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Australian composer-performers Judith Hamann and James Rushford have worked together in countless projects for two decades, perhaps most notably in Golden Fur, their trio with Sam Dunscombe. Black Truffle is pleased to announce Midmeste, their first work as a duo. Its title is Middle English for ‘the middlemost point’, alluding to how the piece builds on the points of overlap between the highly personalised musical languages Hamann and Rushford have developed in recent years. Performed on cello and a variety of pipe organs, Midmeste is a spacious, sometimes unsettling exploration of their shared interest in alternative tunings, psychoacoustic phenomena, the physical properties of their instruments, and the usually peripheral sounds generated by the performing body.

Beginning with a sequence of austerely vibrato-less harmonics from Hamann's cello, trailed by Rushford's whistling portative organ tones, the music soon expands into a slow-moving melodic wander, pausing at times to linger over an uncomfortable harmony or particularly resonant cello tone. Hamann and Rushford have long histories of engagement with pre-Classical European musical traditions, having in past projects performed and radically extended the work of Solage, Louis Couperin, Johann Conrad Beissell and other composers. Here they use a 15th century song by John Dunstaple, ‘O rosa bella’, which returns throughout the piece, distorted, aerated and splayed into new forms.

Developed while the two shared residencies at Akademie Schloss Solitude, Stuttgart in 2020 and La Becque on Lake Geneva in 2023, Midmeste integrates recordings made (at at the invitation of the Biennale Son) on the organ of the Basilica St Valere in Sion, Switzerland—the world’s oldest playable organ, built in the early 15th century. Played by both Rushford and Hamann, the instrument’s idiosyncratic features, including bellows pumped manually using massive wooden beams, are integrated into the music through amplification. Creaks and thumps locate the music physically both in the performers’ bodies and the specific site of its making. Moving through a series of distinct episodes across its forty-minute span, Midmeste makes space for near-silent duets of high harmonics and hissing air, moments where twittering high tones and rumbling sub-bass could be electronic, and static fields that unexpectedly blossom into almost Romantic harmonies.

Listeners familiar with Hamann and Rushford’s work will find many familiar features here: the stunningly rich cello tones, their patient sustain allowing heightened awareness of the inner life of sound and its interactions with the environment; the care with which acoustic space is activated, becoming at times a third instrumental voice; the attention to fragile, unstable sonorities that sometimes have a comic edge. A major work from two key figures in contemporary experimental music, Midmeste synthesises rigorous exploration of fundamental questions of sound and performance with an unapologetic embrace of beauty.

Das bahnbrechende Debütalbum ,Oshin" von DIIV kommt mit einem neuen Cover zurück in die Läden! Das erste Album von DIIV verbindet auf coole Weise Erinnerungen mit Halbvergessenem und schafft so eine musikalische Welt aus alter Luft und frischem Wind. Diese Songs erinnern uns an die Liebe in all ihrer irdischen Perfektion und Perversion. Ein Großteil der Anziehungskraft von DIIV entstand in dem Prozess, den Zachary Cole Smith durchlief, um diese ersten Kompositionen mitten im Sommer zu entdecken, während er sich in einer Ecke eines Malerateliers in Bushwick ohne Klimaanlage und mit Blick aus dem Fenster verkrochen hatte. Er umgab sich mit Kassetten und LPs von Lucinda Williams, Arthur Russell, Faust, Nirvana und Jandek, mit Schriften von N. Scott Momaday, James Welsh, Hart Crane, Marianne Moore und James Baldwin sowie mit Träumen von Außerirdischen, Zuneigung, Geistern und der fernen Natur (wie er sie sich von seinem Fenster mit Blick auf die Morgan L-Bahn aus vorstellte). Die daraus resultierende Musik ist ebenso tiefgründig wie einhüllend und lädt dazu ein, sich in einer Zeit von Kurzform-Inhalten und endlosem Scrollen in ihren Verflechtungen zu verlieren.

Forged from the fire of internal struggles, Loraine James was wrestling with confidence and a desire for change when she embarked on “Detached From The Rest Of You”. A guiding hand came through producing 2025's “Clandestine” EP with singer Anysia Kym, which gave her the experience of a more 'pop' setting and the tools and insight to work her instrumentals into more conventional shapes; a shift from club driven sounds and winding instrumentals into more precise song forms.


Loraine’s production is stripped to the bone, soundscapes of clicks and glitches inspired by Aoki Takamasa, Ryoji Ikeda, and the early-00s Clicks & Cuts school. Here, often with not much more than sparse keyboard chords to fill in with subtle colouring, she uses the space around the sounds and vocals to draw the listener in to a succinct and direct album, her most confident yet.


Guest contributors include vocalist Sydney Spann on “In a Rut”, Alan Sparkhawk (Low) on downcast anthem “Peak Again”, Miho Hatori (Cibo Matto) on “Flatline”, Anysia Kim on “Score”, and Tirzah on “Habits and Patterns”. Finally her old spar, the rapper Le3 bLACK returns to spit fire with the jazz-indebted track “Ending Us All” with Fyn Dobson backing on tumbling drums.

Kim Rapatti (Mono Junk) is a long-running Finnish electronic music producer and the operator behind DUM Records. In the early 1990s, releasing across multiple aliases was a practical way to keep output organized and to present a broader label roster. Mars 31 Heaven was one of Rapatti's period-specific side names, used to separate a more inward strand of work from the main Mono Junk line.

Mono Junk presents Mars 31 Heaven: Collected Works '93–'95 is the first time these recordings have been compiled onto a single release. The tracks were previously scattered across various compilations, with "Little Elephant" later reappearing on a Mono Junk release. Audio was sourced from the original DAT tapes and remastered by Michael Diekmann. "Osaka House Remix" and "World of Isolation" originally appeared on the B-side of DUM Records' Blue File Compilation (1993). "Violins" and "Abyss" appear on vinyl for the first time after CD-only appearances ("Violins" on Dum Trax, 1995, and "Abyss" on Unitunes and Came From Outer Space I), and the original mix of "Osaka House" is previously unreleased. Housed in full-colour sleeves designed by Ed Cheverton.

