Samuel van Dijk and Rasmus Hedlund have been refining their voice within modern dub techno, testing their material on the road and inviting kindred spirits to their studio for real-life feedback loops. During these sessions, they built the album around live mixing, repeatedly re-recording elements as they work, committing effects and modulation before pushing digital processes back out into analogue voltage.

Across the record, the smoky tones of their regular collaborator, Jamaican singer Benji, plus the original voice of dub techno Paul St. Hilaire (aka Tikiman) fold into an open exchange of rhythm, space and sound. Their musings are housed by warm, patient grooves across a range of tempos and moods; from the blissed-out, reggae style on “Mellow Mood” to the wispy and esoteric “Constellation Of Stars”.

The album, which follows a string of well-loved releases on the duo’s own DOT Records, lands via Richard Akingbehin’s Kynant imprint, a label regularly dialling into the transcendent qualities of vocal dub techno.

Peach Discs sends their last record of 2026 to the pressing plant in the form of G-Zip's wigg(l)ed-out, tech'd-up, but very much tuned-in "The Mystic Dog" EP.

A new house-focused alias from Stephen Howe – who you may remember from his excellent "Mimesis" EP for Joe Delon's Welt Discos, or his abso-fucking-lutely everywhere remix of Oklou – the G-Zip sound sits in the centre of the Venn diagram between London's tech-house pump and the blissed/blessed relief of deep house.

Hats from early grime instrumentals, interviews in club smoking areas, compilation skit tracks, video essays and jazz interludes – "The Mystic Dog" EP is built from a library of samples that extend far beyond house, tracing a deeply personal line through Stephen's influences and inspirations both past and present. Meticulously sequenced synth lines sit atop tightly woven Digitakt grooves, all mangled together through FX boxes and the Mackie desk that sits at the heart of his Berlin studio.

The EP sets out its stall with "Juiced (Monomania Mix)." Written after Stephen's first visit to Open Ground and inspired by a standout set from Fumiya Tanaka, it pairs stomping, techy drums and phat bass with a restless collage of mono synth patches that donk, squiggle and gurgle throughout.

"Missing Track" leans into contrast as a staccato bassline rubs up against the tighter than tight percussion, before skyscraping synths enter the picture to respond to the rhythm section's call. Flipping the record puts us back into banger territory with "Talking About Drums", as the tuned percussion and heavier-than-heavy subs nail the track to the dancefloor. Until the halfway point that is, when post-dubstep-indebted synths briefly arc across the stereo field – a glistening glow-up amidst the locked-in groove.

Closer "Mystic Dog" showcases Stephen's knack for idiosyncratic melody, as a wonky modular sequence twists and turns across the track while smack-in-the-face drums offer a bashy counterpoint. A classic B2 track if ever there was one, and wicked way to round off the EP.

(Oh, and there's a cheeky alternative mix of "Juiced" as a digi bonus for the hip-house heads).

**BenArt Ensemble ft. Baptiste Herbin** unveil a distinctive debut album at the crossroads of jazz, world music and groove. Led by bassist and producer Ben Artuphel, this eight-piece ensemble brings together musicians from diverse backgrounds and with a wide range of influences: Baptiste Herbin (saxophones), Amina Mezaache (flute), Céline Bonacina (baritone saxophone), Ben Artuphel (bass), Antoine Banville (drums), Alexis Bajot-Nercessian (keyboards), Laurent Avenard-Kohler (guitar) and Nils Wekstein (percussion).

Born from a musical encounter in 2023, the band has developed a unique sound in which intricate bop-inspired writing meets 1970s funk, Afro and Creole rhythms, and the vibrant energy of samba. The album features 13 original compositions, the result of a deeply collaborative process and an exceptional musical chemistry between the eight musicians.

At the heart of the project, saxophonist **Baptiste Herbin** brings his virtuosic playing and extensive international experience. Nominated for the Victoires du Jazz in 2013 for his debut album *Brother Stoon*, he went on to receive the Django Reinhardt Prize and was named Musician of the Year by the Académie du Jazz in 2019. He has released four albums under his own name and has appeared on around fifty recordings alongside some of the leading figures in jazz.

With its finely crafted arrangements, rich melodies and irresistibly groove-driven rhythm section, **BenArt Ensemble ft. Baptiste Herbin** delivers a vibrant and generous take on jazz, where each musician's individual voice shines through while serving the collective. Balancing heritage and modernity, this album is an invitation to dance, dream and travel.

As Shadow Pressings hits its 10th release the fledging vinyl-only label bring us five heavyweight basement jams, hand-picked from DJ Split’s own circle of friends and musical conspirators including one track from Split himself. Dusty machines creating stripped back grooves, strange frequencies, and raw, late-night club pressure. A little Chicago, a little Detroit, a little somewhere else entirely.

Recorded Things reaches its 50th release with a new vinyl record by label owner Oliver Rosemann.

Rosemann works with tightly reduced structures, obsessive sequences and small, continuous mutations, balancing scientific precision with physical pressure. Tension develops through layering, subtraction and detail rather than obvious gestures, giving the tracks a focused, almost architectural sense of movement.

Terence Fixmer reworks the material through his own vocabulary of dark machine funk, EBM tension and controlled industrial pressure.

For catalogue number 50, the collaboration brings together two individual artistic languages with a shared sense of restraint, intensity and structural clarity.

Rather than looking back, the release marks the milestone with a clear statement of where Recorded Things stands now.

Xhato returns to Little Endian with his second EP on the label. Fast, sparse and atmospheric techno with stripped-back arrangements and detailed sound design.

Revelling in adventurous, malleable synthesis and a strong melodic instinct, long-standing techno heavyweight Oscar Mulero brings his Trolley Route alias to Dekmantel. Across four rush-inducing cuts of studio exploration the Spanish veteran showcases a lighter side to his muse without sacrificing maximal dancefloor impact.

Oscar Mulero first debuted Trolley Route back in the early 00s through albums and EPs for Pure Plastic, Minuendo and others, offering a more playful strain of machine music to contrast with the steely output under his own name. Embracing dub textures and Detroit-coded synth leads, the recently-revived alias has become a haven for the looser styles that spill out of his studio. It just so happens these outliers are as crucial as any of Mulero's primary club smashers.

From the swampy chord sequence that dominates 'New Visual Order' to the meaty sub-bass and delay-soaked synth sweeps of 'Relativity Of The Vision', the whole EP is spilling over with madcap charm and a casual boss-level quality that can only come from a true legend letting their hair down.

Three Stripe Records, the original ‘Bristol Sound’ label release their first vinyl in 30 years.
Founded in 1988 by Smith & Mighty, the label was set up to release music from local talent as well as the pair’s own recordings, and in the late eighties released a string of underground hits.
The label’s first venture in ’88, a cover of Dionne Warwick’s ‘Anyone Who Had A Heart’, featured local singer Jackie Jackson alongside rappers M.C. Kelz and Krissy Kriss and stayed at the top of the indie charts for several weeks.
Now after a long hiatus, a new three-track 12” vinyl featuring Tammy Payne performing a cover of the ’60s Mandel & Webster classic, ‘The Shadow Of Your Smile’ is due to be released on 13th November 2026.
The vinyl’s three tracks capture different variations of breakbeat, dub and soul.

The A side is a break driven, dynamic bond-esque version with orchestral drops and rises, over a tough hiphop rhythm.
AA1 is a head nodding, rolling breakbeat affair with a digi dub style bassline, while Tammy’s vocal floats in and out on a sea of echo.
AA2 is the original mello mix with sparse beat machine style patterns and 303 bass line. Tammy’s full vocal carrying the flow in contrast to the urgent backbeat, occasionally joined by keys, guitar melodies and fx.
Each version having it’s own identity while all remaining very ’Smith & Mighty’

On March 1 2025, Kim Deal hosted a once-in-a-lifetime sold-out performance at London’s historic Barbican, playing special orchestrated renditions of songs from her acclaimed debut solo album Nobody Loves You More, followed by tracks from The Breeders’ back catalog and earlier solo work. The evening, culminating with a heartfelt standing ovation, was documented in full, to be released as a live record entitled Live at the Barbican on November 13 — arriving almost two years after Nobody Loves You More’s initial release (on November 22, 2024) and rounding out its celebrations.

Live at the Barbican finds Deal backed by a 25-piece ensemble, marking the first time in a decades-long career, that she has played with an orchestra. The idea for the performance came to Deal while mixing her solo album in Hackney: “I invited myself! That’s how I came to play ‘Nobody Loves You More’ at the Barbican. Years ago, I had worked with Chris Sharp at the 4AD label and I knew he was currently at The Barbican. So, I reached out to Chris and said I have orchestration on this record. I would love to be able to perform these songs with an actual orchestra. And Chris said yes, we’d love to have you.”

