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Originally released by Umor Rex on cassette in 2018, Rafael Anton Irisarri’s Sirimiri is now available on vinyl for the first time, newly remastered for this edition. This LP marks the fourth and final installment in a series of four reissues released throughout 2026 to celebrate the 20th anniversary of Umor Rex.

It is a fitting way to close such a special anniversary year. Rafael is not only an artist who has released three albums on Umor Rex, but someone who has been part of the label’s history for more than a decade. His sensibility and way of listening have complemented and nourished the label throughout the years, while his mastering work has helped shape the sound of many of our releases. A close friend, and an essential part of what Umor Rex is today.

Sirimiri roughly translates as “drizzle” in Basque, and we can’t think of a better word to describe its content. The album consists of four long-form pieces, each shaped through different processes and with its own distinct identity, in which Irisarri seeks to blend subjective time with the listening experience through loops, repetition, and subsequence-based sound. Following Eno, nothing happens in quite the same way twice: perception is constantly shifting, and nothing stays in one place for long. The desolation and despair—in a strangely positive way—that we heard in The Shameless Years (Umor Rex, 2017) and later in FAÇADISMS (Black Knoll, 2024) are present here, but the impression is more concrete, unfolding through rawer, less rhetorical landscapes. If The Shameless Years existed somewhere between beauty and active tragedy, this record travels through the beauty and melancholy of an observing eye—a quiet, rebellious insurrection.

Written, produced, mixed & mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Carl Hultgren: Guitars on “Sonder”, Taylor Jordan: Electric Piano on “Mountain Stream”. Design by Daniel Castrejón.

The Lemonheads release a strictly limited edition 12” single on 21st September featuring three classic tracks on white vinyl. Lead cut is ‘Roky’, Evan Dando’s homage to the late, great outsider genius Roky Erickson (of garage psyche legends 13th Floor Elevator and much solo strangeness).


"If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators released their epochal debut single, ‘You're Gonna Miss Me’, in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work." AllMusic


‘Roky’ is Evan's incisive take on the songwriter’s struggles and features a searing guitar break from the song's co-writer Nick Saloman (The Bevis Frond)


The Bevis Frond toured with The Lemonheads in support of the latter’s much-praised ‘Love Chant’ album of 2025 from where ‘Roky’ originally comes. And, to complete this unique package, the Frond cover two Lemonheads’ songs, ‘The Great Big No’ and ‘My Drug Buddy’; both sounding like the kind of UK-based left field power pop that inspired Kurt Cobain in the formative days of grunge – indeed, they could have snook out on the original Rough Trade or 53rd & 3rd labels at any time.


Fact fans looking for Roky-styled curveball ley line between events, might note that The Lemonheads covered The Bevis Frond’s ‘Old Man Blank’ on 2019’s ‘Varshons II’, the same year that Roky sadly passed.


Stars & Quotes:
“One of the most distinctive voices of the ‘90s” The New York Times
“The Lemonheads are one of my favorite bands” Jimmy Fallon
“Gloriously euphoric melancholy” MOJO (on Roky)

Overleaf is the new album by Paris-based musician Théo Martin, following Anti Atlas, released on LAAPS two years ago.

Overleaf was recorded over the course of a few intense months in 2026. Every recording made during this period eventually found its place within the album, transformed, fragmented and reassembled, sometimes far removed from its original form. The process gradually became a kind of puzzle, built from accumulated sounds, accidents and imperfections.

Tape remains at the heart of the album, but this time it is intertwined with a more extensive use of digital tools, opening new paths for transformation and layering.

Overleaf is about carrying what remains into what is yet to come.

THEODOR are a musical export from Darmstadt who are now well known far beyond the insider scene, enchanting audiences worldwide with their atmospheric, slightly psychedelic-sounding sweet soul. GERD JANSON, meanwhile, whoseNew Release Information musical roots also lie in Darmstadt, has been sending house, techno and disco
ravers into ecstasy worldwide as a DJ for decades. The @robertjohnsonclub resident also runs the @runningbackrecords label, which has been in existence since 2002, and regularly tinkers with electronic productions and remixes alongside his sound engineer @lopazz_mixmastering.

