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Hard Times welcomes back Alex Arnout and his BLACK LOGIC project, following their recent ‘Pull Up’ EP with a second installment of new music from collective - The Illusions EP.

Hailing from West Yorkshire, Arnout spent his formative years on the Hard Times dancefloors, absorbing the beats and vibes that would later shape his own productions. His journey with the label reignited when he was invited to remix Michael Watford’s classic 'Love Change Over' and Steve Silk Hurley’s fresh hit 'All I Need'. Now, he returns with something truly special.

“Black Logic was born out of the pandemic,” says Arnout. “I wanted to move away from drum machines and synths, getting back to sampling jazz and the deep house sounds of the ‘90s - taking inspiration from artists like Bugs in the Attic, Jazzanova, and Ernest Saint Laurent.”

What began as a solo project soon evolved into a collective effort. Bassist and guitarist Alan Riggs, a former member of Delta 5, joined the sessions, bringing warmth and groove to the productions. Vocalists Tempo O’Neil, Anthony Beckford, Mariana Orsho, and Sophie Barker added their distinct voices, completing the vision

Across four tracks, The Illusions EP pulls us deeper into Black Logic’s rich, live-wired universe. The title track pairs Tempo O’Neil’s vocal with a grooving, low-slung bassline, whilst “Dusty” drifts in on brushed snares and ghostly Rhodes, its saxophone lines curling through the mix like smoke. “Chasing Daze,” analog synth shimmer and Tempo’s velvet tones, is a track suspended between head-nod groove and astral lift.

The curtain falls with “Disco Down,” a jubilant ensemble of Hammond organ, flute, guitar, bongos, and horns locking into joyous conversation.

Rain Chamber is a standout album from Damian Anton Ojeda, featuring his classic androgynous screamo vocals, gorgeous melodies, and rhythmic synths, accompanied by house, trance beats, and ambient breaks. Its electronic influence is rare in blackgaze, making it a unique innovation. The opening track, 'A Capture and Pink Dream Moment Spike,' is a mesmerising 15-minute piece with synths and fuzzed metal riffs, ending in euphoria. The title track, 'Rain Chamber,' is a lush 7-minute trance anthem with lo-fi sounds, drums, and crescendos that evoke a drug-like feeling, blending blackgaze with metal and shoegaze elements. The final track, 'Pregarden Mayflowers,' is cathartic, with Damian's vocals intense, recalling the synths of the first track. It evokes deep emotion, especially as it concludes with ambient silence, allowing listeners to process the intense experience.

‘BORN LIKE THIS.’ is MF DOOM’s last solo album. Featuring Ghostface Killah, Raekwon and seminal American poet and writer Charles Bukowski with beats from J Dilla, Madlib and ol’ Metal Fingers himself. “I’ve been a fan of Bukowski for a while. It was a friend of mine – damn, I forget the n*gga name – from Life Sucks Die, it’s a graffiti magazine but it’s real kinda edgy, out of Minneapolis. They did an interview with me and then me and Andrew Broder was friends ever since then. He said, ‘Your shit reminds me of this dude Bukowski, you gotta read his stuff.’ I was a little apprehensive at first, ‘cos I was like, ‘What kinda weird shit is this?’ Then he gave me a book, The Most Beautiful Woman In Town, and after that I just got into it. “So for this album, to celebrate all us writers, emcees, if you look at it, it’s a lot of words that we say, and we all write those words: if it was written down on a piece of paper it could be a short story or like a good book. So I saw where Andrew was coming from where he sees the similarities. In tribute to Bukowski I said let me get him as a guest appear ance…” DOOM as quoted in HHC. “Whatever caused DOOM to scale back his output and go off the grid, he’s only come back from it sharper, stronger, and more powerful than before.” Pitchfork “DOOM still has the sickest vocabulary, broadest frame of reference, and densest, most quotable rhymes in hip-hop… he has created an album of sublimely half-assed super-genius.” Onion AV Club

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Swarm Intelligence, entitled "Radiance". Mastered by Alain Paul and cut by Simon at The Exchange Vinyl. Record Sleeve and labels printed to premium specification, featuring artwork by Kaan Ulgener.

Born in Dublin and now firmly based in Berlin, Simon Hayes aka Swarm Intelligence has cemented his place in the Techno underground with critically acclaimed LPs and EPs on labels such as 47, Instruments of Discipline and Voitax. He returns to Natural Selection, after releasing his track "Generative" on the label's latest VA release; "Natural Selection: Selected Works Vol. 1" in 2024. Featuring amongst an extensive list of heavyweight label affiliates such as SHXCXCHCXSH, Charlton, ASEC, Nørbak, MAEDON, Annie Hall & more. After further connections with the label via live performances at their regular label nights at FOLD London, it was inevitable that Simon would be invited to release a solo EP on their imprint.

His distinctive sound comes from over a decade of releases spanning multiple genres and tempos and oscillates between rhythmic noise, tense atmospherics, uncompromising levels of distortion, and stark, astute beats. This resolutely non-conformist approach to his productions has earned him a reputation as a true trailblazer in the realm of Techno and has led him to perform at some of the world's finest institutions including Berghain, Tresor and Basement NY.