aja monet ist eine surrealistische Blues-Dichterin, Musikerin und Bandleaderin, deren Werk fließend zwischen Poesie, Musik und politischem Ausdruck wechselt. Aus der Spoken-Word-Szene der Lower East Side in New York City hervorgegangen, wurde sie die jüngste Gewinnerin des Nuyorican Grand Slam Poetry-Titels, bevor sie ihr Schaffen auf genreübergreifende musikalische Darbietungen ausweitete, die ihre Wurzeln im Jazz, Blues und experimentellen Sound haben. Ihr Debüt-Poetry-Album ,when the poems do what they do" wurde 2024 für einen Grammy Award in der Kategorie ,Best Spoken Word Poetry Album" nominiert und etablierte Monetas als einzigartige Stimme in der zeitgenössischen schwarzen Musik- und Performance-Szene. Das Projekt verbindet Poesie mit Live-Instrumentierung und Improvisation und erkundet Themen wie Widerstand, Liebe und Freude durch einen kollaborativen, ensembleorientierten Ansatz. Als tourende Bandleaderin ist sie weltweit bei großen Festivals und in bedeutenden Veranstaltungsorten aufgetreten, darunter das Newport Jazz Festival, das North Sea Jazz Festival, das Montreal Jazz Festival, das Guggenheim, das Lincoln Center, das Barbican Centre und die Fremantle Biennale. Neben ihrer musikalischen Arbeit ist monet eine gefeierte Dichterin und Autorin. Ihr erster vollständiger Gedichtband, ,my mother was a freedom fighter" (2017), wurde für den NAACP Image Award in der Kategorie Poesie nominiert. Ihr jüngstes Buch, ,florida water", erschienen bei Haymarket Books, schöpft aus mehreren Jahren des Lebens und der Organisationsarbeit in Südflorida und setzt ihre Auseinandersetzung mit Ort, Bewegung und kollektivem Gedächtnis fort. Zu ihren Auszeichnungen zählen der Marjory Stoneman Douglas Award für Poesie, der Nelson Mandela Changemaker Award, der Harry Belafonte Voices for Social Justice Award, der EBONY 100 Artist in Residence Award sowie der Malcolm X & Dr. Betty Shabazz Vanguard Award. Zudem ist sie künstlerische Kreativdirektorin von V-Day, der globalen Bewegung zur Beendigung von Gewalt gegen Frauen und Mädchen, und Schöpferin von VOICES, einem Hörspiel aus dem Jahr 2022, das die Geschichten schwarzer Frauen in der Diaspora und auf dem afrikanischen Kontinent in den Vordergrund rückt. aja monet's zweites Studioalbum, ,the color of rain", wird im Mai 2026 bei drink sum wtr erscheinen.

Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.

Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.

Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.

From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.

With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.

As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.

A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.

A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.

EFUNK Volume V is the fifth installation of the annual VA compilation featuring music from a curated collection of artists set to perform at Soul Clap’s House Of EFUNK touring party series. This release date on wax and digital is right in time for the official Movement Festival afterparty @ TV Lounge in Detroit that spans 2 days with 3 areas of sound. This year’s compilation features music from Soul Clap alongside long time friend and Baltimore favorite Baronhawk Poitier who present “Set The Scene”, a futuristic earthshaking groove with Baronhawk’s spoken vocals backed by Charles Levine’s vocoder and a Moog topline played by Baronhawk that won’t quit. Hercules & Love Affair makes a debut on the label with “Stay Ready” a chugging tracky / acid infused banger which should absolutely induce a dancefloor sweat. Kai Alce shares a discofied sample-licious crowd pleaser called “Boogie” with the help of additional keys by Byron Blaylock better known as Byron The Aquarius. Detroit’s new school starchild JMT joins with the hard hitting peaktime soul powered “Black Magic Touch” and last but certainly not least, Lauren Flax adds an edge of danger while calling for “Revolution” featuring vocals from Liz Wight. These tracks are sounding warm and round thanks to the mastering expertise of Caserta and have been dancefloor approved by Soul Clap!

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

For its 30th anniversary, Kruder & Dorfmeister’s DJ-Kicks is available for the first time in mixed form on 3LP, remastered by Bernie Grundman and packaged in a special box set including original imagery. Kruder & Dorfmeister's rendition of the series created an era defining moment, which tied together a glowing array of musical registers. The Viennese downtempo royalty blended a fusion of slowed down moments across many genres with rolling Drum and Bass from the likes of Aquasky, the melting acid lines of deep Hardfloor and the 90s boom bap sampling, smoked out atmospherics of Thievery Corporation amongst many more.

These masters of mood channeled the sound of a moment with their DJ-Kicks, which still retains a certified cinematic sheen, the patina of the real – curation and mixing at its most playful and refined. It remains to this day one of the most recognizable DJ-Kicks and mixes of all time. Containing two certified cuts from K&D themselves; the wooze is strong on “High Noon” with Dorfmeister's intoxicating jazz flute licks and a trembling harmonica atop a mirage of breaks. Their DJ-Kicks original and legendary tune “Black Baby” closes the mix providing a piece of grandeur, riding off into the distance deep to the vanishing point.

When the mix dropped in 1996, the slo-beat pioneers were among the hottest producers in the dance universe. Even though they only produced two unreleased maxis, names like Count Basie, Bomb The Bass, Alex Reece or United Future Organization had some of their tracks remixed by these exceptional producers. Rumour has it during the work for DJ-Kicks and their debut album they refused doing remixes for U2, Grace Jones, Elvis Costello and the Fantastic Four! ‘DJ-Kicks: Kruder & Dorfmeister’ took its place in the pantheon a long while back, effortless in its ability to traverse sounds, styles and tempos while retaining a selection which remains timelessly recognisable as: Kruder & Dorfmeister.

RCR002 marks the second release from RAW CUTS Records, bringing together four established producers making waves across their respective scenes.

Leading the VA is 'Junior' from Argentinian artist Light Blue File whose been creating buzz with his cotemporary take on electro house built to set dancefloors alight. On A2, UK mainstay and Bizarre Trax founder Jhobei delivers 'Radionyx,' a hypnotic, progressive leaning takes on modern UK tech.

Flipping to the B-side, Christopher Ledger brings the acid-driven pressure of 'Acid Redux.' with a commanding bassline Rounding out the release is fellow Argentinian Guile, closing the VA with 'El Sonido Subterráneo,' an electro-infused funk workout that brings us home.

Modeselektor kündigen mit "Classics Vol. 1" einen neuen Release samt begleitender Live-Konzert-Tour an.