Sundae Soul, a Darmstadt-based label, has now, in a mathematical masterstroke, put two and two together and brought THEODOR and GERD JANSON together musically. It just had to be done. The result is a 7” single featuring the boogie-style track “Your Love” (to be found on THEODOR’s second album “Holocene”) on one side and the “Your Love – Gerd Janson 7” Mix” on the other. The term “mix” is almost misleading in this context. For his remix, Gerd has taken “Your Love” apart on the musical dissection table, filleted it and put it back together completely from scratch. The remix builds on the original with great skill and squeezes a technohouse club hit out of the producer-DJ’s repertoire.

We all agree – this one’s got to go straight into the club. So let’s get down to business and grab that vinyl.

On its latest album »Music For Air«, the Berlin-based interdisciplinary duo Gamut Inc explores new possibilities of the computer-controlled pipe organ — from hypervirtuoso excess to nuanced automation and rhythms beyond the fixed grid. Composed and recorded during a two-week residency in Toulouse, the pieces move between harmony and noise, conjuring a euphorically intoxicating maelstrom of overlapping, accelerating sound.

Gamut Inc’s work with the computer-controlled organ actually began in 2009 with a commission from ON – Neue Musik Köln for the Kunst-Station Sankt Peter — at a time when few congregations were ready to open their instruments to this kind of work. When the duo of Marion Wörle and Maciej Śledziecki officially founded the ensemble in 2013 as an interdisciplinary project, they first developed their own music machines with instrument builder Gerhard Kern, returning to the organ in 2018 when more churches and venues had opened their doors … and Gamut Inc carried their practice across Europe and beyond, developing AGGREGATE (first a concert series and then an annual festival) into a platform dedicated to organ music of the 21st century.

Sharpening a critique of mechanisation, digitality, and the human in between, the project is conceived around the construction of pre-modern instruments and the control of these instruments by contemporary technologies, resulting in an aesthetic that bridges the very old and the very new. Recent works include the human-machine trilogy »Over The Edge Club« (2021), »Rossum’s Universal Robots« (2022), and »Zeroth Law« (2023, performed at Deutsche Oper Berlin with the RIAS Chamber Choir and the Logos Robot Orchestra), and »Black Square« (2025), a wind-dynamic modular organ built by Tony Decap, inaugurated at CTM Festival and broadcast on Deutschlandfunk Kultur and SWR Kultur. Their organ installation AGGREGAT#10, commissioned by Sónar Festival, was acquired for the permanent collection of Palau Güell Barcelona in 2022.

Gamut Inc’s latest album »Music For Air« was composed and recorded during a two-week residency in Toulouse on the wind-dynamic organ »L’Explorateur«, with individually computer-controlled wind pressure per pipe. The seven pieces move between harmony and noise, conjuring a euphorically intoxicating maelstrom of overlapping, accelerating sound and again exploring new possibilities of the computer-controlled pipe organ — from hypervirtuoso excess to nuanced automation and rhythms beyond the fixed grid. Sensual and ecstatic.

We welcome Art Bleek on klakson! this paris based producer/musician already released some nice quality house music on labels like connaisseur recordings but is also know for his more jazz orientated projects, playing live sax and piano! this EP brings you 3 beautifull, deep and soulfull tracks with a nice distinctive drive. Larry Heard meets Metro Area meets Raiders of the Lost Arp!

The fifteenth release of Barro comes with an exclusive: behind the Transylvanian mask of Orlok 101 lies Nöle himself, the boss of the label.

Remember that he used this vampiric AKA to kick off Barro—his The End Of The Beginning being the first release, published in late 2018. That same year, his techno-industrial sound—packed with references from the famous work of Bram Stoker and nightmare atmospheres—helped launch another label: Soil, the Valencia-based imprint, with a project that included a suitably fitting remix of The Horrorist. The following year, he released an EP with five original tracks, titled Runaway, while also “spreading blood” on Antikhrist Visions Vol I alongside his Industrias Mekanikas comrades.

His dark influence has been felt across Barro’s catalogue, whether through his own tracks or remixes—sinking his teeth into artists like The Hacker (under his real name, Amato) or Nebula Circuit. In 2025, Orlok made his debut on Aspecto Humano with a powerful EP, equally gritty and dark. In Barro, we’ve recently had Nöle—the most techno side of Imanol Pagola—with the EPs Electro Bloody Music and Demencial Chico Aceleradom, two great showcases of his ability to keep us dancing nonstop, following the popular Mendekua, released by Xtraperlo.

For Barro 15, the two sides of the producer and DJ come together on this EP, titled Sex With a Cop—four tracks released on vinyl and digitally, plus an alternate version of the final composition as a bonus track.