For "Radiance", Swarm intelligence delves further into the sonic unknown, presenting a bold evolution in his uncompromising vision of Techno. Deep, fragmented textures form the backdrop for thunderous, distorted rhythms and IDM-laden drums and percussion, fused with meticulously designed cinematic soundscapes and powerful low-end muscle. Fierce, unrelenting, and deeply conceptual, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

'Don't Turn Your Back On Me feat. Pauline Taylor' originally featured on US house innovator and Basement Boys co-founder Teddy Douglas's ‘I’m Here’ album in late 2024. It's a true soulful house anthem with funky bass and a glorious vocal that was primed for a A-list remix package. Douglas himself opens up this package with joyous organ chords and soft melodies lighting up the smooth, seductive drums. Swiss DJ and producer Shaka goes next as an artist who has spent decades blending acid, Chicago, and Detroit influences into his own tunes on top labels like Nervous, GooD MooD, and Mister Bear Records. His 12-inch Club version strips things back to go deep and dubby before rebuilding with sunny melodies, expressive organs, and proggy guitar licks that bring joyous energy and real dance floor unity.

Next is NYC DJ Tedd Patterson, a true originator, resident at Ladyfags’ Battle Hymn party and a regular at Horse Meat Disco, Berghain’s Panorama Bar, and Glitterbox, as well as releasing on Strictly Rhythm, Nervous, Defected, and more. His sophisticated remix boasts a warm and bouncy sound, complemented by soulful vocals that lend richness. Then it's seminal NYC favourite Danny Krivit, who is part of the cult Body and Soul crew, is a renowned remixer and editor with hundreds of credits to his name on the most important labels in the scene, and is resident DJ at New York’s legendary 718 Sessions. He draws on his vast experience to edit the original into a playful disco stomper, complete with neat guitar riffs and zippy synths, all bursting with joy as the funky beats roll on and the lush vocals soar to new heights.

NATURAL ROOTS MUSIC, tuned to the rhythms of the Earth! A special mix by Rooing SWE from the previous Roots & Foundation (CD) release, Side A: All
Those Who Love the Earth (Roots Man Foundation). Side B: The Danjiri Festival (Prayer for a Good Harvest) in Senshu, Southern Osaka. This first 7-inch release
pays tribute and gratitude to the local area.

As a DJ, I prioritize three key points when selecting music. I'll introduce this record in relation to those points.
The first is the power of the intro. I'm always grateful for killer tunes that get the floor moving naturally. The A-side, which begins with a catchy trombone, is a
perfect example of that. Natural Roots' performance is so dark that it almost makes you forget that you're in Osaka, the city of laughter.
The second is about the lyrics. Especially in times like these, I want to share a positive message with everyone. Frontman Livity Tabasuke sings straightforwardly
about his feelings for the Earth. It reminds us of the gratitude we often forget in our daily lives. Above all, his voice is soft and soothing.
The third is the 7-inch format. If you're going to take it to a venue, nothing beats a small, light record. The older I get, the more my hips instinctively tell me to.
The dub-inspired instrumental tunes on the B-side are also fantastic, and the album's functionality continues to increase. I also appreciate the addition of the
shinobue flute, a unique instrument unique to Senshu, a renowned Kansai reggae region, which adds to the local feel.
This album, which captures all of these elements, is extremely practical for me. I'm sure I'll be using it for a long time to come. I sincerely hope that the limited
edition of 300 records reaches reggae fans all over the country.

Lemon Yellow Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Apple Red Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Sky Blue Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Evergreen Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

12:01, time to wake up! Aris 1201 is back on CAF? with a new record. Deeply rooted in the city center of Geneva, this eight tracker is as smokey as its rush hour traffic jams. Bringing together old tracks with new material, this album spans from 4/4 club-ready highways to hip-hop inspired groovy beats. Using a minimum amount of ingredients (raw samples, percussive rhythmics, grainy textures), Aris 1201 delivers a result full of layers and complexity. So only one thing to do: hop in front of the Blunt Mobile and have a nice ride.

RedIsh Vinyl Edition of Skratch Practice 2 by Dj T-Kut! Dj T-Kut presents Volume 2 of SKRATCH PRACTICE, a very complete vinyl for scratch practices, two vinyl will come out one of 12 "and another of 7", in the 12" you can find several Skip Proofs at 133 BPM to be able to play with the ultrapich of the plate, very used right now in scratch practices, 2 beats perfect for practicing scratch, drum kits and bass line and on the B side you will find several skip proof at 100 BPM, 1 beat for practice scratch and 2 powerful basses perfect for playing with them. Also from this version will be a 7" vinyl for portables in which you can find 6 skip proof of 133 BPM for Side A and 6 skip proof of 100 BPM for Face B. These vinyls are designed so that you can flow as soon as you put them on the plate! Tracklisting Side A: 1. 133 BPM. Skip Proof. Skratch Samples. Beats Groove. Drums. Bass Tone. Side B: 1. 100 BPM. Skip Proof. Skratch Samples. Beats Groove. Drums. Bass Tone.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

NYC punk-chic, discodelic funk band Say She She is back with Cut & Rewind, their politically-charged, dancefloor-crushing third album. Led by the powerhouse vocal trio of Piya Malik, Sabrina Mileo Cunningham, and Nya Gazelle Brown, the group channels progenitors like Minnie Ripperton, Charles Stepney, Liquid Liquid, and Raw Silk to create a groove-forward, psychedelic soundscape of pulsing disco beats, heavenly whistle tones, and soaring three-part harmonies. There's a feeling of righteous rebellion simmering beneath these songs' body-moving exterior, though: "She Who Dares" is a call to fight against a near-future dystopia where women's rights have been decimated globally; "Disco Life" decries the racism and homophobia of Steve Dahl's 1979 "Disco Demolition Night," reclaiming the dancefloor as "a playing field where all are free." Cut & Rewind is protest music dressed up as a sweat-dripping, hip-shaking, mind-expanding good time.