Alongside the orchestra and Shards choir, Deal was also joined by a band composed of Mando Lopez (The Breeders), Susan Voelz (Poi Dog Pondering), Lindsay Glover, Nick White (Phoebe Bridgers), and Rob Bochnik (The Frames), as well as special guest Raymond McGinley (Teenage Fanclub). The live record was mixed at Studio Black Box and mastered by Heba Kadry.

What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.


“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.


Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.


All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.

2026 Repress

Irish techno producer, Kerrie, returns to Tresor Records on the 24th of October 2025 with her second EP for the label. Entitled Echoes Of The Live Wire, this collection captures the beauty and essence of live performance; a moment in time never to be repeated.
This fixing of time is also given a different meaning as the EP explores the ways in which intense moments in our lives, both joyful and painful, are crystallised into memory, both beautiful and haunting, lingering long after they've passed.
Layered meanings are employed throughout as Kerrie explores this idea: Live Wire draws connections between circuit boards and the human nervous system, whilst also toying with multiple meanings of the word “live”.
Echoes Of channels classic Detroit techno influences, resonating with the distant hum of memories that refuse to fade, while Moment To Memory is a beatless, floating piece which slowly builds to an ecstatic crescendo.
Digital bonus tracks Recircuit and Reclaim add further depth to the core metaphor: the former a driving, minimal yet building techno work-out, and the latter a cathartic and emotionally open track that delivers intensity with vulnerability.
Echoes Of The Live Wire reflects on memory as a complex, dual-sided force where joy and pain coexist with equal weight. Her creative process becomes a form of meditation and emotional processing, using machines to process, reflect, and let go. The result is a body of work that loops back on itself, telling a story of fleeting moments and their lasting emotional imprints.

Sentimental Ultra marks DJ HEARTSTRING’s debut proper on Steel City Dance Discs, and their first album project, releasing November 13th 2026. Starting life as a mixtape before a happy accident or two took it down a different path, the 15-track album finds the pair chasing not just peak-time euphoria and what they can conjure in a club setting, but everything around it, too. The befores and the afters. The soft and the supercharged. What life felt like when they were young. Featuring collaborations with SWIM, Spriitzz, BAUGRUPPE90, Sam Gellaitry, Saidah, DMA’S, KennyHoopla, Monk, 3NDLES5, David Jackson and secret act, they fold formative years influences such as indie rock, rap, ambient and breakbeat into their sought-after sound, and balance them with contemporary-coded ideas.

This blend of worlds is at the crux of the album’s concept visually as well. Sentimental Ultra is an exploration blurring the lines of hard and soft, taking inspiration from subculture communities around football hooliganism and skateboarding. The cover is shot by iconic British photographer Ewen Spencer, renowned for his work around Skins, The Streets and more. The collaboration has seen DJ HEARTSTRING land features in Numero Berlin, Notion Mag and other cross-cultural editorial platforms ahead of the album announcement.

To date, the project has already received various milestones across international radio, including Arielle Free’s Big Whopper for third single ‘Another Year Alone’ and DJ HEARTSTRING landing a coveted BBC R1 Residency in November. Adding to this is the slew of digital looks and accolades for DJ HEARTSTRING’s set recordings including their closing set at Soenda Festival earlier this year which is on 115k views since being published in May 2026, their Melbourne Boiler Room published in 2025 with +1 million views and their Belfast Boiler Room published in 2023 with +1.1 million views.

Since DJ HEARTSTRING’s 2021 debut, when they rollicked through the club door with their Destiny of the Moment and Eternal Euphoria EPs, alongside a slew of self-released, pop-and-R&B-indebted edits, DJ HEARTSTRING have followed their hearts and won over legions more with an emotional dance music style that’s fast become synonymous with their name.

There’ve been big releases such as 2025’s You Are The Sun, I Am The Sky EP, and buzzy collaborations with fellow synapse-igniters like SWIM, Narciss, southstar and S.C.D.D.’s KETTAMA. The past few years have also seen remixes for Charli XCX and Sam Smith, Romy, Sugababes and Empire of the Sun, sets everywhere from Berghain to London’s 3000-capacity Roundhouse, their own Teenage Dream parties and a must-listen contribution to the BBC Radio 1’s Essential Mix series, which showcased just some of the sonic inspirations behind their signature, like Eurodance and trance, plus heaps of DJ HEARTSTRING material.

And now, Sentimental Ultra arrives off the back of DJ HEARTSTRING’s busiest summer to date with landmark festival plays at Awakenings in the Netherlands, Lost Village and Maiden Voyage in the UK, We Love Green in France, Lost Paradise in Belgium, Movement Festival in Detroit and Arc Festival in Chicago. Hot off the heels of their festival run, the Berlin duo show no signs of slowing down with a 3-date Australia tour at the end of September whereby they sold a cumulative 15,500 tickets across Melbourne, Sydney and Perth shows, all on presales. In addition to some pop-up in key markets around album release including Ireland, Scotland, Berlin and London, the Sentimental Ultra official tour also encompasses a European hard ticket run including Belfast’s Telegraph Building (2,000 cap), Brussels’ Braindance (2,000 cap), Paris Phantom (3,400) and DJ HEARTSTRING’s biggest London show to date - Brixton Academy (5,000) - an apt follow-up after selling out Magazine (4,000 cap) weeks in advance in February 2026.

There’s plenty still in store, and plenty of places to catch them throughout the rest of what’s set to be a landmark year. Shows from Miami to Manchester (for the sold-out KETTAMA presents Steel City Dance Discs WHP takeover) to Dublin’s District X, a hometown Teenage Dreams event and 2 colossal ADE headlines at Dockyard and Sugar Factory - with more plans bubbling behind the scenes. DJ HEARTSTRING season is well and truly upon us.

Recorded in 1988 and originally released in 1992 by Discos Musart on cassette, this landmark album by Chalino Sánchez, the King of Corridos, makes its long-awaited vinyl debut. Backed by the powerful tambora sound of Los Guamuchileños, its ten tracks—six written by Chalino—blend heartfelt love songs and vivid corridos inspired by life in Sinaloa. AAA lacquers cut from the original master tapes deliver the definitive listening experience.

Dutch-born and Singapore-based, Mike Risk has spent more than three decades immersed in house music. As a DJ, producer, promoter and agent, he has experienced the culture from multiple angles, building relationships and sharing dancefloors across Amsterdam, London, Ibiza, New York, Chicago, Singapore and beyond.

Now Is Forever is a full-circle moment. A statement. A celebration of a lifelong relationship with house music.

Mike first made his mark in the Dutch underground through Club Risk and later RiskSoundSystem, two platforms that helped shape nightlife culture in the Netherlands throughout the 1990s and 2000s. After decades spent championing the music of others, Now Is Forever is Mike adding his own chapter to the culture that shaped his life.

Created with longtime collaborator Greg van Bueren (Hardsoul) between Amsterdam and Singapore, the album is a deeply personal tribute to the music, people and places that shaped him. From the clubs of Amsterdam and London to the sounds of Chicago, New York and Detroit, it distils decades of dancefloors, record stores, studios and late-night conversations into one body of work.

From deep and soulful grooves to raw house cuts and acid-tinged late-night moments, Now Is Forever explores house music in its full spectrum. It reflects the way Mike has always approached a dancefloor as a DJ: not as a collection of tracks, but as a journey through the many moods and moments that make a greatnight unforgettable.

Featuring Mike Dunn, Bluey Robinson, Marc Evans and John Agesilas, the album brings together years of experience, inspiration and dedication. Crafted not out of commercial pressure but out of creative necessity, it is the product of pure love-for the culture, for the craft, for the music.

Now Is Forever is a past-forward record: rooted in the music, dancefloors and relationships that shaped Mike, while carrying their spirit firmly into the present. At its heart, it is about honouring the kid who first fell in love with house music-and never let go.

Because when you are truly lost in music, there is no past and no future. There is only now.

And now is forever.

With 108, Nathan Melja shapes a world built around movement, repetition and presence.

Across four tracks, rhythms unfold with patience. The record opens with “Joe’s Muse”, a playful and deep energetic track, before “Les Planètes” expands into something wider, with the help from New York vocalist Joiah, and more suspended. At the centre, eponymous track “108” draws you into a more hypnotic, ethereal space. “Trippin’” closes the EP with a sharper physical pull, bringing the record back toward the dancefloor without breaking its internal spell.

The release is completed by “Strategic Patterns” as digital bonus, an additional exploration of sounds, repetition and subtle displacement.

108 is a record for the space between attention and abandon, precise in its construction, but always open to wonder. It also offers a faithful portrait of the broad panorama of influences that Nathan Melja incorporates into his music, a sound that can be equally appreciated on the dancefloor and through attentive listening.