Nöle's knowledge of the dancefloor and Orlok 101's ability to create atmospheres that will give you goosebumps come together on this EP to create an explosive mix.

Sex With a Cop starts with Hilerri, a techno EBM track where Orlok provides repetitive, screeching sounds and a ghostly melody, while Nöle adds incisive synths and a catchy, addictive vocal sample that warns you of the danger of the material you’re listening to. Orlok then takes over with his industrial and metallic sonorities on the next track, Amets Fabrika, although Nöle’s influence still comes through with his powerful bass and addictive synth lines. A stifled scream and a production packed with a thousand details create an unsettling atmosphere that will surprise you on the dancefloor.

The flip side begins with No Voy A Quedar Con Nadie, a track closer to Nöle’s technooid world. Even with its unsettling opening, it doesn’t take long to turn into a danceable bomb, with that dark touch typical of the Navarro producer.

Surprisingly, he saves the best for last: Harina de Huesos Humanos is one of the most interesting tracks created by Imanol Pagoda, and we can hear it in two versions, one as a bonus track. Thanks to complex production full of details and sounds that come and go, a punchy, hard as granite kick drum, and a carefully crafted industrial atmosphere, it all ends up being the perfect union between the two sonic worlds. A spectacular finale for the label’s fifteenth release.

London’s Silsila Dubs crew triumphantly return with further explorations into the deeper recesses of sound system culture as a tool for spiritual enlightenment. The Hayes based collective – with close links to the Mya Hi-Fi family - are committed to the preservation of the long-standing ethics and methods of this culture, and the myriad cultural influences and flavours that a city such as London can present. This much anticipated second release mirrors these notions with style and grace.

The second release on the label ‘Walk in the Light’ has existed on dubplate since 2023, with the mighty Aba Shanti-I making it one of his selections at the Notting Hill carnival of that year. An uplifting and motivating digital dub track that boasts live instrumentation, echoing the mammoth influences and spirits of the late Jah Shaka, The Disciples, Conscious Sound, Aba Shanti-I and Nick Mannaseh respectively.

Featuring a beautiful master and cut from Music House alumni Chris Hanson, an inspiring trumpet performance from Silsila family Luther Vine, and a crucial Melodica, mix and version from label head and producer Govind Singh, ‘Walk in the Light’ is a sonic mantra, a vehicle of positive vibration and a means to step out of the shadows.

You've never played a game like Blippo+ before, and you've never heard a video game soundtrack quite like Greatest Hits from Planet Blip.

Composed by Rob Kieswetter and Jona Bechtolt from the LA-based trio YACHT, the soundtrack collects 71 tracks from the cult classic video game Blippo+, reworked and sequenced into a continuous listen for this special release —a TV static-speckled gatefold double LP, out Oct. 16 via Hologram Opera, marking the soundtrack’s physical debut.

Taking the form of a cable TV simulator, Blippo+ captures the magical feeling of seizing a mysterious signal from outer space and discovering the television programming of an alien culture. Soundtracking the game’s pastiche of programs is Rob and Jona’s genre-spanning score—synth-heavy, eccentrically electronic, with a skewed sensibility that pays homage to cable access, library music, video art, and the late-night margins of the 80s and 90s underground.

TV obsessives will find plenty to love in Greatest Hits from Planet Blip: with surreal theme songs, jangly jingles, zippystings, catchy kitsch, period-accurate menu music and even pop hits from the alien airwaves, this propulsively playful soundtrack will have channel-flippers tingling with nostalgia.

“Planet Blip is an alien planet where art and music are the only currency and ‘consciousness particles’ form the basis of all media. To capture the spirit of this world, we drew inspiration
from all the music we felt best embodied this ethos and ran it through our own utopian blender,” say Bechtolt and Kieswetter.

Blippo+ is an award-winning, experimental, live-action video game created by YACHT and Telefantasy Studios, along with developers Noble Robot and Dustin Mierau, and published by Panic Games. It was released for Steam, Playdate and Nintendo Switch in 2025 to widespread
critical acclaim and has earned a devoted fandom. A Mac version followed earlier this year, and was nominated for an Apple Design Award.