Ramirez returns with THA PLAYA$ MANUAL II, the long-awaited sequel to his cult classic that helped solidify his place as one of underground rap’s most distinctive voices. Steeped in Southern-fried funk, Bay Area swagger, and Memphis-style menace, this new chapter finds Ramirez sharper, smoother, and more seasoned—delivering game like a streetwise sage with a gold grill grin.

Where the original Playa$ Manual was gritty and raw, THA PLAYA$ MANUAL II sounds like a player who's leveled up. The beats knock harder, the flows glide slicker, and the game is deeper. Ramirez weaves tales of betrayal, come-ups, late-night drives, and cold-hearted reality with the same charismatic cool that made him a standout in the $uicideboy$-adjacent G59 movement—but this time with a more refined, cinematic approach.

From trunk-rattling bangers to syrupy smooth cuts that soundtrack late-night escapades, THA PLAYA$ MANUAL II feels like a ride through Ramirez’s world with tinted windows up and the bass on max. It’s a record for the hustlers, the heartbreakers, the loners, and the legends in the making.

This is more than a sequel—it’s a statement: the playa’s still active, and the manual’s been updated.

Francois Kevorkian (Wave) : Lovely EP, atmospheric vibes.
Chris Udoh (Various) : Lovely !!!
Lea Lisa (Phonica Records / Folklor Club) : Fred P is a master of deep house. Live Long Love & When in Miami for me.
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : nice n deep ty!
Radio Slave (Rekids) : The King is back and what an EP ! Full support.
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Lovely vibes on When In Miami and Live Long Love!
Jacques Renault : Nice EP, into When In Miami and The Heights in particular
Danny Howells (Dig Deeper) : Love Fred so much, always the highest quality music with soul. All four are stunners.
Dan Beaumont (Chapter 10 / NTS) : Always brilliant.. deeep! When in Miami for me
DJ Sprinkles (Comatonse) : thank you
Kai Alce (Real Soon) : Live Long Fred P!
Tomoki Tamura (Holic Trax) : pure class, deep house
Raresh (ar:pi:ar) : super! thanks
Laurent Garnier : FRED P alwayssssssssssssssss
Marcel Dettmann : thx
Archie Hamilton (Microhertz / FUSE) : Nice thanks
DVS1 : thanks
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Beautiful tracks
Pat Hyland (Northside Loft Society) : Fred P is a master of deep. AWEsome EP!
Thor (Thor-Thule Records) : Another great release by the master of Deep House. Full support
Colin Dale : One of my fave producers from way back! Excellent 4 tracker with all the cuts 'hittin' the mark'. Will rotate & support.
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Jaye Ward (Dalston Super Store / Netil Radio) : Syncrophone just continues to churn out the goodness.. love Fred P too. so deep and full of the good soul ace! thx
Ame (Innervisions) : thanks
Domenic Cappello (Subclub) : love this
Greg Gow (Restructured / Transmat / KMS) : cool vibes full support
Jerome Sydenham (Ibadan) : When Miami is the business! Overall nice E.P!
Bill Brewster (NTS) : FRED P RETURNS!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Live Long Love <3

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald.

Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace.

As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us”

He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Das Warten hat ein Ende: Am 3. Oktober 2025 erscheint das mit Spannung erwartete vierte Studioalbum
des deutschen Erfolgs-DJ-Duos Gestört aber GeiL. Mit gleich 18 Tracks liefert das Duo um Nico Wendel ein
weiteres musikalisches Statement, das ihre charakteristische Mischung aus House, Dance und Emotionen
konsequent weiterdenkt.
Ob clubtaugliche Beats, eingängige Hooks oder gefühlvolle Vocals – das Album zeigt Gestört aber GeiL in
Bestform und schlägt zugleich auch immer neue aktuelle klangliche Wege ein.
Die 18 Titel erzählen Geschichten von Liebe, Sehnsucht, Freiheit und Hoffnung – Themen, die das Duo
seit jeher mit einem feinen Gespür für Atmosphäre und Timing in tanzbare Songs verwandelt.
Neben den Neukompositionen zeigen sie auf diesem Album auch wieder ihr untrügliches Gespür für Remixe
und eigenen Club Edits von bekannten Songs, wie zum Beispiel ihre Versionen von Madonna’s Klassiker
„Like A Prayer“ oder Bonnie Tyler’s Total Eclipse Of The Heart.
Das neue Album „IIII“ erscheint am 02.10.2025 mit 18 brandneuen Tracks.