Mit "Classics Vol. 1" (CV1) veröffentlichen Modeselektor eine besondere Edition, die wie ein musikalischer Lebenslauf funktioniert. CV steht nicht zufällig für Curriculum Vitae. Eigentlich wollten Szary und Gernot alte Tracks aus ihren ersten beiden Alben "Hello Mom!" und "Happy Birthday!" neu aufnehmen. Doch was als Rekonstruktion begann, verwandelte sich fast vollständig in etwas Neues. Eine frische Sammlung von Stücken, die den Geist ihrer frühen Releases atmet, ohne sie einfach zu kopieren. Das Duo blickt zurück und erschafft dabei Zukunft. Tracks wie "KILL BILL Vol.4", "Edgar" und andere Albentitel dienten als Ausgangsmaterial, wurden zig mal auseinander und wieder zusammengebaut, neu interpretiert und dann doch in den meisten Fällen nur als abstrakte Inspiration verwendet. Das Ergebnis ist eine Rückschau, die sich emanzipiert hat. Ein mutiges Experiment, ein gescheiterter Versuch im allerbesten Sinne.

"Classics Vol. 1" schlägt so eine unerwartete Brücke zwischen damals und morgen und fasst alles zusammen, was Modeselektor ausmacht: Neugier, Chaos, Humor und ein unerschütterliches Bedürfnis, immer wieder Neues aus der eigenen Geschichte herauszuarbeiten. Und was passt besser zu Rückbesinnung, neuem kreativen Schub und Energie: Eine Tour. Modeselektor gehen 2026 auf eine ausgedehnte Konzertreise und spielen auch mehrere Festivals weltweit.

Seguim Records returns with its fourth release, SEGUIM004, presenting “Execute EP” by rising Argentinian talent Guile.

Execute EP navigates the space where tech-house precision meets progressive feeling, blending evolving textures with hypnotic energy. Across four tracks, Guile delivers a cohesive journey designed for long, club-focused nights.

The A side opens with “Execute”, the title track of the EP, a finely crafted cut driven by modulating basslines, acid-tinged riffs, and crispy drums. It’s followed by “Tren”, a deeper and more hypnotic track where chopped vocals and rolling rhythms guide the listener through an immersive journey.

On the B side, “Double U” sets the tone with a progressive edge, as stabs and melodic phrases carefully interplay, leaving space for each element to breathe while steadily building momentum. The EP closes with “Recycled”, a high-energy track characterized by its catchy melody and uplifting atmosphere, bringing the journey to a powerful conclusion.

Four dancefloor-ready tracks, crafted to push the night further.

Boris Werner & Reflex Blue team up for a dual track EP of bleepy and bold house music.

Originating from a collaborative session in Berlin, the two fuse their sounds to kickstart the new white label series; focused on friendships and love for jamming out.

Mutant Volt emerges from the depths of the underworld with Bona Vista, a six track EP built from unreleased DAT recordings made during the early 90s. Drawn from a vast archive, much of the material had been long forgotten, written at a time when electronic music moved fast and rarely looked back.

Mutant Volt is one of several aliases used by Dan Piu, whose roots sit firmly in early European rave and club culture. The name was originally used to explore a stripped, machine driven sound shaped by early trance structures and bleep influence. Aside from a single release on Superluminal in 2020, much of this material has remained unheard. Recorded on a hardware setup that has changed little since 1991, the tracks were made instinctively and left behind to gather dust.

Today the tracks carry a different kind of weight. What was once made quickly and left behind now feels immediate, proof that some music does not belong to the past, it simply arrives there first.

There are many things we do not understand here, maybe in time we will.

RAWAX welcomes Demuja to the artist family!
We are very happy to present you this outstanding artist from Austria with his first release on CHIWAX. Great house vibes full of groove and good vibrations!
Highly recommended!

Limitiertes blaues 12“ Vinyl mit Siebdruck auf B-Seite inklusive 12“ Stickerbogen.
Artwork von Christopher Ian Macfarlane

Flying Lotus, der Produzent – auch bekannt als Steve Ellison – veröffentlicht Anfang März seine neue ‘BIG MAMA’ EP auf Brainfeeder: dem Plattenlabel aus Los Angeles, das er vor fast zwei Jahrzehnten gegründet hat und das seitdem Alben von renommierten Künstlern wie Thundercat, Hiatus Kaiyote, Kamasi Washington und vielen anderen veröffentlicht hat.
BIG MAMA fängt Ellison in einem Moment spontaner, ungezügelter Dynamik ein. Die EP ist dicht gepackt mit unterschiedlichen Sounds, Rhythmen und Effekten und liefert, wie er es selbst beschreibt, „experimentelle, maximalistische, hyperschnelle, elektronische Energie“, wobei sieben dynamische Tracks zu einer einzigen durchgehenden Komposition zusammengefasst sind, in der jeder Takt einzigartig ist und es keine Loops gibt.

Die EP, die innerhalb von zwei Monaten fertiggestellt wurde, zeigt Ellison mit einem deutlich anderen Ansatz bei seiner Produktion. Anstatt sich hinzusetzen und an einzelnen Tracks zu arbeiten, stattete er sein Studio mit einer Vielzahl neuer Tricks und Spielzeuge aus, nutzte Software-Synthesizer, um FM-, Wavetable- und Granularsynthese zu erforschen, sowie Second-Hand Drum Machines und verbrachte den ersten Monat damit, ein Skizzenbuch mit einzelnen Sounds für die nächste Phase des Prozesses zu erstellen. Von dort aus begann er, die akribischen Details der BIG MAMA-Welt aufzubauen, wobei er täglich nur 10 bis 15 Sekunden Musik fertigstellte, bevor er die Fragmente zu ihrer endgültigen Form zusammenfügte: ein mehr als dreizehnminütiger Strom des Bewusstseins, der weder durch Tempo noch Stil eingeschränkt ist.

Repress

Underground stalwarts Voodoos & Taboos make their Duality Trax debut alongside a remix from rising talent Bertie, set to drop on November 8th. Now on its seventh release, Holly Lester’s vinyl imprint blends seasoned pioneers with the next generation of producers. A serendipitous moment at London’s E1 in 2023 was the genesis for the labels latest release, when DT label head Holly Lester unknowingly dropped a Voodoos & Taboos track only for the duo to walk in mid-way. Already known for their standout releases on iconic labels like Phonica, Bordello a Parigi, and Palms Trax's
CWPT, this chance encounter sparked a creative connection between Holly and the pair.