"Simultaneously nostalgic and futuristic, otherworldly yet
welcoming, Blippo+ is an absolute artistic triumph.
" —Deven McClure, Screen Rant

"Blippo+’s presentation might ape old traditions, but the collective impact of its content is richer, deeper, and more entertaining than any mere remembrance.
" —Garrett Martin, Paste/Endless Mode

"In the increasingly reactionary and prescriptive landscape of video games, it is remarkable to encounter something so distinctive, so hopeful, so celebratory, so devoted to expanding the possibility space of art beyond a single medium." —Sam Bodrojan

Fused around saxophonist Ornella Noulet and a shared devotion to the spiritual jazz of John Coltrane, OLA TUNJI is a Brussels-based quartet whose music channels the intensity and openness of the 1960s “New Thing” movement.

Deeply inspired by John and Alice Coltrane, Pharoah Sanders, and Albert Ayler, the group embraces improvisation as a political and spiritual act. On stage, their performances often take on a trance-like intensity, carrying musicians and audience alike toward a sense of shared elevation. The music becomes a reminder that it can still be a medium for love, sister and brotherhood, and collective uplift.

Debut album ‘TRUST’ was born from a long artistic and spiritual journey, with music playing a central role as a space for inner exploration. Trust, a key concept for the group, lies at the foundation of this journey. The album’s title embodies an approach rooted in self-awareness, connection, and the sharing of love.

‘TRUST’ presents itself as a cohesive body of work, moving through moments of intensity, calm, spirituality and joy, each track contributes to a shared intention: to remind us that personal transformation is the starting point for a more authentic relationship with ourselves, with others and with the world around us.

Compositions such as ‘DEVOTION,’ WE CHOOSE LOVE’ and ‘SPEAK UP! (YOUR VOICE IS YOUR STRENGTH)’ reveal the album’s guiding thread: self-knowledge, resilience and the awakening of consciousness. Each track invites the listener to reconnect with their inner voice, cultivating a deeper sense of awareness and view of the world through a lens of reflection and humanity. Modal and physical, the album is built on long-form playing and moves between a deeply meditative and ecstatic sound.

For Louis Johnstone, making music has never been about waiting for the right equipment, the right environment or the right moment. Across more than a decade of work as both Wanda Group and A Large Sheet Of Muscle, the Huddersfield-based musician has built one of British experimental music's most singular bodies of work by embracing whatever happens to be within reach, allowing instinct, improvisation and circumstance to shape the outcome as much as conscious composition.
"'Chinese Benefits' was made over a year ago on an iPhone that had a broken microphone and was on its way out," he explains. "I have made many records after this with clearer sounds. Sharper ideas. That is never the point, though. You work with what you hold in your hands."
Recorded entirely on a failing iPhone 6 that stopped working shortly afterwards, 'Chinese Benefits' isn't a record about damaged technology. It is a record shaped by it. Rather than resisting the limitations of the device, Johnstone allows them to become part of the music itself, where distortion, interference and deteriorating fidelity are inseparable from the recording process.
Across twenty brief but disquieting pieces, corroded spoken word, environmental recordings, abrasive noise and fractured electronics continually emerge and dissolve. Voices drift in and out of range, reverberation stretches everyday sounds beyond recognition, and bursts of white noise interrupt moments of uneasy calm. There are echoes of radio transmissions, field recordings and musique concrète throughout, yet 'Chinese Benefits' never settles comfortably into any one tradition. Instead, it inhabits a space where accident and intention become almost impossible to separate.

That philosophy has long defined Johnstone's work. Through a vast catalogue of self-released recordings on his Umbro G imprint, alongside releases for labels including The Trilogy Tapes, he has consistently favoured immediacy over refinement, embracing imperfection not as an aesthetic but as a practical reality. His recordings are less concerned with perfection than with capturing the conditions in which they were made.
Looking back on 'Chinese Benefits', however, Johnstone's own assessment is characteristically understated.
"Listening back fully, it's quite a nice record actually. Fair enough, I make them and never really listen again TBH. Even better, it was the last Large Sheet Of Muscle record made on that phone with grit and damaged guts."

Like much of his work, 'Chinese Benefits' offers few fixed meanings. Its titles remain cryptic, its voices partially obscured and its structures deliberately unstable. What emerges instead is a deeply personal document of process over perfection, where the limitations of the tools become inseparable from the music they produce, and where the act of making something matters far more than the conditions in which it was made.

Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of

It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.

On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of

It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.