Two Grammy Award–winning artists joined forces for this inspired peak-hour track, originally featured on Louie Vega’s Expansions In The NYC album. The pairing of Louie’s signature house-driven percussive energy with Robyn’s instantly recognizable vocals created a moment that pushed boundaries and hinted at a future direction for the genre.

The remix package builds on that vision, showcasing a stellar line-up of some of the scene’s most innovative tastemakers—including Honey Dijon, KDA, and Dam Swindle—each delivering their own unique grooves while honoring the spirit of the original.

Zygimantas Dzikevicius aka 5ZYL hails from the vibrant urban district of Pasilaiciai in Vilnius, Lithuania. Since embarking on his musical journey in 2007, Zygimantas has been deeply influenced by the raw energy of old-school rave, breakbeat, and techno. His early work focused on crafting dubstep and jungle tracks, earning him spots as a DJ at various underground parties and open-air events, including the renowned broken rhythm sound festival, Satta.

After five years of intense exploration and innovation within the electronic dance music scene, 5ZYL is set to unveil his highly anticipated debut album Reese Dreams. This LP represents a culmination of his creative journey, meticulously crafted to showcase his evolving sound. The album is presented in two distinct sections: the first half delves into the intricate world of broken beats, while the second half transitions into a high-energy powerhouse experience. Reese Dreams is not just a collection of tracks but a testament to 5ZYLs unique artistic vision and his dynamic approach to electronic music.

FONCEDALLE is a high-volume amplified trio, a warm wave of acid guitars fuelled by addictive bass and electronic beats. In late 2021, they released their Traboule EP and went on a tour that saw them perform 40 gigs between 2022 and 2023, half of which were in Europe. Their debut, self-titled album is set to be released in March 2024 on EXAG’ Records (BE). It's rawer, with tracks meticulously crafted and reworked live. While still exploring the realms of rock fused with machines, electronic trance, and melodic flights, the album also has its share of oppressive sections, unbridled chaos, and ambient, ethereal passages. FONCEDALLE serves as the missing link between the Manchester scene of the 80s, Gilla Band’s noise rock, Soulwax’s electronic rock, and the motoric turbines of Turing Machine. Preferring not to choose between being an open door or an impertinent product, the band chooses to concoct a recipe it envisions coming from the future rather than flipping through a book filled with references

Lizkis zweites Album 'Losing Grip in a Chaotic World' macht schwere Themen mit Pop-Appeal etwas leichter.
Schon der Opener überrascht mit funkelnd-fröhlicher, tanzbarer Popmusik, die klarmacht, dass wenn schon untergegangen werden muss, dann gefälligst mit fliegenden Fahnen. So geht es weiter, wenn auch inhaltlich nicht gerade leichte Kost verhandelt wird, etwa Selbstzweifel 'Bit My Lips', 'Water' und -findung 'In Between', Liebe 'Back Out Alive', 'Wicked Way', 'Happiest Girl' und wie man trotzdem glücklich wird 'Rigged Game', 'Something Good'. Es treiben die Beats, die Synths zirpen und quietschen, der Bass rollt, die Hooks brennen sich in den Frontallappen und das alles wird zusammengehalten von Lizkis klassisch ausgebildeter Stimme, die manchmal gerne etwas ins Theatralische abgleitet, wie um klarzumachen, dass es dann mal genug ist mit Zusammenreißen und In-sich-Reinfressen.

Am 26.09.2025 erscheint beim feinen Wiener Indie-Label Voller Sound endlich das heiß erwartete Debüt-Album der New-New-Wave-Band Parc de Triomphe - als Vinyl mit grell-pinken Farbtupfern. Eine Reminiszenz an die 1980er- und 1990er-Jahre. Auf dem selbstbetitelten Album setzen sich Jörn Brien und Florian Knabenschuh in gewohnt düsterer Elektro-Pop-Manier mit der eigenen Vergangenheit auseinander. Themen wie Einsamkeit, Verletzlichkeit und die Angst vor Umbrüchen werden aufgehellt von Farb- und Hoffnungsschimmern. Druckvoll, treibend, wütend Musikalisch geht es bass- und beat-lastig zur Sache. In den oft tanzbaren Stücken werden der druckvolle Basslauf und die treibenden Beats von der markanten Stimme und einem ebenso einprägsamen Gitarrensound begleitet. Manchmal schrille, oft wütende, dann wieder ruhige, kühle Synthie-Klänge unterstreichen die Anleihen beim New Wave der 1980er. Passend zu den Texten, die sich nicht zuletzt mit DDR, Wende und den nachfolgenden Baseballschlägerjahren in Ostdeutschland auseinandersetzen. Aber keine Sorge vor zu viel Vergangenheit und Nostalgie. Im Gegenteil: Frei nach dem Bandmotto "Krawall! Elektro! Pop!" schlagen die Musiker mit ihrer melancholisch-düsteren Musik und den aufwühlenden, lyrischen Texten eine Brücke ins Hier und Jetzt. Die erzeugten Emotionen bewegen Jung und Alt. Radio-Airplay, Charts und TV Mit der EP "Harte Zeiten" haben Parc de Triomphe Ende 2023 ein erstes Ausrufezeichen gesetzt. Mit Airplay auf FM4, zahlreichen Konzerten und einem TV-Auftritt sowie Platzierungen in den Austrian Indie-Charts konnte sich die Band in der Wiener Indie-Szene schon einen Namen machen. Der Song "Westradio" lief beim beliebten Berliner Sender radioeins. Auf Spotify kommen die bisher vorab veröffentlichten Singles jeweils auf Tausende Streams. Auf dem Album "Parc de Triomphe" finden sich insgesamt 12 fein produzierte (Alf Peherstorfer) Songs, die eingängig, aber nie langweilig sind, straight, aber auf ihre Art trotzdem schräg. "Geschmackvoll, eingängig und wundervoll" FM4-Moderator Andreas Gstettner-Brugger schrieb zur Single "Harte Zeiten": "Die beiden deutschen Musiker, die sich in einem Wiener Park kennengelernt haben, produzieren hier einen geschmackvollen, eingängigen und wundervollen Song, der mich an Tocotronic, frühe Blumfeld und diverse Krautrockbands erinnert." Fazit: Fans deutschsprachiger Musik, die den New-Wave-Sound der 1980er-Jahre im modernen Gewand feiern und dem Indie-Sound der frühen 1990er-Jahre nicht abgeneigt sind, sollten "Parc de Triomphe" auf ihre Plattenteller legen.