‘Time Out’ kicks things off with swirling synths and the duo's signature alien electronics, set to a playful breaks infused rhythm and morphing bassline, as command and control rings out overhead. ‘Endless Game’ comes with the usual V&T trimmings; an infectious bassline and with a scattering of curious sounds and samples, with a healthy dose of italo-inspired groove - the type of track reserved for bringing a dash of joy to the dance­oor amidst a heads down body-moving groove. On the B-side, Australian newcomer Bertie steps up with her remix of ‘Time Out’, following her breakout EP and high-pro¬le remix by Ciel. In a short space of time, Bertie has already developed a signature sound injecting her productions with nostalgic 90s house and contemporary subtext; glued together by crunchy drums and a penchant for wide-eyed rhythms. Sticking to her guns, Bertie’s ­ip of ‘Time Out’ packs a serious punch, showingwhy she’s an artist on the rise. The EP closes out with the psychedelic ‘All Action’ with its vocoder vocal samples, bubbling acid and teleporting top-lines.

One of the most notable features of the duo's music is their ability to let things evolve over time, their music often accompanied by strong storytelling, an art that has been almost lost in today’s era of instant grati¬cation; their instrumentation often taking on a life form of their own and dosed with surprises.

Ascending Signs Records returns with its second release “Remedies”, a four-track EP from label founder Domenico Niki, featuring a remix by Hieroglyphic Being on the B-side.
The EP delivers and explores an eclectic territory between house and mid-tempo rhythms, blending deep and immersive atmospheres with experimental textures.
It opens with A1 “The very few”, a mid-tempo track built around interwoven synth leads, fat basslines and dirty drums.
Driven by a soaring beat, A2 “Straight to the sky” follows with smooth pads and complex, evolving textures.
On B1, Hieroglyphic Being reshapes “Straight to the sky” through his unmistakable sonic language, pushing the track into more abstract soundscapes.
The EP closes with B2 “Lovewill”, a deep and smooth journey where percussions, synths and a vocal sample come together as an ode to sound and love.

The Sistrum tradition continues as Patrice Scott returns to the controls to deliver two deep cuts of supreme blissfulness!

Billy Wooten's 'In This World' is a long-overdue gem from the golden age of soulful jazz-funk. Originally from his cult 1972 album, this P-Vine reissue makes it available on 7" wax for the first time ever, and Wooten's vibraphone magic is brought to life in full analogue warmth. Channelling that same mellow, sunlit energy as Roy Ayers, male-female vocal number 'In This World' drifts between blissed-out groove and spiritual elevation and is a track that feels like walking through light. Silky percussion, deep bass and those unmistakable Wooten vibes make this a wonderful winter escape to sunnier times and climes.

The name Ran is a new one to us and seemingly remains, for now at least, cloaked in secrecy, but when we see their influences range from Loefah, Photek and Carrier to Source Direct, Regis and Mika Vainio, we were instantly hooked. To this new EP on Gelassenheit, then, which speaks to a producer with a rough and tough analogue sound and love of bass-driven techno. 'Violence' is gritty and heavy as it pounds out a groove with eerie pads in the distance, 'Minus' has punchy broken beats that come at you through a murky fog, and 'Closure ' then ducks and dives with a post-dubstep nimbleness as spooky background details suggest there is an oncoming threat. 'Manoeuvres' is a sparse, heavyweight and soot-black dub with crispy hits that demand a physical response. Early support from Carrier!

Lincus is a new name for us, which is always exciting because it means you get to assess the sounds on their own merit with no extraneous baggage. Whoever is behind these betas on Slabs knows how to cook up heavy kicks. 'Feel The Rhythm' has a swagger and syncopation to it that is perfect for this label, with bold bass and hints of Kerri Chandler's kick to the kicks, all run through with some woozy late-night synth work. 'Pazazz' is another blend of low-end kicks and sleazy synths with some filtered vocals adding a touch of human warmth to what is a vibey cut.

Toobris has been quietly blowing our minds with his recent demos. Choosing just four tracks took some time, but this selection felt right. Focused, restrained, and built to work on the floor. Very NIX.

Two foundational releases from Toronto's Strobe Records get a well-deserved reissue on the Clone Classic Cuts series, spotlighting a pivotal moment in North American dance music. While often overshadowed by the Detroit and New York scenes, Toronto's underground in the early '90s was brewing its own potent blend of house and techno - and these tracks are prime examples of that cross-border synergy.

The Hayden Andre Project's contributions sit at the perfect intersection of tribal house rhythms and the emotive, machine-driven pulse of early Detroit techno. There's a raw elegance here - a sense of deep groove layered with just the right amount of percussive tension. It's no surprise that these tracks became staples in the crates of DJs both then and now. The production feels timeless, with hypnotic arrangements that still command the floor over three decades later.

On the flip, Kingdom Come, another alias of Ron Allen, delivers lush, blissed-out house music that channels the soulful energy of New York's golden era while adding a uniquely Canadian sensibility. Allen's piano work, layered with warm pads and swinging drums, gives these tracks an unmistakable vibe - equal parts deep house ecstasy and garage swagger. It's the sound of 3 a.m. euphoria, of packed dance floors and emotional peaks.

The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.

Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.

His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.

This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.

The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.

Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.

Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.

On the 2024 Altered Circuits release Tropicana Tracks Rotterdam-based artist Betonkust paid tribute to the former subtropical pool (now a circular entrepreneurship hub) Tropicana of his hometown. ALT025 is the follow-up: the fallen-from-grace swimming paradise again fuels a club-oriented selection, inspired by, in the artist's words, "the electronic music from 1988 up until now", more specifically "the Benelux-sound". Tropicana Tracks Two kicks off in full gear with the zero swing drums and lately bass rhythms of Don't Think I'll Be Here Too Long setting the stage for intense synth stabs. Its counterpart comes by way of Realxing, which nonetheless uses similar patches. If the A1 is the thrill of the slides, this one feels like blissfully floating in the geothermally heated waters afterwards. Will Support on the reverse side takes on Detroit techno. Minimal in its composition, it is carried by tough, loopy minor fifth synth sections and prominently mixed rides. TV For Lonely People features more big bass catchiness and melancholic, silky melodies, glued together by vintage flanger treatment and chlorine-damp reverb. The production revels in what feels like the quintessential Betonkust sound. Innershades then joins for the encore, and, characteristically, the mood turns a bit darker. Letting Go Of The Dream is an emotional New Beat update, fully equipped with thudding drum works, haunting lo-fi vocals and pivotal 303 programming - a fitting reaffirmation of the long-standing ties between two of Low Countries Electronics's finest ambassadors.

ICONYC presents the third installment of a compilation series in perpetual bloom, Florilegia III. This new compendium of previously unreleased cuts balances vigor and depth, with unbridled passion and refined elegance for a captivating garland, featuring the sounds of AE:THER; Pole Position; Argia; Max Menaged, matteomie, & Adassiya; ALPHADOG; Marc Gonen & Island Hill; AIKON; Lexer; Still & Bense; Khainz & ZENON; Agustin Giri & Gespona; Deniz Tekin, Aliot & Tolu; Jordan Lev & Nael; and Convolute.