Where other bands seem to be hellbent on pushing an energy of exhilaration, London’s premiere grief peddler’s SECRECY seem to be more interested in reminding us all what deep shit we are in. Their debut recorded outing captures the morbid and grandiose power of their successful string of London shows, refining the message to a promising and bewildering first release. Taking compositional cues from THE EXECUTE, SOUTHERN DEATH CULT, and THE CHAMELEONS, the room filling instrumentals carry a bleak and punishing prophecy of moral turmoil and hysteria, opting to drive the notion of post punk off a cliff through force of will alone. The sound is crisp and wide without giving up the austerity necessary to carry the prophetic sense of dire urgency in the vocals, driving and marching drums and bass lines carrying almost danceable guitar parts to climax. Soaring guitars over driving drums push the corpus to blistering movement, restrained by lyrics about fucking and dying, an Eros/Thanatos act delivered with a refreshing lack of irony or sarcasm. Lyrical influences from RIMBAUD and BAUDELAIRE abound, veering from the brink of poetry back down to primitive taunts and cries.

Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.

Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.

There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.

Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.

DJ, model, artist and selector Yuka Mizuhara steps forward with her standout 12-inch release 'Moon Dust' on Rush Hour. For her debut release, she joins forces with producers Benedek and Mickey de Grand IV (Psychic Mirrors), delivering a vibrant boogie and city pop-influenced transmission that bridges contemporary rhythm with classic, sun-drenched grooves.

Having spent formative years immersed in the underground music scene in Tokyo, with extended stays in Los Angeles and London, Mizuhara channels a rich blend of influences into her work. Known widely for her encyclopedic all-vinyl DJ sets, her residency on NTS Radio (Wave Flower), and high-profile collaborations with legends like Haruomi Hosono, Yukihiro Takahashi and Towa Tei, her musical output reflects a deep appreciation for groove, melody, and rhythm, carrying the torch of foundational Japanese techno-pop, experimental, and dance music forward.

On Moon Dust, Benedek returns fully to his signature West Coast boogie roots, laying down rolling, intricate synth basslines and melty chord progressions that form the heavy-grooving backbone of the record. Around this foundation, Mickey de Grand IV and Yuka Mizuhara write and weave extraordinarily catchy, endearing vocal melodies and hook-laden arrangements. Across its three distinct mixes, the track radiates Yuka's cute spirit—evoking a bubbly, high-spirited aesthetic reminiscent of classic 80’s RAH Band productions while blending sophisticated electronic arrangement with warm, organic dance floor vitality.

Fully stepping into her own as a recording artist following recent debut performances at major festivals like RDC and Rally, Yuka Mizuhara invites listeners into a romantic, synth-laden world built on pure groove and creative freedom.

Dame-Music celebrates its 55th release with Second State Of Reality EP, a special reissue of two acclaimed Bloody Mary tracks, “Reality One (Acid Mix)” and “Reality Three (909 Mix)”, alongside a brand new remix by techno legend Chris Liebing, one of the genre’s most influential and enduring artists.

For the A-side, Bloody Mary invited Liebing to reinterpret “Reality One (Acid Mix)”. A long-time supporter of his work, she wanted to hear her track through his distinctive sonic approach. The result is a heavy, driving techno remix, pushing the original’s acid energy into darker and harder territory.
The B-side returns to Bloody Mary’s hardware roots, with crunchy TR-909 drums, crisp highs and mind-melting 303 sequences across two raw, hypnotic cuts.

A special reissue celebrating the 55th release on Dame-Music, bringing Bloody Mary’s acclaimed hardware productions back together with a fresh Chris Liebing interpretation.

Following the critically acclaimed Fantômes… Futurs, praised by FIP, France Inter, Radio Nova, ARTE and International jazz press, double bassist and composer Kham Meslien returns with Vévés électriques, a deeply immersive second album where memory, landscape and improvisation merge into a singular sonic journey. Joined by Laurent Bardainne, Roger Raspail, Naïssam Jalal and David Neerman, Meslien expands the intimate language of his double bass with subtle loops and organic textures, weaving together echoes of Iceland, the Caribbean and imagined territories. Blending spiritual jazz, contemporary classical influences and ambient soundscapes, Vévés électriques is an invitation to drift beyond geography and into a profoundly personal exploration of emotion, identity and freedom.

Set upon an oil-smooth sea, an immense range of directions opens up before Kham Meslien for “Vévés Électriques”, his second album after “Fantômes… Futurs.”

With only his double bass and bow as vessel and sextant, a distant journey nevertheless begins to take shape. Vibrations and the striking of strings against wood quickly trace lines and winding paths across the surface of the water—so many routes to follow before leaving them behind, allowing the outward journey to become an inward voyage as well.

After an improvisation intended to shed light on the course ahead, isolated lands came into view: the shores of Iceland, the lands of the far north, places cut off from the rest of the world by vast expanses of water. Islands battered by a harsh climate that can only be endured by drawing warmth from deep within oneself.

Then the Caribbean arc appeared. The archipelago, a setting for joyful and unsettling experiences, takes Kham back to a childhood from which the passing years have carried him away. Rather than following the conventional channel of the music of these places, the West Indies emerge through memories whose colors are still vivid.

Through the morning mist, Roger Raspail’s percussion locks into the same frequencies of the groove. Double bass and struck skins then become companions on a road that intersects with Laurent Bardainne’s saxophone. Carrying a dreamlike message, David Neerman’s vibraphone also joins the narrative to write a few chapters of its own, while others are enchanted by the flute and voice of Naïssam Jalal, or struck by the metaphorical rhymes of rapper Rocé.

On the surface, through the themes along which the pieces navigate, landscapes slowly reveal themselves and change shape as the shore draws nearer or recedes. Straying from the marked course and allowing oneself to drift, breaking free from pure acoustic sound by adding loops first played live and then sampled, allows Kham to explore the depths. The depths of the ocean, as well as those of his soul. To enter a world of improvisation that reveals itself even as he explores it. Examined up close, feelings become shells to pick up and hold to one’s ear, so that they can be felt intensely until they take material form.

This sea, which had appeared peaceful, became the stage for a succession of stories and images, which then accumulated to give birth to a larger narrative.

Nearly a decade after their debut album featuring the underground hits 'Die Gestalten' and 'Kommando Limmerstrasse', Der Nachtportier return with their new record, 'Gespenst'. While the debut was firmly rooted in Minimal Wave, this new chapter marks a bold sonic evolution, infusing those foundations with experimental elements of Noise and Jazz. The album is a deeply personal journey back into the artist’s childhood fears, weaving in original tape recordings from his own youth. Drawing inspiration from eerie nursery rhymes and his time as a forensic psychologist, 'Gespenst' manifests as a haunting concept album.

Land of Talk is still here. That wasn’t always a guarantee. Over the multi-faceted twenty year history of their project, Lizzie Powell has drifted from and back to music, always interrogating their role as an artist. In the time since 2023’s Performances, they found themselves utterly worn down by the vicissitudes of the music industry and wracked with worry around their aging parents. Yet the music didn’t stop: Powell heard songs in traffic and in birds chirping, in their downstairs neighbor’s daily prayers and in the babble of children on the street. Melodies slowly cohered over time. “Life can become so unbearable, and music is where I go to metabolize it,” they explain. “I know the music was the only thing that was going to help me.” Soon Powell reemerged with the sixth Land of Talk album, LASTS.

LASTS is full of double meanings — both resilience and finality, acting as a noun and a verb. Though LASTS is haunted by crises including climate collapse, political upheaval, and genocide, the mangitude of global turmoil led Powell towards smaller, humane depictions of suffering and grief. As both their parents became ill, Powell reflected on the last time a person might walk, might talk to a loved one. Yet watching their parents near the other side of life’s arc also made Powell consider all they had survived across their own decades on this earth, their new songs channeling both gratitude and rage. LASTS became a phrase, honoring Land of Talk’s circuitous route and all Powell’s reckoned with through the years. “I think of this record as a love letter to life,” they say.

The end result is an album both lean and winding, allowing Powell’s words and melodies to take centerstage, uncrowded in visceral, shot-no-chaser arrangements. LASTS jumps right in with “Broken Tongue,” a wiry track built on thrumming electric guitar and ghostly synths as Powell rails against the lack of justice for victims of abuse. The trio’s interplay is readily evident in “Saffron” and “4:44,” two earworm songs that also allow themselves to unspool into extended instrumental codas. Early in the record, there are seething tracks like “Dogs” — “Just your basic instinct / Even dogs know better,” Powell growls in the chorus, before the song quiets into a plaintive plea of “Leave us alone now” — and later there are more vulnerable, wandering moments. In “Projections” and “Cedars,” Powell ventures deep into their head, inviting their co-conspirators and listeners alike to follow the songs wherever they meander.