'Oh Snap' features twelve very personal songs by Salvant (plus a cover of a verse from the Commodores’ 1977 hit “Brick House), mostly recorded outside of a traditional studio environment, and which showcase her genre-spanning tastes and influences. The MacArthur Fellow and three-time Grammy-winning singer and composer wrote these short, intimate songs as part of a creative quest: to place spontaneity and joy at the centre of her writing process, and originally recorded them alone, at home, never intending for them to be released, using digital tools and effects that she had never played with before, like GarageBand, Logic, AutoTune, Midi plugins, drum loops, vocal effects, reverb, and filters. The songs reflect Salvant’s wide-ranging musical influences from her 1990s childhood in Miami—from boy bands to grunge to classical to folk—and include party tracks with beats, samba grooves, and quiet folk songs. The album features longtime collaborators Sullivan Fortner, Yasushi Nakamura, and Kyle Poole, as well as cameos from singers June McDoom and Kate Davis.

Return Of The Funky Man is the second album by New York legend Lord Finesse. Originally released in 1992, this album was highly anticipated after his debut on the scene just a few years prior. Having already established himself as a punch-line king capable of humorous storytelling, Return of the Funky Man cemented Finesse as a top-notch producer. Tracks such as “Fat for the 90s” and “I Like My Girls With A Boom” showed the Funky Man truly living up to his name, both on the mic and behind the boards. After the gruff-voiced “Lord Finesse Intro”, the album goes on a nonstop journey of witty wordplay over genre-defining boom bap beats. Along for this ride, Finesse brings D.I.T.C. brethren Showbiz and Diamond D on the production side (plus Aladdin & SLJ) while AG and (at the time) newcomer Percee P share mic duties. Topically, Finesse doesn’t stray too far from reminding us why he’s earned the title The Funky Man. Whether it's bragging and boasting, or breaking down females, he has a way of doing it with a tongue-in-cheek type way that is sure to have you letting out a laugh or two every couple of lines. He possesses that rare quality of being a solo MC that is capable of entertaining throughout the entire hour plus listening experience. Standout tracks such as “Yes You May”, “Stop Sweating the Next Man”, and “Party Over Here” all show why this album was instantly praised by fans and critics alike.

Am 26. 9. 2005 erschien mit Fortschritt unser siebtes deutschsprachiges Album auf unserem bandeigenen Label Dritte Wahl Records. Zu hören gibt es 13 neue Songs, eine Coverversion des Rote Gitarren Hits Weißes Boot und eine plattdeutsche Fassung von Hoch im Norden. Musikalisch und textlich geht es quer durch den Gemüsegarten: Da gibt es schnelle, harte, politische Stücke, groovige Songs mit Geschichten aus dem Leben, Reggae-Beats bis hin zum vollakustischen Lied Auf der Flucht in dem es um Abschied, Hoffnung und natürlich auch um Busch"n (Bassisten und Gründungsmitglied von DRITTE WAHL) geht, der im Januar des Jahres 2005 nach schwerer Krankheit verstorben ist. Unterstützt wurden wir bei den Aufnahmen durch Kollegen von Corvus Corax, den Crushing Caspars, Daily Terror, Final Virus, Freygang, Höart! Höart! Höart!, Lady Godiva, Mainpoint und Tanzwut. Zwanzig Jahre später erscheint nun eine Jubiläumsausgabe des Albums auf Kassette.