UK Balearic boss Pete Herbert has been dropping sounds inspired by his worldly travels for years and now gems from the last 20 years all make it on to this essential long player. These are all sounds for sunny spots, watery retreats and beach bliss-outs with Pete's signature touch everywhere. 'Back To Bahia' is a bubbly and loose house sound, 'Later That Night' has an edge that makes is suited to sundown dancing and 'South Seas' is a horizontal escape, while 'Legzira Sunrise' is dubby downtempo with tender chords that sink you in deep. This is the sort of record that elevates your collection with magical tunes for many different moments.

RAWAX produly welcomes the Legend Funk D'Void to the artist family!
We are very happy to present you in future his amazing past and present releases.
Starting with a real GEM which came out originally in 2001 on Blue Recordings.
Our 2026 became a new mastering. Don't miss!

Italian multi-instrumentalist, composer, producer and vocalist Alex Puddu is returning with at brand new album "Francia Meccanica" A strong set of songs with catchy hook lines and up tempo groove. Taking us back to the late ’80s and early ’90s disco-house production with refined, sexy vibes that introduces eroticism in both Italian and French. It’s a perfect cocktail mix that pairs seamlessly with Alex’s voice and performance, beats, funky bass, acid sax, and sultry French spoken words. Alex Puddu brings pop disco and retro vibes back in trend — always essential to his style and musical world — and sweeps us into wild French nights blending transgression and romance.

Alex Puddu's, second volume of the groundbreaking album of the soundtrack of The Golden Age of Danish Pornography from 2014, finally will be released as a new reissue on the artist's own label Al Dente in his entire original track list and with a brand new cover. The music on this record is inspired by and composed by Alex Puddu for "The Golden Age of Danish Pornography" - a collection of vintage hardcore short films from the early seventies,1971-74 directed by Danish porn pioneer Freddy Weiss - available on DVD from Pink Flamingo Entertainment.

Alex Puddu's groundbreaking album, the soundtrack of The Golden Age of Danish Pornography from 2011, finally will be released as a new reissue on the artist's own label Al Dente in his entire
original track list and with a brand new cover. The music on this record is inspired by and composed by Alex Puddu for "The Golden Age of Danish Pornography" - a collection of vintage hardcore short films from the early seventies,1971-74 directed by Danish porn pioneer Freddy Weiss - available on DVD from Pink Flamingo Entertainment.

Moscow's newly emerging Noots makes debuts with an EP that dissolves genre boundaries. Ambient washes, deep house grooves, jungle echoes and experimental textures coexist in a fluid internal architecture. Field recordings, from the daily hum of Moscow's Preobrazhenskaya Ploshchad metro to a friend's impromptu garage session, weave seamlessly into the music to ground his often abstract compositions in the real world. There is beauty in the green synths of 'Sudden Shift' and a blurry psychedelic edge to the ambient pads of 'Flowing Harmony' while a standout Nookie remix takes things into silky d&b territory.

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

It premiered 25 years ago on the cult Solid Steel show on BBC Radio. It first appeared on a CD-R with a photocopied cover, followed by a cassette release via Blend Records.
Ninja Tune described it as the most important mixtape in the history of Polish electronic music-a release that fused the best of 90s trip-hop with the sounds of the future, carving out a new horizon.
"Virtual Cuts" by the polish duo Skalpel is arriving for the first time ever on vinyl, featuring newly designed artwork by Bartek Szymkiewicz.

"Wilson Records proudly presents the new LP by Fabio Monesi, an artist known for his uncompromising analog approach and his ability to merge heritage with innovation. This latest work draws from a rich palette of influences--new wave atmospheres, raw electronic structures, and the unmistakable pulse of Chicago house while projecting a distinctly future-facing vision. Crafted entirely through hardware sessions, the album showcases Monesi's deep command of analog equipment and his instinct for blending grit with elegance. On You Are The One For Me, Fabio lends his own voice, adding a personal touch that shapes the emotional core of the record. A profound and reflective body of work, the LP explores themes of self-awareness, resilience, and inner transformation. Based on a true story."

NOCTURNIA

An Enigmatic Collective of Sound

Step into the depths of sound with NOCTURNIA, a captivating deep techno project that brings together the unique talents of Kenny Dahl, Lakey, Salvatore Foglia, and PWCCA. This diverse collective combines distinct influences and styles to create an unforgettable auditory journey.

Kenny Dahl is recognized for his intricate soundscapes that blend organic textures with hypnotic beats, crafting immersive experiences on the dancefloor. Lakey delivers dark and deep tracks that resonate with haunting atmospheres, drawing listeners into an emotional abyss with every pulse and rhythm.

Salvatore Foglia infuses a raw, underground edge into the mix, pushing the boundaries of sound with innovative production techniques that capture the essence of techno culture.

Lastly, PWCCA contributes an experimental touch, creating avant-garde sounds that challenge perceptions and invite exploration
of the unknown.

Together, these artists form NOCTURNIA, a space where night
meets sound, and every track unfolds a story. Whether through driving rhythms or atmospheric builds, their music invites you to lose yourself in the night, exploring the depths of your mind and the thrill of the dancefloor.

Lilly Palmer ist eine Vorreiterin in der Welt der elektronischen Musik, bekannt für ihren einzigartigen Sound, der energiegeladenen Techno mit grenzen sprengenden Elementen verbindet. Mit ihrem langerwartenden Debüt Album „Bigger Than Techno“ geht sie den nächsten Schritt Richtung Techno Olymp!
Die in Deutschland geborene Lilly ist schnell zu weltweiter Bekanntheit aufgestiegen, gilt als eine der einflussreichsten und innovativsten Künstlerinnen ihrer Generation und würde jüngst vom renommierten DJ Mag auf #57 der besten DJs weltweit gewählt.

4 big piano tracks from Paul.S all get The Vinyltrixta/Return Of The Vibe , 92 style breakbeat remix treatment

red/blue marbled 12" vinyl

Repetition stops being mechanical and starts to breathe. Beauty is taken apart piece by piece to get rebuild with irony as A Thousand Details' minimalism blinds the mind.

This is the main version of TAR-LP4, 2x12inch with a download code including 4 extra tracks.