YES is a genre-blurring blend of punk, electronic and rap from South Africa, released on limited edition White Vinyl

South African alt-rap trio Internet Girl have officially announced their debut album, YES, arriving November 13 via PACK. Records. Alongside the announcement, the group has released their new single “DA BUSINESS” featuring Kenny Mason.

A high-energy party anthem, “DA BUSINESS” opens with distorted guitar before chopped vocals briefly pull things back, only for an abrupt beat drop and howling synth to send the track into overdrive. As another synth melody sweeps in, TK cuts through the chaos with an introspective opening verse before Kenny Mason crashes in with a gritty guest verse. Live drums, distorted guitars, and surging synths continue to build around them, turning their vocals into something closer to rage-filled battle chants than traditional rap verses.

Partially written on tour last year, “DA BUSINESS” is the oldest song on YES and one of the album’s few guitar-led tracks. Kenny connected with the trio over DMs months earlier before joining them on the track, bringing Atlanta and South Africa together for one of the album’s most charged moments. “DA BUSINESS” follows the trio’s recent single “ALL THE SAME,” a swagger-heavy track built around a hypnotic Spanish-language vocal sample and live drums before a heavily distorted bass synth takes over in its final stretch, drawing inspiration from South Africa’s booming taxi rave scene. Together, the two singles offer an early look at the range of YES, moving between the rock, rap, and electronic sounds Internet Girl have made entirely their own.

Written largely during a week-long trip to South Africa’s Karoo region at the beginning of 2026, YES captures Internet Girl at a turning point. What began as an ad-lib TK would throw into his verses gradually became the philosophy behind the record: saying yes to an idea and committing to it completely, even before there’s any proof it will work. Across the album, that once-delusional confidence begins to feel real as the trio reflect on coming of age, growing more comfortable with themselves, and becoming increasingly assured in the music they make.

The new release arrives on the heels of a big year for the South African trio, who have brought their high-energy live show to stages around the world, including Pitchfork Music Festival Paris and Boiler Room Soweto, while co-headlining Kiss Kiss Festival in South Africa alongside Basement Jaxx.

Comfort with ambiguity, dynamic experimentation and melancholy are rife throughout Brody Price’s newest record, Leaf Miner’s Daughter. Classic alt-country at its core, this collection meticulously weaves together Americana into sluggish, heavy grooves; overdriven guitars, hook-laden acoustic dissonance - all bolstered by a songwriter full of heart and intention.

An integral member of the Dallas / Texas scene and national DIY touring community, Price has been quietly building a dedicated community of fans across the US since 2017, entirely independent and reliant on each other to build and shape the tours by word of mouth. Following a cassette recorded collection of country songs, ‘What’s The Point In Trying’ (2017), and the gorgeous and chaotic ‘Win A Trip To Palm Springs’ (2022), Price is tracing a sonic and narrative arc that feels specific, earnest and whimsical - not without its dark corners and deep questions.

The innate ability to find beauty among the rubble is rife throughout his newest, revealing an authentically tender desire to dig deeper to find relief and understanding. He invites us to empathize and sit alongside his turmoil in an effort to make ours more bearable. At home in his musicality and the discomfort of living, Price revels in the act of putting the pieces back together, giving us all permission to do the same.

On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.

On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.

Praised by Rolling Stone, NME and the New York Times on release — the1996 debut from the members who went on to form bright eyes & cursive. Back on vinyl for its 30th anniversary!

Blanket Warm is a genuine buried-treasure reissue: a record contemporary critics compared to the Rolling Stones, Guided by Voices, and Tindersticks, and one a new generation of listeners has rediscovered as a missing link to Neutral Milk Hotel and Sufjan Stevens’ chamber-folk.

Lullaby for the Working Class formed in Lincoln, Nebraska in the winter of 1994, when multi-instrumentalist Mike Mogis and singer-guitarist Ted Stevens began writing together. Working from two home-recorded demos — and without having played a single live show — the band signed to New Jersey’s Bar/None Records in 1995. Blanket Warm was recorded and mixed by the Mogis brothers between December 1994 and April 1996 at their own Whoopass Recording Studio in Lincoln. Bar/None issued the album on CD in September 1996, while the vinyl LP went out through Lumberjack/Saddle Creek imprint in a pressing of just 1,000 copies — long out of print, and the edition this reissue restores to the format.

The result splits the difference between rustic and ornate: acoustic guitar, banjo, mandolin, and upright bass sit alongside a chamber ensemble of violin, cello, clarinet, trumpet, and trombone. Critics at the time reached for an unusually wide range of comparisons — the Rolling Stones, Guided by Voices, Tindersticks, Van Morrison — united mainly by the sense that nothing else sounded quite like it. Ted Stevens’ plainspoken, image-driven lyrics and unhurried delivery anchor songs that unfold with more patience and more instrumental color than the alt-country and lo-fi indie rock the band got lumped in with on release.

n resurrecting the band Krill—declared dead over 10 years ago—Jonah Furman considered the turritopsis nutricula: the “immortal jellyfish” that reverts to juvenile form instead of dying. “I was always afraid of coming home,” he says. “But home is inescapable.” Now living in the same Chicago suburb he grew up in, Furman ponders the passage of time on Secret Language, a nostalgic and cerebral exploration of family, fatherhood, and fated love.

From 2010 to 2015, Krill recorded three LPs and two EPs, growing into a cult project revered for its complex, rapturous compositions. Anxious, anthemic, mathy, propulsive, they were beloved by Frankie Cosmos, Girlpool, Horse Jumper of Love, and countless others. Personal lives took priority and brought the project to an official close, save for two reunion shows and a 2020 album under the name Knot, but that's retroactively a Krill album, “because it's easier that way.”

The project was revived “on a whim” as Furman puts it: “Theo from Ovlov asked if Krill wanted to open a Chicago show. Then I started writing new stuff.” He recruited Krill’s longtime drummer Ian Becker who, too, had just moved back to town. Both had known guitarist Andrew Clinkman (also of Spirits Having Fun and Moontype) during their collective years in Boston and growing up in Chicagoland, and soon he joined the fold. On Secret Language, the trio tap into their reclaimed city’s famed music community, drawing inspiration from current locals the same way Krill were inspired by their Boston contemporaries like Pile and Speedy Ortiz instead of Pixies or Mission of Burma.

On Secret Language, home can be anything: a place, a person, a feeling. But Krill is “very much” a Chicago band now; a new beginning where it all began.

Nearly a decade after the acclaimed 2017 release of Hometown, Victor, the mind behind Module One is back with his highly anticipated follow-up album, dropping early November.
Now settled in Berlin, Victor's sound deeply reflects his integration into the city's vibrant cultural cosmos. Moving beyond earlier blueprints, his music has matured into a nuanced, fully developed aesthetic based on the personal reflections, artistic environment of the city, and live performances played and heard. Adding an intimate, personal dimension to the project, Soela and D'Loive lend their delicate vocal touch, weaving seamless melodic textures into Victor's refined production.

The upcoming Album HOMETOWN II stands as both a personal milestone and a captivating new chapter for Module One. Vinyl Tastes Better…

What does it mean to actually experience another City, one of such historical and cultural'd'asignificance as Detroit, A city that truly expands the capacity of Human love and resilience. Just to be there…?'d'aWhat sound do the birds make?…? What colour are the buses ? …?. What sounds do we hear in the streets'd'a?…? It's like one step beyond just experiencing a place but truly absorbing it as if it becomes a little piece of'd'aus. That's the only way you really get to understand the groove, the little everyday things that make the'd'apeople tick, their daily grievances and small moments of collective joy culminating over lifetimes. That is'd'awhere you get to the essence, the secret sauce and Lord knows this City is oozing with it.'d'aIn July 2025 Ziggy undertook a 6 week residency in the motor city with no concrete plan other than getting to'd'athe roots of a deeply layered and rich musical culture. One that has been a guiding light for many of us..'d'aWhether you are coming from the generation of Motown through the 1st generation of techno to hip hop'd'arevolutionaries, the city has left an undeniable mark on the history of American Music.'d'aAfter meeting at a weeknight vinyl session at a downtown bar, Ziggy and Malik realised they already knew'd'aeach other's work and immediately made plans to hook up in the studio. Malik being a Lifelong Detroiter with'd'aa background as a Gospel keyboardist and Singer turned House dancer, producer and DJ it was no wonder'd'ahe was a perfect addition to the Label Roster. To accommodate the sessions local turntablist and producer'd'aDJ Moppy kindly offered up his home studio and we shared many great records and vegan hot dogs in his'd'aleafy backyard.The music is primarily inspired by the enduring and charismatic folks we encountered in the city, their stories'd'aand personalities live on through the continued Musical Legacy of the city.'d'aSpecial thanks to Mike Banks, Cornelius, Crystal, John '?Jammin'? Collins (R.I.P) Rick Wilhite, Wajeed and all'd'aof the Underground Resistance family who hosted us. DJ Moppy, Meftah, Badriyyah, Raj Mahal all in the'd'abuilding!'d'aGospel and jazzy infused electro-funk and deep-house, a collaboration between one of Detroit'?s'd'aunderground dons Malik Alston and Ziggy Zeitgeist of EXREC. The result of a six week pilgrimage to Detroit'd'ain 2025, Zeitgeist set up shop in DJ Moppy'?s living room and the results are deep, dark and funky'd'a'd'a.