Honour's debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Alàáfíà is a meditation on themes of life, death and love that pulls inspiration from the unexpected poetic profundity of casual conversations, field recordings, literature, ephemera, or personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language_substantiating a mythos proposed by Fred Moten that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal. Alàáfíà delineates a gothic landscape cut by overdriven beats, swooping orchestral blasts, choral bursts and ear- splitting fuzz, where the fleshly and spiritual realms commune. Dedicated to Honour's late grandmother, the title track began to take form after their last embrace and remains steeped in her influence and spirit_a tape-saturated composition that starts in Lagos and ends in London's smoke-stained cityscape, the song's dream-like quality developed out of the artist's grief and PTSD coping with this loss. Beneath the stretched guitar drones and stuttering loops, their grandmother's shared faith bubbles to the surface. "When Angels Speak of Love," borrows its title from two works by Sun Ra and bell hooks, respectively. Sculpting echoes of praise music into disorienting spirals perforated with syrupy DJ Screw-inspired breaks and sharp splinters of melancholic guitar, "When Angels Speak of Love" engages a conceptual dialogue with the spirits of both late thinkers, folding them into Honour's pantheon of ancestral guides. The album's ninth track, "Giz Aard ($uckets)," is a dirge of regimented drums which anchor this somber melody as it whirls into a blizzard of heartache, uncertain if its consequence will be death or eternal joy. The album's sole lyrical offering, "Pistol Poem (Lead Belly)," begins with a darkly humorous bar, "He went thru hell and back/ came back/ 2 get the strap," that swells into a haunting allegory based on the life of Philip "Hot Sauce" Champion. A modern take on the Blues, Honour's lyrics reify the artist's status as a student of both literature and popular culture, crossbreeding the artist's clever wordplay with additional references to Richard Pryor, Robert Johnson, Kelly Rowland & Bryon Gysin. Setting core principles of hip-hop, R&B, jazz and gospel music to atemporal soundscapes and compositions, Honour crafts a record that marinates in its own knotty contradictions. The ghosts that sit on the artist's shoulders have never been more tangible than with this emotive debut.

Mustard Yellow Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Na Nich returns to his roots after a series of successful releases on respected labels such as Delsin, Semantica, On Board, and Fur:ther Sessions. The Ukrainian producer's latest EP pays tribute to his foundation in broken beats and bass music - the core of his craft before adopting the Na Nich moniker.

Co-founder of Rhythm Buro and formerly known as Sunchase, Oleksandr Pavlenko shifted from his decades-long bass music career towards house and techno about ten years ago. Yet those early influences never truly disappeared. On Your Curves, Oleksandr skillfully blends his bass-heavy legacy with the sonic palettes characteristic of his later work, merging two worlds into a cohesive sound.


The A-side opens with 'Unfulfilled Expectations', a deep roller rich with bass textures and mellow synths. It's followed by 'Everything', a slow burner infused with '90s vibes, featuring oldschool vocal samples and a drum pattern reminiscent of UK garage. On the flip side, 'Rain Inside' delivers the EP's grooviest moment, with broken beats crafted for the dancefloor and an intimate, close-your-eyes 4 a.m. mood. The title track, 'Your Curves', closes the EP with a deep and melancholic atmosphere.


This release stands out amid contemporary offerings, reminding listeners that essence always triumphs over form.

2025 Repress

Renowned producer and DJ Yuri Suzuki is back with a bang, releasing his latest record titled "Border" via the iconic Detroit Underground label. This new release features eight electrifying acid tracks that blend the infectious grooves of jacking house and the driving energy of techno.

Yuri Suzuki has been a pivotal figure in the electronic music scene, known for his unique sound and innovative production techniques. With "Border," he takes listeners on a journey through the pulsating heart of the underground music culture. Each track showcases his knack for crafting infectious rhythms and hypnotic melodies, making this vinyl a must-have for any serious collector or DJ looking to elevate their set.

The tracks on "Border" are a perfect representation of the classic acid sounds that have been making a resurgence in recent years. From the moment the needle hits the vinyl, listeners are transported to a world where the dance floor is king, and the beats are relentless. Yuri's signature style shines through, combining crisp percussion, gritty basslines, and infectious samples that create an irresistible urge to move.

“Most of these tracks were produced in the 90s, in my small room at my parents' apartment in Tokyo. At the time, I hadn't experienced a real rave, and my exposure to the culture was limited to the information I could find on the early internet. As a result, the music I created was inspired by an imagined rave scene, capturing the essence of something both distant and exciting.” - Yuri Suzuki

JUST. LIFE. is FDC's second endeavour after their 2022 debut 'Some Kind Of Wisdom'. The A-side draws inspiration from everyday life. Things that are often overlooked. Birds whistling. Just being somewhere spending time together. Whereas the first 4 tracks open up a can of playful jazz the B-side explores more heavy conceptualizations. Birth and love for a child & the passing of a friend. Life and death. The cyclicity of it all.

Fruit Distro Collective is a project by long-time friends Boris van der Hoff & Tristan Coco. Raised on boombap beats, schooled through Jazz composition and inspired by Afro & Latin styles. Pour some reel-to-reel tape sauce over it et voilá.

To All That We Lose And All We Fight For is the debut album by Vera Logdanidi - the
culmination of nearly two decades of musical evolution. Her journey began in the world of drum & bass and jungle, gradually expanding into deep explorations of house, dub techno, and techno. Over the years, Vera has performed on leading stages across Ukraine and internationally, while also mentoring a new generation of DJs and producers, hosting radio shows, and supporting the scene through her label and community work.