Asyncronous return with their third EP "Selected Memories We Never Had" - a refined continuation of the Ukrainian project's signature blend of ambient and downtempo. On this release, their sound evolves into a more cinematic, immersive form, shaped by layered atmospheres, subtle melodic narratives, and deep emotional textures. The EP balances introspective mood with strong visual imagination, positioning Asyncronous firmly within the space between contemporary ambient, electronica, and film-influenced sound design.

This release marks the relaunch of Kashtan, a Ukrainian record label curated by Vera Logdanidi. After a pause caused by the full-scale war in Ukraine, Kashtan returns with its first vinyl release since 2022, dedicated to forward-looking Ukrainian electronic music beyond strict genre definitions.

SNOMIR is the collaboration between Mirko Iobbi and Sabatino Matteucci, blending live musicianship with clubfocused electronic production. The A-side features “Air” and “Fire,” two jazz-driven house tracks where expressive sax lines glide over warm, groove-led rhythms. Organic, fluid and built for movement. On the B-side, “Caveman” shifts into deeper dub techno territory. Hypnotic structures, textured low-end and sax riffs woven directly into the sonic fabric.

The accompanying remix pushes the track further inward — stripped back, immersive and late-night focused.

Amsterdam’s Lumberjacks in Hell celebrate their 15 year anniversary with yet another stellar assembly of dancefloor ready tunes featuring production and remixes by Luke Solomon & Chris Penny, Sophie Lloyd & Andre Espeut, JT Donaldson and label head Marcel Vogel himself.

DISCOVER THE BEST TRACKS FROM BARRY WHITE"S CULT PERIOD, FROM 1979 TO 1983, BROUGHT TOGETHER FOR THE FIRST TIME ON A UNIQUE DOUBLE VINYL. Including : "CHANGE" - "GHETTO LETTO" - "I FOUND LOVE" - "LADY, SWEET LADY" "ANY FOOL COULD SEE (YOU WERE MEANT FOR ME)" - "YOUR LOVE, YOUR LOVE" "SHE"S EVERYTHING TO ME" - "DON"T LET" EM BLOW YOUR MIND" - "LET"S MAKE TONIGHT (AN EVENING TO REMEMBER)" -"I"M ON FIRE"

To honour the enduring appeal of a great musical rework, Hell Yeah is launching The Art of Remix. This essential new series collects the best remixes from a range of label favourites. First up is Japanese downtempo master Calm with exclusive, never-before-on-vinyl versions of originals by Cantoma, Aura Safari, DJ Sofa’s Dream Baby Dream, Seahawks, Gallo, Yuichiro Kato and more. The release comes with rich liner notes by the authoritative Dr Rob from Ban Ban Ton Ton, and a second volume from Is It Balearic's Coyote will follow soon.

Remixes have always been at the heart of Hell Yeah's output as a way of reworking classic sounds into different contexts, allowing artists to explore outside their usual remit and also to introduce new talents. Clam has long perfected the art with his famously laidback takes on all sorts of Balearic, house, dub and acid under the Mellow Mellow Acid subtitle. He's remixed many a Japanese legend but also a wealth of artists from across the world, and eight of those reimagined gems balance euphoria with solitude on this first volume.

First, his take on Cantoma's 'Way To The Sun' infuses drones and chimes with bubbly acid. 'Sur Mon Balconett' shimmers with Spanish guitar and sultry sax, ghosts of yesterday still shuffling. 'Banana Trance' jolts with breakbeats while taking a Balearic leap into hedonism. Mininn’s 'Vertigo' drifts dubwise, from monastic chants to operatic bursts. Maho’s 'Bakuhatsu' growls dark and sleazy as acid and riffs collide, 'Abysso' floats with strings and sirens in symphony, 'Blue Surround' lulls before exploding with jazz fire and Kato’s 'Kiss of Life' closes with a cosmic, romantic serenade. Calm's The Art of Remix sets a high standard for a series which will soon turn to Coyote and Scandi-house great Bjorn Torske.

The Mountain is Gorillaz’ ninth studio album, a collection of 15 new tracks featuring a stellar list of artists and collaborators. Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. Produced by Gorillaz, James Ford, Samuel Egglenton, Remi Kabaka Jr. and Bizarrap (Orange County), The Mountain was recorded in London, Devon, Miami, Jaipur, Mumbai, New Delhi and Rishikesh; and features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. The artwork for The Mountain sees Jamie Hewlett’s distinct, yet ever-evolving, style illustrate the world of Gorillaz with an ever more detailed and beautiful intricacy across a series of hand-drawn illustrations. Circumstances find Murdoc Niccals, Russel Hobbs, 2D and Noodle in India, where our heroes are immersed in the rhythms of mystical music-making as they navigate the mountainous terrain of this thing called life.

Tony Bontana, the Birmingham rapper, producer and multi-instrumentalist, releases his 35th album My Name, which is also his first to receive a proper vinyl pressing. The album follows an impressive 2025 in which he performed with Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454.

His earlier 2025 album The Beautiful Malaise made The Wire’s annual top 50, and he appeared as the sole feature on Nourished By Time’s album The Passionate Ones, where Marcus praised his “freewheeling spirit.”

Tony’s production work has appeared on records by Billy Woods, Cities Aviv and Novelist, with upcoming collaborations planned with Blackhaine and DJ Python. The single Battered Chips has received airplay from NTS, Esk on Rinse and Huw Stephens on 6 Music.

If anyone is counting this is the 35th album by Birmingham rapper, producer, multi-instrumentalist Tony Bontana. A pioneer of his own ‘Splayed’ style of production characterised by heavily manipulated samples, non-linear rhythms and introspective lyricism. My Name is a significant landmark for Tony being the first album to receive a proper vinyl pressing. It caps an impressive 2025 which has seen Tony play live with acts such as Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454. His previous album “The Beautiful Malaise” (one of four he released in 2025) made The Wire’s annual top 50. He appeared as the sole feature on the acclaimed Nourished By Time album The Passionate Ones on the track Jojo with NBT’s Marcus praising the rapper as having the “freewheeling spirit of a street baller out on the playground” . His productions have already appeared on records by Billy Woods, Cities Aviv and Novelist with further collabs to come with the likes of Blackhaine and DJ Python. The standout single Battered Chips has received airplay from NTS, Esk on Rinse, New Music Fix and Huw Stephens on 6.

Rolando’s back in the game with Syncrophone Remixes Vol.2—flipping DJ Qu’s “Undescribed3,” Detect Audio’s “Synchronize,” and Anthony Shake Shakir’s “Arise.” Three exclusive remixes, pure underground techno for real heads. Detroit spirit, cop this 12” before it disappears!