KR3.022 DEATH/REBIRTH ONE - marks the launch of a new KR3 series built around split EPs, featuring original productions alongside reinterpretations or collaborative works by the selected artists. The first ACT reunites JK FLESH & ORPHX, reviving a collaboration rooted in a long-standing artistic connection. Having shared stages on several occasions, the project draws particular inspiration from their six-handed live performance at Berlin Atonal in 2016. Justin K. Broadrick, under his JK Flesh moniker, and Rich Oddie / Christina Sealey of Orphx, each contribute one exclusive original track, alongside a remix of the other's composition, exploring a very dark form of electronics; a collision of slo-mo, raw industrial power and crushing techno, standing in deliberate opposition to the relentless pace and overstimulation of the modern era, both sonically and culturally. The series will feature a unified visual identity, with each release sharing the same layout while being distinguished by different background colours and volcanic imagery created by longtime KR3 collaborator Federico Gagraglione.

Debut album flex from Nordic heavyweight Ekkel.

Unfurling dank forest-floor minimalism straight out of the early-’00s Scandi prog playbook. Unhurried, groove-fwd and made of moss and mist. Deft precision and insectoid detail skitter underfoot.

Channelling the Swedish-Danish axis of Spiral Trax and Creamcrop Records like a true disciple. Pared right back and wound tight, the tension doesn’t let up for a second. Heavy on the low end and properly gloomy with it.
Disembodied vocals summon haunted spirits and divine feminine frequencies. Eerie and levitational, with plenty of late-nite throb.

Elsewhere, it evokes intrepid interstellar exploration and early synth experiments – one track sports a synth line that wouldn’t be out of place on a BBC Radiophonic Workshop retrospective. Gazing out at the infinite scale of the universe, cosmic dread melts into melancholy.

Deep under the canopy, where daylight daren’t follow.
credits

After a brief hiatus and creative refresh, Radiant Records returns with a bang, courtesy of Belfast house aficionado Cromby. A producer who needs little introduction, Cromby delivers the label’s ninth release, showcasing exactly what he does best: colourful, groove-heavy house music built for the dancefloor.
Ignition kicks things off with winks and nods to post-Y2K UK breaks and electro house. The title track’s boshy bassline and driving drums provide the backbone for an irresistibly stomping peak-time cut with summer written all over it.

Pumping the tempo up, A2 Psy Op is a rapturous floor-filler that draws from dance music’s most playful corners without ever sounding pastiche or revisionist. Undulating basslines, infectious vocals and flirtatious synth hooks combine to create something that feels both nostalgic and strikingly fresh.
Taking things in a slightly toolier direction, B1 Money is classic Cromby. A nifty little dinger packed with razor-sharp percussion, “house” vocals, tightly wound subs, timeless stabs and an impeccable arrangement, it’s a hot tip for DJs and dancers alike.

On remix duties, Adonis resident and legendary legend Hannah Holland zeroes in on Ignition’s electro parts and dials the mood up to 11. The result is a Detroit-leaning electro banger that highlights her versatility as a producer and rounds off a highly playable return to the fore from Radiant Records.

Four years on from the much-loved Shelter EP, Orphic return with the Mambe EP, a long-awaited follow-up that sees the duo push further into their signature world of deep, dubwise techno and hypnotic club music. The record opens with the title track, a slow-burning piece of stripped-back techno that unfolds through submerged chords, rolling percussion and finely detailed sound design. Sitting alongside it are two solo productions from each half
of the Orphic project.

Kieran Jandu’s Back To Mine veers into deep, bass-heavy electro, all cavernous sub pressure, fractured drum programming and smoked-out atmosphere, landing somewhere between the weight of Digital Mystikz and the hypnotic, off-centre psychedelia of a Craig Richards set.

DJ Space Taxi takes a different route with Dream Cycle, an introspective, dreamlike cut where shimmering textures, drifting melodies and restrained rhythm combine to quietly draw
you in.

Flipping the record over, two of the underground’s most distinctive voices reinterpret the title track. Polygonia brings her unmistakable fluid, organic touch, stretching the original into a beautifully detailed, living groove, while Konduku strips things back into a
deeply hypnotic, psychedelic excursion that feels tailor-made for the outer edges of the dancefloor.

A beautifully restrained return from Orphic that more than justifies the four-year wait. Four artists, four distinct perspectives, held together by a shared appreciation for depth, space and subtle movement.

Gavin Belton's move back to the UK after years in New Zealand brought him back into the fold with old Littlemen cohort Steve Lee. They played a few gigs together then got back in the studio for the first time in 15 years. Belton's use of the Korg Opsix is what gives these deft deep house cuts their character while Lee adds the vocal lines to 'People Are You Ready' for a ghostly, shadowy, low-lit sound. LA-based DJ, producer and HAWT promoter Mikey V steps up on the flip for the lithe dub house of 'Smooth' while Giom pulls it into darker territory that echoes the old Murk sound. Lee rounds things out with a remix of the A-side that has a persuasive late night bump.

A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts- the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.

Atom Trance Force 20 is a special one for fans of 90s hard trance. EDM’s DJ Manga (Made In Hong Kong, Judgement Day, etc.) discovered two previously unreleased tracks, originally recorded in 1995 and 1996, and generously offered us the opportunity to release them on vinyl. Naturally, we accepted and are proud to present: DJ Manga – Motion (Original DAT Recordings 1995–1996) A1 and title track “Motion” (1995) is everything you’d hope for from an unreleased 90s trancer. It’s got the pianos, it’s got the melody that sticks in the back of your mind for days after hearing it, and it’s got the raw bassline and drums that drive in that special way they did back in the day. A2 features label head Micropulse on remix duties. Keeping the core elements of Marc’s original composition intact, the remix seeks to add some modern magic to the vintage charm and sprinkle some Atom energy onto the release. The flip side gives us “The Key” (1996), which occupies the entirety of side B and stretches out across 10 more minutes of 90s magic. It’s difficult to write track descriptions without sounding like AI, but the intro is long, the lead is sizzly, and the resonant bassline fits perfectly to round off this EP — the type of release that doesn’t come around often. The tools Marc used to produce the original 90s tracks included a Roland JD-800, Korg Poly-800, Roland TR-505, and some kind of Akai S-series sampler, all sequenced with an Atari 1040ST. For those interested, the 2026 remix uses a Novation Supernova II, Access Virus TI, Korg Wavestation AD, Waldorf Blofeld, E-MU E4XT Ultra, 208HP of Eurorack, and two Lexicon PCM70s.

2024 Repress

Alleviated Records is proud to present the new Mr. Fingers EP. After many years of the moniker being dormant and a long journey trying to get back into a creative mindset, we have a new offering. First up, "Outer Acid" delivers up a Minimal-Space-Acid flavor. Next, "Qwazars" continues the Space motif with a Minimal-Tech touch. "Nodyahed" moves toward a Dark Club Bounce with a dash of Tribal flavor. "Aether" offers up a more late-night Ambient-Space-House flavor. Hope you enjoy these selections at the club and at home for a long time to come. Musically Yours...

Anton Ivanchenko aka Light The Fuse and Ivan Moskvin (who is half of Fankin) met while judging Red Bull's beatmaker battle back in 2021, but it took years before they actually made music together. Decades of vinyl digging and a knack for sampling weird, unexpected fragments turned into studio jams, then into their debut album, Ghettoblaster Twins. There's no forced concept when they work together - they let the music happen naturally and it shows: breezy, curious, over before you know it. Source material ranges from obscure jazz to a Soviet film theme, all floating between funk, hip-hop and breakbeat, laced with a warm, nostalgic pull. A lovely debut, hopefully with more to come in future.

Those who’ve followed the career of Aussie disco don Dr Packer should be familiar with the Surgery Edits name – it was the series of mostly self-released re-edit EPs with which he launched his career back in the 2010s. Wax Digits boss Fingerman has not confirmed that this double 12-inch is the Australian’s work, but since he has released previous instalments in the series, it is likely to be. Either way, there’s plenty to set the pulse racing throughout, from a lolloping and loopy disco-house style rub of Chewy Rubs ‘Future Freak’ and a similarly chunky, house-style rush through V’s ‘Muzik Got Me’ (itself a take on an early 80s NYC classic), to the chugging, organ-rich disco-goes-deep house re-tweak of BO’s ‘Nites’ and a peak-time-ready bounce through the disco-funk edit excellence that is BC’s ‘Shake’.

DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...

A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.

Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.

About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.    


DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:

Celestial Echo Records heads to the Cayman Islands for CER014, produced in association with Whale Rider Records and longtime friend of the label Medlar.

This release shines a light on two incredible sides from the legendary Memory Of Justice Band, one of the Caribbean's best-kept musical secrets. Formed in Grand Cayman during the 1970s, the group blended soul, reggae, funk and island influences into a sound entirely their own, becoming one of the region's most beloved bands in the process.

On the A-side is a gorgeous piece of sweet modern soul — warm, uplifting and packed with the kind of effortless musicianship that makes you wonder how it stayed under the radar for so long. It's exactly the sort of record Celestial Echo was built for: soulful, timeless and impossible not to fall for.

Flip it over and things move firmly onto the dancefloor with a reggae-boogie burner produced by the legendary duo Sly and Robbie. Built around a heavyweight groove, tight rhythm section and infectious hooks, it's the perfect counterpart to the sweetness of the A-side and a reminder of just how interconnected Caribbean music was during this period.

As always, Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

DJ Support by Massimiliano Pagliara, Fabrizio Mammarella, Ally Tropical, Sofa Elsewhere, Alexander Back, G-ha, Secret Soul Society, Olle Abstract, Logan Fisher, Timmy Stewart, Erki

The Vendetta Suite continues to show his broad range on Hell Yeah with the Scrabo Electric EP. Youthful memories, mushroom trips, 80s electro, dub and sleazy disco all colour a nostalgic tribute to early beat street culture in his home town of Newtownards.

Gary Irwin is a label mainstay with a thirst for weird and unconventional fusions that reframe 70s and 80s references through a contemporary lens.

Drawing on memories of breakdancing, dub reggae, and teenage mischief, he channels the spirit of demolished record shops, discos, and local haunts that shaped his musical identity. From tape-swapping electro compilations and local characters to dub influences and teenage discos, each track reflects a personal chapter rooted in 1980s Northern Irish life.

The wiggy rhythms of the title cut to the echo-laden 'A Dub For Dave', the punchy 80s drums of 'Uprock At Digby's Disco' and raw, textured funk breaks of 'Lead Mines Bonus Beats' all mean this EP blends cultural memories and musical history with undeniable style.

eloelo recordings returns with its most assured release to date: ‘FREAK’, an original cut from label head ELODIE, backed by a club-ready remix from Parisian heavyweight DJ W!LD, and rounded off with the vinyl-only bonus ‘Carla’.

Championed on BBC Radio 1, ‘FREAK’ arrives with momentum firmly behind it. This is a hypnotic, slow-burning seducer rather than a blunt-force club tool - restless, wriggling textures crawl through the mix, weird and tactile, shifting constantly around the listener, while ELODIE’s own hand-built percussion keeps everything taut and unmistakably her own. Equally immersive through headphones as it is over a club sound system, the track reveals new details with every listen without ever losing its dancefloor drive. Sultry vocal hooks thread through the groove, and in the breakdown a trippy, melodic rhythm coils and builds before the track snaps back open. Classy, controlled and seriously sexy.

On remix duty is DJ W!LD, a bona fide legend of the underground. The Paris-based artist, longtime Circoloco resident at DC-10 and founder of W Label and Spit&Die, has long been one of underground house music's most respected figures. Long a torchbearer for deep, dark, sexy house, he flips ‘FREAK’ into a pumping, peak-time cut. Built for the floor and armed with a gloriously warped breakdown, his rework has already been tearing up the dancefloor, causing serious damage wherever it's played.

A long-standing digital favourite finally committed to wax, ‘Carla’ closes the vinyl release: a cult cut long adored by those closest to the label and to ELODIE’s music. Timeless, seductive and deceptively powerful, it has always deserved its place on vinyl — and here it finally gets it.

Refined, seductive and unmistakably her own, ‘FREAK’ is another forward-thinking, groove-driven statement that pushes eloelo records' distinctive, timeless sound further still.

For the 63rd release on Memoria Recordings, Thessaloniki-based producer and DJ G.rush delivers a deep and hypnotic four-track EP shaped by experience, restraint, and underground club sensibility. With roots tracing back to the early days of his DJ career and a production path that has steadily developed through stripped grooves, subtle atmospheres, and low-end movement, G.rush brings a mature and focused sound to the Memoria catalogue. Across the EP, he moves with patience and control. “Spectra” opens the record with a reduced but magnetic drive, built around rolling pressure and detailed rhythmic tension. “Just Friendz” leans into shuffled swing and understated funk, while “Seduction” takes the B-side into deeper, late-night territory. Closing track “Tus Manos feat. Lucie” adds a warmer vocal touch, balancing intimacy with dancefloor flow. MEM063 is a refined club record for selectors who understand the power of subtle movement. Just deep, functional, emotionally charged grooves built for intimate rooms, warm systems, and long after-hours moments.

Daybreakers reaches a milestone with DBR010, and it felt right to mark the occasion with something truly special.

Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential records on Lazy Days and beyond, the Montreal based producer has quietly become one of the most respected names in deep house. A producer's producer, a DJ's DJ, and someone whose records seem to reveal a little more with every listen.

The story behind this release starts in Hackney. A few beers at the BBE Store, a conversation about old DAT tapes and eventually enough persuasion to get Fred digging through his archives. What came back was pure gold: three previously unheard tracks recorded between 1998 and 2004, sitting untouched for over twenty years.

There's something special about hearing these recordings now. Made during a period that saw Fred establish himself as one of deep house's leading voices, they capture that unmistakable blend of musicality, groove and craftsmanship that made his records stand out in the first place. This isn't nostalgia or a history lesson. These tracks still sound fresh, still sound relevant, and most importantly, still sound like they belong on a dancefloor.

Three lost gems, finally seeing the light of day.

Deeper than deep house.

Buy or cry.

The legendary Charlemagne Palestine returns to Black Truffle with KKKAAARRREEENNNIIINNNAAA, capturing a 2025 performance in London alongside two close collaborators of recent years, multi-instrumentalist Daniel O’Sullivan and guitarist Oren Ambarchi. While perhaps still best known for the ecstatic piano clouds of his ‘strumming music’ performances, Palestine’s life-long search for what he calls the ‘golden sound’ has taken in an enormous variety of methods of sound production. Now stretching back an incredible six decades, his exploration of continuous sound forms has led him to mega-instruments from the carillon bells of the Saint Thomas Episcopal Church to the synthesizer armada of the Moog Sound Lab, with stops along the way at many of Europe’s grandest church organs. Just as important, though, has been Palestine’s practice as a singer, beginning with his childhood experience of sacred Jewish music and growing through his studies of Indian and Javanese musical traditions in the 1970s.

KKKAAARRREEENNNIIINNNAAA reimagines a key work showcasing Palestine’s voice, the haunting ‘magic song’ Karenina for falsetto singing and harmonium, recorded in Paris in March 1997 to honour the spirit of Palestine’s recently departed black labrador. In this trio version, which Palestine describes as the ‘karaoke’ version, O’Sullivan controls three cassette machines playing the original recording, their slow drift out of phase creating complex patterns of delays and ricochets as the recorded voice chants the syllables of Karenina’s name and other trance words. Beginning with a held organ tone that gradually expands to fill out the frequency spectrum, the piece soon grows into a dense psychedelic mass, as Palestine’s electric organs and the echoing pre-recorded voices are joined by Ambarchi’s swirling Leslie guitar tones and O’Sullivan’s viola, synthesizer and additional vocals. Atop it all sits Palestine’s live voice, in an extraordinary performance of keening, shamanic intensity, sometimes delivered in melodic unison with his keyboard playing.

Though clearly a work of Palestine’s design that sits squarely within his oeuvre, Ambarchi and O’Sullivan are far from simple accompanists on KKKAAARRREEENNNIIINNNAAA. As the elements of the teeming, emotionally charged stew writhe and twist, different elements come momentarily to the surface, O’Sullivan’s spaced-out viola taking the lead in moments that recall Kosugi’s Catch Wave, Ambarchi’s gliding chords and signature stuttering tones enriching the details of many of the quieter episodes. Throughout all its transformations, the music is buoyed up by a sacred aura, as Palestine intones his hypnotic prayer for the soul of his departed pet. Arriving emblazoned with a striking labrador painting by O’Sullivan on the cover, KKKAAARRREEENNNIIINNNAAA is an essential slice of modern ritual music.