This album was written during a time of deep upheaval. The outbreak of full-scale war forced Vera to leave behind a well-established life and begin again on the international stage. While the music often feels dreamy and introspective, To All That We Lose And All We Fight For is a profoundly personal record - a sonic refuge shaped by grief, uncertainty, and resilience.

The album doesn't follow formulas; it's driven by intuition, texture, and a genuine connection to sound. It's rich, emotional, and occasionally unexpected. The tracks form the core of Vera's current live set, which has resonated at major festivals such as Draaimolen or Strichka - captivating audiences with its depth and subtle, immersive energy.

The cover art, created in close collaboration with Vera's longtime visual team, is a real
photograph - not a digital effect. It captures the tension between anxiety and hope: a glance back, and a step forward into the unknown. This visual metaphor reflects the emotional landscape of the album - the fragility of what's been lost, and the courage to embrace what lies ahead.

This release also marks a new chapter for Rhythm Buro Records - one that moves towards music that is more personal, intimate, and unconstrained by expectations.

To All That We Lose And All We Fight For is released alongside another important Rhythm Buro release: RB011 - Your Curves EP by Na Nich. Ukrainian producer Oleksandr Pavlenko, formerly known as Sunchase, returns to his roots in broken beats and bass music, blending them with house and techno sensibilities. The four-track EP ranges from deep grooves to melancholic late-night moods - a compelling counterpoint to Vera's album and a testament to the label's evolving identity.
Order RB012 n

Man kann nicht über Wicca Phase Springs Eternal sprechen, ohne über Verwandlung zu sprechen. Seit über einem Jahrzehnt nutzt der Sänger, Songwriter und Produzent Adam Andrzejewski diesen Künstlernamen als kreativen Sammelbegriff, unter dem er ein umfangreiches Werk geschaffen hat, das ebenso beständig fesselnd wie ständig im Wandel begriffen ist. Diese geschickte Fähigkeit, Sounds und Stile zu vermischen, ist zu seinem Markenzeichen geworden, aber unabhängig von den Genre-Kennzeichen - von Rap-Beats über New-Wave-Synthesizer bis hin zu Goth-Atmosphären - ist das schlagende Herz von WPSE Andrzejewskis einzigartige Stimme und seine esoterische und doch emotionale Lyrik. Diese Schlüsselelemente haben das Projekt durch musikalische Erkundungen geprägt, und auf seinem neuesten Album Mossy Oak Shadow" stellt Andrzejewski sie nun auf die Probe. Er verzichtet auf wummernde 808s und aufwendige Produktionen zugunsten einer schnörkellosen Band und spärlichen Live-Aufnahmen. Das Album ist eine mitreißende Sammlung von verträumten Folk-Rock-Songs, die beweisen, dass Wicca Phase Springs Eternal wirklich alles sein kann. Ich habe immer irgendwie gedacht, dass ich, solange ich den Namen Wicca Phase Springs Eternal habe, alles machen kann, was ich will", erklärt Andrzejewski. Der Name bietet einen Rahmen für die Texte und die Ästhetik des Projekts - mein Songwriting mit einer mystischen Überlagerung - und solange ich etwas darinnen zum Funktionieren bringen kann, ist das Genre nicht wirklich wichtig." Diese gewagte kreative Mentalität war es, die Andrzejewski antrieb, als er das WPSE Projekt ins Leben rief, neben seiner Arbeit als Mitbegründer des einflussreichen Kollektivs GothBoiClique oder als Mitglied von Thraxxhouse und Misery Club und seinem Punk-Nebenprojekt Pay For Pain. Dennoch hätten wohl nur wenige ahnen können, dass das neue richtige Album von Wicca Phase Springs Eternal eine Sammlung von countrylastigen Folksongs sein würde, die ohne auch nur einen Hauch von Ironie dargeboten werden. Wie bei allem, was Wicca Phase Springs Eternal macht, zeigt sich Andrzejewski auch auf Mossy Oak Shadow" voll und ganz engagiert. Mossy Oak Shadow" mag für Fans von Wicca Phase Springs Eternal, die durch seine beatlastigen modernen Klassiker wie Secret Boy" (2016) oder Suffer On" (2018) auf ihn aufmerksam geworden sind, wie eine drastische Kehrtwende erscheinen - aber das sollte keine völlige Überraschung sein. WPSE-Veröffentlichungen haben sich schon immer mit reduzierten Akustiksongs beschäftigt, und noch weiter zurück gibt es Andrzejewskis frühere Arbeit als Mitglied der Emo/Indie-Größen Tigers Jaw. Als er diese Band 2013 verließ, um sich auf Wicca Phase Springs Eternal zu konzentrieren, stieß er auf Skepsis bei den Zuhörern, die zögerten, seine neue Persönlichkeit und seinen experimentellen Trap-Sound anzunehmen. Ironischerweise hat Andrzejewski jetzt Wicca Phase Springs Eternal so gründlich etabliert, dass er seine Fans erneut mit einem krassen Klangwandel herausfordert - diesmal jedoch durch die Rückkehr zu dem gitarrenorientierten Songwriting, das er beiseite gelegt hatte. Dylan, Will Oldman, Richard Thompson - was ich an diesen Songwritern am meisten mag, ist, dass ich ihnen vertrauen kann", erklärt Andrzejewski . Wenn sie etwas völlig Seltsames machen, vertraue ich darauf, dass sie wissen, was sie tun, weil es von derselben Person kommt, die all diese anderen Songs geschrieben hat, die ich liebe. Auch wenn es vielleicht etwas Zeit braucht, bis ich dort bin, wo sie sind, möchte ich es versuchen."