DJ Feedbacks :


Honey Dijon : DJ Qu is the one for me. Will def support!
Raresh (ar:pi:ar) : super! thanks
Truncate : Thanks!
The Advent : Smooth bgrooves on here.. 3 - Anthony 'Shake' Shakir - Arise (Rolando Remix)
Anika Kunst (Symbolism / RSPX) : Cool release. Arise rmx is beautiful. Thanks!!
Harvey Sutherland (MCDE / PPU / Voltaire Records) : DJ Qu flip for me, thanks!
Scott Grooves : The Shake is the one
Satoshi Tomiie (Abstract Architecture) : Wooow hot hot hot
Roman Fluegel (Roman Fluegel, Dial, Cocoon, Playhouse, Robert Johnson) : The Remix for Shake is the one for me.
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Enrica Falqui (ERIS, Plexus 4) : I like it!
Daniel Avery (Phantasy / Fabric) : Awesome
Laurent Garnier : cool release
Elisa Bee : Only love for Rolando, thanks x
Slam (Soma) : Brilliant - thanx
San Proper (Perlon / Rush Hour / Proper's Cult) : Totally what i needed to hear, Rolando remixing Shake & Q, my heroes lined up. I will enjoy playing all 3 mixes. One Love.
Axel Boman (Studio Barnhus) : killer remixes!
Terry Farley : DJ Qu mix my fave - heads down LETS GURN
D'Julz (Bass Culture) : great work !
gilbr (Dj Gilb'R / Chateau Flight (Versatile)) : Like the Shakir remix thanks for sending
Ben Sims : Now downloading... will check asap!
Lea Lisa (Phonica Records / Folklor Club) : mental, really good one
Dj Deep (Deeply Rooted) : Super nice package! Dj Qu's Undescribed3 remix for me here! Thank you
Mike Shannon (Cynosure) : Rrrrreeeeemix!! Thx
Efdemin (Dial) : Wonderful remix package!
Inland (Inland) : Hellooo. These are great. Qu and Shake versions both killer! Thanks
Kai Alce (Real Soon) : DJ QU remix bangin
Uncertain (RSPX, WRKTRX, Suara) : remix 1 for me
Harri (Sub Club) : very nice all three will play and support
Blasha & Allatt (Meat Free) : Thank you!
Marcel Dettmann : thx
Richie Hawtin (M_Nus) : downloaded for r hawtin
Luke Solomon (Classic / Freaks / Music For Freaks) : all killer
Luke Slater : Thanks Ro!
Ame (Innervisions) : thanks
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : I like this
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Alienata (about blank) : Very nice remixes, all of them, thx!
Nat Wendell (Depth of My Soul, Courtesy of Balance, Love & Loops) : Dope remixes!
Dave Clarke (white noise radio) : Not my sound, but please keep them coming !

ICONYC's latest anthology of tracks blossoms forth into the light with the second instalment of the "Florilegia" series. Comprised of 10 spellbinding creations, this latest delivery features the sounds of Vomee, Enes Çakır & Yost Koen, Odeon, Gorgin, Baime & Jepe, ETRI, Auggië, Mironas, OLING & Harald Björk, and Nuage. Another quintessential compendium of modern club electronica, "Florilegia II" is a gorgeous bouquet of sounds set to define the modern dance floors and beyond.

Addict Records is a French label with a retro-futuristic aesthetic, inspired by Detroit and its pioneers.
Founded by David Ferret, aka DFXRADIO, it blends House and Deep Techno with influences from Northern Soul, Jazz Funk, and Disco, in a human and analog approach. Its first EP, “Midnight Echo”, explores the connection between mechanics and emotion, between machines and groove, celebrating an authentic sound inspired by the 90s and the roots of Afro-American music.

Das Album "Sperminator" von Drahdiwaberl wurde 1994 veröffentlicht und gilt als eines der provokantesten Werke der Band. Es zeichnet sich durch seinen kontroversen Titel und seine schockierenden Texte aus, die bewusst Tabus brechen und Grenzen überschreiten. Das Album enthält eine Mischung aus Punk, Rock und avantgardistischen Elementen und ist ein weiteres Beispiel für Drahdiwaberls künstlerische Experimentierfreude und rebellische Haltung.

The Bug Club sind mit einem neuen Album zurück. Seit ihrem letzten Album sind ganze sieben Monate vergangen. Wo waren sie denn? Every Single Muscle, das fünfte Album der Band, ist das dritte, das von Sub Pop, dem angesehenen Label des walisischen Duos aus Seattle, veröffentlicht wird. Seit Very Human Features, das im Juni 2025 rauskam, sind die Lieblinge von BBC 6 Music und KEXP auf ihrer Nonstop-Tour quer über den Atlantik geflitzt, wie sie es früher auf der Severn Bridge gemacht haben. Verschiedene Festivalauftritte im Sommer haben sie davon abgehalten, Urlaub zu machen - wer braucht schon Urlaub, wenn man in Wales lebt? - bis es Zeit war, wieder ins Songwriting-Studio zu gehen. Das ist wahrscheinlich immer noch ein Schlafzimmer in Caldicott, das von einem Windhund namens Ted frequentiert wird (aufgepasst - er taucht in einem der Songs auf). Die Songwriter Sam (Gitarre, Gesang) und Tilly (Bass, Gesang) sind immer bescheiden und behaupten sogar, dass sie während des Songs ,It's Our Manager David" nur ,herumsassen und nichts taten". Das ist eindeutig eine Lüge. Every Single Muscle startet mit ,Miss Wales 2012" voll durch und bezieht sich dabei auf einen Wettbewerb, den sowohl Tilly als auch Sam tatsächlich gewonnen haben. Es ist der erste von vielen Tracks auf dem Album, die weniger als zwei Minuten lang sind, und gibt den Ton für das bisher punkigste Album von The Bug Club an, das sowohl an die kurzen, knackigen Snaps ihrer allerersten Singles als auch an das Grunzen ihrer jüngsten Veröffentlichungen erinnert. Das Album ist so vollgepackt mit Riffs und eingängigen Hooks, dass Sam tatsächlich um Erlaubnis bittet, im zweiten Track ,A Good Day For Dying" ein Solo einbauen zu dürfen. Er bekommt zwei Sekunden Zeit. Glücklicherweise fragt Sam später noch einmal und bekommt mehr Zeit. Auf achtzehn Songs gibt's genug klassisches Gitarrenspiel von Sam und Tilly, um selbst die lautstärksten Bug Club-Fans zufrieden zu stellen und die Behauptung der Band, sie seien ,nur technisch versiert auf ihren Instrumenten", klar zu widerlegen. Dieses Album ist ein Beispiel für effizienten Maximalismus - so wie wenn dein Vater das Auto für den Urlaub vollpackt. Bring mit, was du willst; der Platz ist knapp, aber sie kriegen es irgendwie rein. Zu den Texten: Während ,Very Human Features" hervorragend alltägliche Dinge aufzeigte und ihre Absurdität hervorhob, schauen The Bug Club auf ,Every Single Muscle" genauer auf sich selbst. Allerdings nicht so sehr auf introspektive Weise, sondern eher so, wie ein Außerirdischer ein gefangenes Exemplar auf einer intergalaktischen Trage untersuchen würde. Horrorfilme haben ihr ,Body"-Subgenre, jetzt bekommen auch Garage-Rock-Alben ihres. In einem völlig neuen Sinne des Wortes selbstbezogen, wird die menschliche Form und Verfassung im Laufe des Albums aus jedem Blickwinkel beleuchtet und untersucht. Wir spüren eine surreale Distanz zum Selbst, die den allgegenwärtigen, von Langeweile geprägten Humor hervorbringt; im letzten Song verkündet Sam, dass er ,es satt hat, ein Mensch zu sein". The Bug Club scheinen dem Konzept, ein Mensch zu sein, fast misstrauisch gegenüberzustehen - als wären sie in einem Kostüm aufgewacht, das sie nicht anziehen wollten und nicht ausziehen können. Ist drei die magische Zahl? Wahrscheinlich nicht. Aber Every Single Muscle - das dritte Sub-Pop-Album von The Bug Club - kommt dieser Vorstellung nahe genug, um den durchschnittlichen seltsamen Menschen davon zu überzeugen, dass es so sein könnte.