At the heart of ‘Diese Fragile Praesenz’ lies a melancholic yet propulsive drone, constructed from a field recording and drenched in white noise. Around this softly glowing orb Kelovolt constructs a vast, shifting, sombre soundscape. Lush, magisterial pads, starry-eyed synth work, cold washes of tape hiss and static melt in and out of the mise-en-scène. Crumbling walls of bass and distortion collapse in slow motion even as rich, brasslike harmonies elevate the listening mind. Long keening synth notes emerge from the fog, intertwining with falling tubular figures, a journey through a wormhole of sound both monumental and fragile.
The accompanying reinterpretations approach this deeply rich source material with discerning reverence. Voltmar's version deepens the grain of the original, with sharper percussion and washes of static that blow through the mix like little gales of dust. Anthony Linell's PM and AM remixes delve into a darker emotional core, placing at the centre a low, shadowy synth pulse around which mists of tape hiss and distortion swirl. Black Merlin steers the track down the path of eerie psychedelia, echoing clicks and dubwise space around a groove often found in the deeper chasms of contemporary techno.
Elsewhere, Die Wilde Jagd stretches the original into a mesmeric landscape of drones, occasional distant percussion and heavy fog, punctuated by fleeting moments of melodic clarity and beautifully resonant bell tones. CV313's pair of reworks complete the collection by exploring two complementary dimensions of the original through his signature dub approach. The Gravitational Pull mix feels the most true to the title track, amplifying its starry-eyed, celestial qualities, with a softer, hazier version built around a deep bass groove, while the Dimensional Dub descends into vast caverns of echo, resonance and alien texture - strong dub-techno sensibilities loom large in this mix.
Endlessly contemplative, endlessly exploratory, minimood027 is a trip to its own sonic galaxy that spirals inexorably outward, carrying the mind to ever wider astral planes. But at the core is that ever-pulsing drone, the black abyss that draws consciousness powerlessly back into the great nothingness.

Bondage-Music proudly welcomes back Markus Homm with his latest vinyl EP, "It's Safe To Say." Continuing his long-standing relationship with the label, Homm once again delivers the warm grooves, crisp rhythms, and unmistakable dancefloor sensibility that have become his trademark.
Across four carefully crafted tracks, Markus Homm combines rolling basslines, soulful vocal touches, and refined house grooves with subtle techno influences. From the infectious swing of "My Alibi" and the driving title track "It's Safe To Say" to the soulful energy of "I Got All This Love For You" and the hypnotic flow of "Rush," the EP is built for both peak-time club moments and extended listening sessions.
As a special treat for vinyl collectors and DJs, two exclusive tracks are available on vinyl only, continuing Bondage-Music's tradition of offering unique content for the format.

Following the success of the rework releases of Trip To Your Mind by Delfonic, LTJ Xperience, and DJ Friction, the time has finally come to reissue the original mixes of this essential and still highly sought-after Disco Funk classic.

Both the original Hithouse Mix and the re-mix by Chris Hill & Robbie Vincent were released in 1979. However, newly uncovered evidence has revealed that the track was actually recorded much earlier. After extensive research, including the rediscovery of Reginald Hudson's original flight ticket dated September 7, 1976, from Los Angeles to London, proof has emerged that the recording sessions took place in late 1976.

Due to unfortunate circumstances, the track remained shelved for several years and did not see release until 1979. By that time, the original backing band, Body Heat-a group of U.S. Army musicians stationed in Germany-had already disbanded. As a result, the record was released under the project name Hudson People.

Reg Hudson has since shared additional photographs and previously unknown information, which will be revealed in the coming months. To further celebrate the record's legacy, an official music video is currently in production and is scheduled for release this summer, marking the track's 50th anniversary.

As the original master tapes have unfortunately been lost, the audio has been transferred and restored using highest end equipment from the best available sources. In particular, the original Hithouse Mix now sounds better than ever before.

The 12-inch release will be presented in a faithful reproduction of its rare original "Disco 45" sleeve, believed to have been included only with the earliest pressings.

The Story Behind the Record

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, although its true origins remained largely unknown. While the track was recorded at London's Advision Studios, Hudson People were neither a British group nor a London-based project-a fact first brought to light through the official 2022 reissue on Backatcha Records.

In interviews with label owner DJ Scientist, songwriter and producer Reg Hudson revealed that the musicians behind the recording were actually members of Body Heat, a GI band based in Germany. Like Hudson himself, most of the musicians originally came from the Chicago area.

"The band included Tony Palmer on guitar, Herva Middleton on drums and lead vocals, Charles Walker on saxophone, Harvey Perry on trumpet and trombone, and Rickey on bass-a five-man lineup," Hudson recalls.

Recorded in late 1976, the track remained unreleased for several years. By the time it finally appeared in 1979, Body Heat was already on the verge of breaking up, prompting the decision to release it under the Hudson People name.

Since the late 1990s, Trip To Your Mind has been heavily bootlegged, widely compiled, and continuously championed by DJs and collectors worldwide, cementing its reputation as one of the most enduring and in-demand Disco Funk records of its era.

50 year anniversary edition! Recorded in 1976, first released in 1979.

Luis Reich and Max Wurden's Reverence traverses superb ambient and electroacoustic territory with sustained tones, radio interference, fragmented speech and plenty of harmonies that shift almost imperceptibly. 'Sono' opens wide with drones meeting distant brass, before 'Lens' marries brooding bass pulses with floating brass top notes that pass by like half-remembered thoughts. The title track strips everything back to a sparse, suspended core and 'Horfunk' brings damaged broadcast noise to a textured soundscape. 'Studio Blue' closes out slowly and patiently with plenty of sonic decay. A subtly dramatic record.

Celestial Echo Records brings back Sweet Mixture’s “House Of Fun And Love”, a killer slice of crossover soul from 1973.

Produced by Ron Rice and originally coming out of Chicago’s Bazar label he ran, “House Of Fun And Love” sits right in that sweet spot between modern soul and boogie before the lines were fully drawn. It has that glide you want from a great crossover record: warm vocals, a rolling groove, tight drums and enough lift to move from a soul room into a dancefloor set without forcing it.

There’s a nice full circle moment with this one too. “House Of Fun And Love” was one of the earliest releases on Discs of Fun and Love, the label run by miche and Frederika. It sold out quickly the first time around and years on, it feels like the perfect record to bring into the Celestial Echo catalogue, another holy grail for 2026.

On the B-side is “I Love You”, a sweet ballad that is smooth, heartfelt and beautifully understated. A beautiful slow number that’s common on a lot of these early soul records.

A rare soul grail made available again, respectfully cut, properly pressed, and ready to play.

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

LIMITED RELEASE Originally released in 1991 on the seminal ZoeMagik Records, San Francisco is one of the defining documents of the early Bay Area rave underground. Tasti Box -- the duo of Kelix Williams and Mouse -- brought together house, techno, breakbeat and psychedelic rave music into a sound that was unmistakably their own. Born from the free-party culture of early '90s San Francisco, their music found its way onto legendary sound systems and dancefloors around the city, helping shape the distinctive West Coast sound of the era. More than three decades later, we're bringing this elusive classic back to vinyl.

Rebolledo is back. And this time, he's bringing his own label: Rated R. What began as a party series — with chapters like Rated R and Wax Upon A Time — now mutates into a record label. Long overdue, if you ask us. Surrounded by talented friends from all corners of the globe, this is the new home for bringing everything back into focus. And yes, on wax too.
Naturally. For the first release, we're kicking things off with something equally overdue: Rub N Tug are back. The track? A certified underground wanderer. Loved, played, and passed around dance floors worldwide for well over a decade, yet somehow never properly released. Or maybe it was. Sort of. It's complicated. Now it returns with a remix of a remix, giving the whole thing a fresh coat of cosmic polish. As if that wasn't enough, Paulor takes things one step further with a particularly special jam of his own. Which means we're now dealing with a remix of a remix of a remix.

Confusing? Maybe.
Necessary? Absolutely.
Makes perfect sense to us.

Gluten People return with their third vinyl only release, continuing to refine their stripped back club sound. Four cuts built around hypnotic grooves, solid low end and subtle movement. Made for the dancefloor, for those who appreciate depth, groove and tracks that keep revealing new details over time.

Early support from: Adam Collins, Alec Falconer, Archie Hamilton, Baby Rollén, Bartolomeo, Belaria Enzo Siragusa, , Luke Alessi, Marlie, Maruwa, Massimiliano Pagliara, ODF, Okain, Ploy (Rinse FM), Robert Dietz, Roza Terenzi,, Timo Maas and many more

Blue Vinyl 2026 Repress
Steve Bug returns to RAWAX! We are very happy to present you his new release on DUBWAX called "The Dark Lion" It's a superb dubby piece of art with this typical Steve Bug trippiness.
Highly recommended!

The roots of Nightlong can be traced back to Havana in early 2008, where a series of recordings captured some of the most compelling contemporary Cuban singers and musicians. These sessions yielded a striking collection of voices, woodwinds, and brass, all imbued with a distinctive warmth and vitality—material that called for a careful and inspired reinterpretation.