With its 10th edition, Dalmata Daniel's split series brings together two artists who have both left their mark on the label's compilations, now presenting their first full releases on the imprint. Anatolian Weapons and The Spy approach electronic music from different angles, one rooted in hypnotic techno rituals, the other in raw electro and post-punk energy. Both craft sounds that thrive in the shadows of the dancefloor.

On the A-side, Anatolian Weapons delivers three cold, hypnotic cuts. "Trapped" opens with heavy EBM percussion and a buzzkill bassline, setting a tense, mechanical tone. "Further Spiralling Down" sinks deeper into darkness with a grinding low end, tight drums, and electro-tinged claps, forming the side's relentless highlight. "Apathy Through Shock" closes with pounding, catatonic rhythms and a mournful, otherworldly melody, pushing the listener into disorienting depths.

Flipping over, The Spy's raw, electro-driven energy takes hold. "Same Blur" channels sharp electro beats with a punkish sneer and cosmic synth lines. "Falling", featuring The Spy's own vocals, leans into melancholic new wave, pairing bouncy rhythms with bittersweet melodies. The closing "Pretending" drifts into the darkest corners, offering low-slung, haunted electro layered with distant, spectral harmonies.

A unique sonic journey blending jazz, candombe, dub, hip-hop, and electronic music. Written, sequenced, and recorded by Ian Lampel (Uruguay), the album captures Montevideo's vibrant essence with innovative beats and deep roots. Embark on a sonic journey through the rich tapestry of Ian Lampel's multicultural heritage with his debut solo album, "The Parque Rodó Tapes." From the echoes of his grandparents' wartime exodus from Europe's tumultuous past to the rhythms of daily life in Parque Rodó, Lampel's artistic vision was shaped by a kaleidoscope of influences: Science fiction and fantasy books, graphic design annuals, comics, films, early computers and videogames as well as music; the haunting melodies of Russian and Polish classical composers hummed by his grandmother while cooking, the choir and hammond music of the synagogue, his early explorations in club music and dub or the syncopated drumming of candombe and carnaval echoing in the streets of Montevideo. The composer, producer and bass player, wrote, sequenced and recorded practically everything that is heard throughout the album. With meticulous attention to detail, he has crafted a sonic landscape that seamlessly blends elements of jazz and Uruguayan music with the innovative spirit of dub, hip-hop and electronica; from the infectious rhythms of candombe and the raw energy of murga, to breakbeats, moog's and samples. Drawing from a treasure trove of samples collected over two decades, "The Parque Rodó Tapes" weaves together a tapestry of sound that is both nostalgic and forward-thinking, from the haunting voice of Marosa Di Giorgio and the vibrant cacophony of a carnival field recording by Lauro Ayestaran, to the guest contributions from notable musicians including Lampel's wife, singer/songwriter Eco Lopez, multi-instrumentalist Luciana Giovinazzo on flute, and Ferna Nunez on repique drum. Each track is a testament to Lampel's eclectic vision. A debut album with a certain degree of melancholy that works as a soundtrack to the world in which the artist grew up, a world now gone, without cellphones or social networks, in which everything had to be proactively pursued "in the streets".

"Oh Snap features twelve very personal songs by Cécile McLorin Salvant - plus a cover of a verse from the Commodores’ 1977 hit “Brick House” - mostly recorded outside of a traditional studio environment and showcasing her genre-spanning tastes and influences. The album features longtime collaborators Sullivan Fortner, Yasushi Nakamura, and Kyle Poole, as well as cameos from singers June McDoom and Kate Davis. Salvant has US and international tour dates throughout the summer and autumn; find more details at nonesuch

The MacArthur Fellow and three-time Grammy-winning singer and composer wrote these short, intimate songs as part of a creative quest: to place spontaneity and joy at the center of her writing process. She originally recorded them alone, at home, never intending for them to be released, using digital tools and effects that she had never played with before, like GarageBand, Logic, AutoTune, Midi plugins, drum loops, vocal effects, reverb, and filters. The songs reflect Salvant’s wide-ranging musical influences from her 1990s childhood in Miami - from boy bands to grunge to classical to folk - and include party tracks with beats, samba grooves, and quiet folk songs.
"

One of the most expansive instrumental Hip Hop series to date, MF DOOM’s lauded Special Herbs collection assembles a mountainous collection of his beats, ranging from series exclusives to slightly reworked favorites he produced for himself and others. Released under the alias Metal Fingers, Special Herbs succeeds at capturing DOOM’s highly influential sound which continually breaks and reinterprets the rules of the game in favor of The Super-Villain. The world is a treasure trove of sounds, and the Metal-Fingered DOOM accepts no limits; ’70s Soul/Funk classic, ’80s R&B hits, rap nostalgia, and even soundbites from children’s records & TV all find their place in the ingredients needed to perfect his recipes.