The Dutch composer and conductor, born in 1993, has assembled a powerful collective with his "hugely inventive and fast- thinking" (UK Jazz News) Brainteaser Orchestra, uniting the vanguard of the current Amsterdam scene - including guitarist Teis Semey , saxophonist Kika Sprangers , drummer Jamie Peet , violinists George Dimitriu and Yanna Pelser , trombonist Nabou Claerhout , clarinetist Federico Calcagno, and bassist Alessandro Fongaro. This lineup has been making international waves, highlighted by invitations to major European festivals and a recent performance alongside Pat Metheny at the North Sea Jazz Festival. Now comes Tonepool Paradox, the orchestra's second album, commissioned to celebrate the 50th anniversary of Amsterdam's legendary BIMHUIS. Wybenga's compositional approach radically breaks with big band conventions. His process mirrors that of a hip- hop producer: he records solo improvisations by his musicians, chops the material into pieces, and uses these fragments as samples to build entirely new tracks. Wybenga layers jazz, electronics, and contemporary classical music without ever sounding academic or overintellectualized. For Tonepool Paradox , he expanded this concept internationally, bringing in guests such as Berlin-based saxophonist Otis Sandjo, Parisian violinist Theo Ceccaldi, singer Lizz Wright , and hip- hop vocalist Pink Oculus . Mixed by Grammy winner Nic Hard (Snarky Puppy), the sound brings together the diverse musical styles of everyone involved, juxtaposing the angular lines of the horns with sweeping, melodic string passages.

Swivel inaugura su nuevo sello Swivel Traxx produciendo cinco tracks originales recién salidos del horno.

Swivel Traxx steps up with ‘Out of Circle EP’, a 5-track trip delivered by label head Swivel. Blending raw 90s vibes with modern hypnotic soundscapes, the EP shifts gears from tense ambient to direct, Birmingham-influenced techno and high-energy cosmic madness. Built for both deep head-trips and pure dancefloor mayhem:

A1. Out of Circle (Prelude): A beatless atmospheric opener setting a mystical vibe for the whole record. A hypnotic, bell-like arpeggio glides over a warm Moog bassline and thick tension, teasing the concept behind the EP.

A2. Out of Circle: The title track drops straight into club territory while keeping things dark and mysterious. Massive cavernous pads, a driving rhythmic base, and a relentless sequenced synth loop pay homage once again to classic Birmingham techno.

A3. The Black Knights: A dark, dystopian trip. Driven by a hypnotic groove and sharp triplet hi-hats, this one brings a combat-ready energy made for peak-time dancefloor moments.

B1. Starlight: The fastest joint on the record (140 BPM). Equal parts melodic and club-focused, it locks TR-909 drums, Moog bass, and lush pads together for an astral trip into the unknown.

B2. Roundtable: A heavy, mental, and dark closer. Packed with raw analog-filtered synths, broken beats, and a relentless interplay of open and closed hi-hats, it delivers pure energy for the floor.

Natural Goofy makes his debut on Unearthed with a raw four-track vinyl cut shaped through analog machines, instinct, and lived moments across Europe and Asia. From late nights in Barcelona to concrete mornings in Berlin, Early Hours EP captures warmth, tension, and that fleeting energy between movement and memory.

Now based in Spain and running Planka Records, Nando delivers a sound that is dry, emotional, playful, and deeply human — no plug-ins, no edits, just hardware and moments recorded as they happened.

Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.

From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way

Existentia! Flug channels his signature raw, hypnotic techno across four tracks on his home turf. The label founded by Argentine-born, Barcelona-based Flug, puts out a release from its own creator. A veteran of the scene since 2007 with a catalogue spanning CLR, SOMA, Drumcode LTD, Rekids and Mord.

Repress 2026
The Visions EP is the debut release from London based DJ/Producer duo Suburban Architecture. Drawing heavily on influences from one of Drum & Bass' most innovative and rapidly changing eras, the mid to late 90s, the duo's productions place a contemporary spin on sounds rooted in this golden era of dance music.

This 4 track EP explores a selection of sounds that meet at the intersection of nostalgia and modern production: "Visions '96" fuses atmospheric jazz samples and haunting horns with fractured drums in a manner reminiscent of Source Direct, Photek et al. "Equilibrium" meanwhile gives a modern take on the classic roller, complete with lush synth pads and rolling Amens. On the flip are a pair of jazzy steppers: "Cubic Nature" delivers more lush pads, this time paired with subtle vocals and deep atmospherics whilst "Pulses" brings some bounce to proceedings fusing 80s soul style keys and jazzy horn licks giving stylistic reference to material by the likes of Alex Reece.