That reinterpretation came from Maayan Nidam. With remarkable intuition and precision, she distilled the essence of these performances and reshaped them into a work that feels both organic and forward-looking. Moving beyond her signature dance floor framework, Nidam explores a wider range of rhythms, textures, and tonal depth, crafting an album that unfolds with subtle complexity and emotional resonance.

The result is a fluid and immersive record—one that transforms its source into something entirely new, while preserving its expressive core.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

WOW! An early ’80s New Wave, Electro, Proto-Electronica, Industrial and Kraut-Pop album that has never been released before is now coming out on Elaste Records and it’s a perfect fit! History is being made.

Quotes: “A pearl” (Hans Nieswandt) / “Great album” (Hell, Gigolo) / “Awesome album” (Patrick Pulsinger) / “Magnificent material” (Roman Flügel) / “An ’80s electronic gem… an ’80s Krautpop highlight” (Sankt Otten).

In the early eighties, Michael Heinkel was one of those quiet electronic musicians hardly anyone knew — at least outside of Munich. While machine rhythms were being perfected in Düsseldorf, dilettantism was elevated into an art form in Hamburg and West Berlin was soundtracking its own feverish coldness, Munich seemed to be a place where, apparently, nothing was happening. Or almost nothing. Because beneath the radar, far removed from the grand narratives of those years, Michael Heinkel was already creating his own electronic cosmos — stripped-down, idiosyncratic and often ahead of its time. Electronic minimalist music, born somewhere between a home studio, nightlife and the longing for a future that could only just be imagined back then. But the recordings disappeared into drawers, onto cassettes and tape reels. For decades, they remained a secret shared only among friends, insiders and a handful of close companions. It was only 45 years later that Andreas Dorau and Ralf Hertwig (Palais Schaumburg) — two defining figures of that early avant-garde — insisted that the recordings finally be made accessible. Not as an exercise in nostalgia, but as the overdue release of a missing piece in the history of German electronic music. This music is not a nostalgic retrospective. It is a delayed signal from a future that had already begun back then. Format: Heavyweight black vinyl incl. printed inner sleeve + download card



Quotes: -"Michael Heinkel's long-lost LP is a treasure trove. I'm constantly amazed at the musical gems from the early '80s that are still waiting to be discovered." - Hans Nieswandt (Whirlpool Productions) - „Some München musical history that somehow got missed at the time finally gets released after 40 years. Great album.“ - Hell (Gigolo) - “Awesome album! Today, we can only imagine just how groundbreaking electronic music at this level was back then. When gems like these are heard for the first time in perfect sound quality, it’s like a trip back in time to the early days of electronic music. Back to the future!!!” - Patrick Pulsinger (Cheap / iO / Sluts’n‘ Strings & 909 / The Private Lightning Six) - “Terrific material!” - Roman Flügel (Acid Jesus / Alter Ego / Sensorama / Warp 69) - “ELASTE has unearthed an 80s electronic gem! A German minimal wave gem-freshly unearthed! Minimal, rare, brilliant - an 80s Krautpop highlight.” - Sankt Otten - „Pure and delicious 80s Electronics from Munich. We love it.“ - Gorilla Aktiv

In 1990, John Williams created the compilation album John Williams Conducts John Williams – The Star Wars Trilogy, which features 13 of his most memorable tracks from the original Star Wars Trilogy. All performed by the Skywalker Symphony Orchestra, it features the iconic “Main Theme” and “Throne Room / Finale” from Episode IV – A New Hope, “The Imperial March” from Episode V – The Empire Strikes Back, and “Luke And Leia”. The album brings together some of the best-known themes from the original trilogy in one collection. The result is a varied selection of music from across the three films.

John Williams Conducts John Williams – The Star Wars Trilogy is available on black vinyl. This 2LP package includes an insert with liner notes by the creator of the Star Wars franchise, George Lucas.

Fourteen years have passed since Woollen Kits released two albums in a single year (Woollen Kits and Four Girls, both 2012), but Melbourne/Naarm’s beloved Kits are back to remind us what we’ve been missing all this time.

Weather the Storm still draws from the same deck of cards, but opens the door to some more classically renowned influences like The Velvet Underground, Television Personalities, Beat Happening ,Marine Girls, Bob Dylan, Van Morrison, et al.

Across ten tracks it’s clear just how well they can write a hook, a verse, a chorus, a song; bringing together themes of everyday life, love and sincerity with aphorisms, stories and the classic sound we know and love.

Woollen Kits’ approach is almost as minimal and primitive as it was back in 2007, when singer/guitarist Tom Hardisty first sent a few channels into the red on an old Tascam tape machine. Simple chords, strong melodies, witty lyrics and a clear message. It’s a hell of a combination when it’s done well, and one they would only refine from there.

Tom (Hardisty) recruited a second Tom (Ridgewell, drums) and a Leon (Applebee, guitar) to help guide his new Cramps/Half Japanese- worship bedroom project into a real-life band, playing their first gig on NYE ’08 before launching into 2009 to record their first canon release, the Teenage Love 7”.

Yes, much time has passed since the band’s last record, Four Girls, came out in late 2012, but in the interim members have released plenty of other music across numerous projects, including Constant Mongrel, Nun, Canine Apathy, The UV Race, TB Ridge as The Director, Calamari Girls & more.

Acid Pauli's new album "Mystic Meltdown" is hypnotic mystery, textural mastery, all hurtling through your system at peak velocity, unrelenting yet full of mischief and spirit.
The first full-length Acid Pauli album since 2020's MOD, here the artist, Martin Gretschmann, who you might also remember from Console and The Notwist, reaches out to collaborators, unearths new sounds through travel and then brings it all together with one long, sweeping breath - an album to take in as a whole, to ride its compulsive energy to the end and then back to the start, over and over again.
While the album's been brewing for some time, "It took months and months to find the coherency and the story that this album is telling," Gretschmann recalls, "Arranging the pacing, feeling how the tracks come together into one album", it reads as effortless. It draws from Gretschmann's various musical languages, from the techno, house and ambient of Acid Pauli, even reaching back to the electronica of Console, but it places them in new contexts, at new speeds and in rich, giddy contrasts. Mystic Meltdown feels like endless pleasure, unflagging energy.
It's also an album rich with multiplicity. There are many voices that visit us at the Mystic Meltdown, from Hani Mojtahedy's Kurdish vocal on "Goman (Remix)", through to Lhasa de Sela's "Con Toda Palabra" in Spanish. A sample of Kingdom Molongi's voices opens the title track and returns on "Mystic Feedback" - this feels like a particularly profound connection, given the inspiration that Gretschmann has gleaned from the musical community surrounding the Nyege Nyege Tapes label and organisation over the years. He's also appeared at one of their festivals, by all accounts a revelatory experience.
Sometimes Gretschmann reaches back yet further. "Yes, Caroline" hints at an abstract relationship with the Beach Boys' pop masterpiece, Pet Sounds. Yet the way he draws these various influences into his own music always displays more than a touch of transmutation. Releasing the album on his own label All Is Acid which has recently been undertaking a reissue program of some of Acid Pauli's earlier works, "Mystic Meltdown" feels like a complete expression for Gretschmann; from beginning to end, from creation to reflection. "Building up, going into different spheres and emotions," Gretschmann concludes. "Working through some darker shades, trying to find light. Pouring in to get through."

Stix Records, a sub-label of Favorite Recordings, is back with Disco Reggae Vol. 7, continuing a series that goes back more than 20 years, to the success of The Dynamics’ acclaimed album Version Excursions.

Born in Jamaica, reggae has always shared deep roots with Soul, Funk, R&B and Pop. Over the decades, Jamaican musicians have mastered the art of reinterpreting iconic songs through their own unique musical language. With the Disco Reggae series, Stix Records celebrates this rich tradition, bringing together fresh reggae interpretations of timeless classics from across the musical spectrum.

For this seventh volume, Charles Maurice has once again carefully curated a selection packed with gems, featuring reinterpretations of tracks by Hall & Oates, Gloria Estefan, Crystal Waters, Patrice Rushen, Cameo, Joe Smooth, and many more.

Behind the controls, the usual crew of friends is back: Taggy Matcher, Mystic Jungle, Soul Sugar aka Booker Gee, and Mato. This time, they are joined by Dub Shepherds and Slowly from Japan, who each bring their own flavour to the collection with two killer covers.

The result is another feel-good journey through Disco, Funk and Reggae, made for dancing under the stars, cruising with the windows down, or simply vibing with friends.

Disco Reggae Vol. 7 is another chapter in Stix Records’ ongoing celebration of the timeless connection between Jamaican music, classic songs and the dancefloor.