Ten years ago, Adolph Robert Thornton Jr. planted his flag. Released on February 19, 2016, King of Memphis wasn't just a debut studio album; it was a bold declaration of independence and a flawless blueprint for self-made success. To celebrate a decade of this foundational Southern rap masterpiece, Paper Route Empire is honoring Young Dolph’s legacy with a series of exclusive, limited-edition 10th Anniversary vinyl variants.

Before King of Memphis, Dolph had already built a massive underground following through a relentless run of mixtapes. But this official debut elevated him from a local hero to a national powerhouse.

By bypassing the major label system and releasing the project entirely through his own Paper Route Empire (PRE), Dolph proved that undeniable talent, relentless hustle, and business savvy were all you needed to take the crown. The album peaked in the Top 50 of the Billboard 200, an incredible feat for a fiercely independent artist at the time, and cemented his status as a CEO who called his own shots.

King of Memphis is all killer, no filler. Over 11 tracks, Dolph's signature slow-flow delivery and larger-than-life charisma glide over heavy-hitting, trap-defining production from a legendary lineup of producers, including Mike WiLL Made-It, Zaytoven, TM88, and Cassius Jay.

With zero guest features, the project relies entirely on Dolph’s magnetic presence. From the motivational hustler's anthem "Get Paid" to the menacing confidence of "Let Me See It" and "Royalty," the album plays like a victory lap for a self-made king.

Transparentes blaugrünes Vinyl mit O-Card. Oliver Coates' Original-Soundtrack zu Pillion (dt.: Sozius"), einem britisch-irischen Spielfilm von Harry Lighton aus dem Jahr 2025. Der Liebesfilm handelt von einem schüchternen jungen Mann, der sich auf eine unterwürfige SM-Beziehung mit einem älteren Motorradfahrer einlässt.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

2026 REPRESS + DOWNLOAD

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

Justin K Broadrick (GODFLESH) and Mick Harris (Napalm Death) drop militant, hard techno on split LP.

New album doubles the track count (and runtime) of the duo's last collab.

Stalwart Birmingham, UK innovators Justin K Broadrick and Mick Harris have connected again as JK FLESH and MONRELLA to deliver the warehouse-destroying hard techno LP SHOUTING THE ODDS, five years after their last EP, SEE RED.

Featuring four tracks from each artist, SHOUTING THE ODDS invokes both the feeling of listening to late night pirate radio and sweating in a darkened warehouse as the rafters shake, complete with the perfect amount of analog wow and flutter. Brimming with gnarled, unrelenting kicks hovering between 130–140bpm, the split format deftly showcases both artist's individual strengths, while displaying undeniable commonality.

Broadrick's side leans traditional hard techno, filled with mesmerizing, minimal synth arpeggios and contrasting toplines, all aligned and maligned by shrewd transitions. Harris' section presents more experimental and house influences, using bright, distorted synth hits and a touch of forlorn melody. The tracks take on a life of their own through expert use of filters and just the right amount of delay, stutter, and glitch.

Never before has an album filled with such shining, shimmering synths been so black and threatening. JK FLESH and MONRELLA have hard techno down to a science.

“No-nonsense old school flavoured techno bangers. We're flying the flag for outsider techno." - Justin K Broadrick

Nina Nastasia nahm mit Steve Albini bei Electrical Audio in Chicago auf und engagierte den Instrumentalisten und Arrangeur Paul Bryan aus Los Angeles, um ihre Songs für ein kleines Orchester zu arrangieren. Mit dem Schlagzeuger Jay Bellerose und dem Gitarristen Jeff Parker aus Chicago wird Outlaster von einer absoluten Traumband unterstützt. Dieses Album ist ein Werk von üppiger Raffinesse, das ohne Verlust an Charakter oder Wirtschaftlichkeit über Nastasias berühmte Sparsamkeit hinausgeht. Das Orchester geht mit Bryans kraftvoller, bewegender Partitur - die an Gil Evans und den verstorbenen Phil Ochs erinnert - eher formell vor und veredelt die Platte mit glänzenden Bläsern und einem dynamischen Streichensemble. Nachdem Outlaster mehr als ein Jahrzehnt lang vergriffen war, ist es nun endlich wieder auf Vinyl erhältlich. Die Neuauflage von Outlaster wurde 2025 von Josh Bonati für Vinyl remastert und ist auf limitiertem burgunderfarbenem Vinyl gepresst.

Five years ago, Curren$y proved once again that while the rest of the world might hit the brakes, the Jet Life never stalls. Released in the early months of 2021, Collection Agency arrived as a masterclass in "work-from-home" luxury—a smooth, ten-track victory lap that solidified Curren$y’s status as the most consistent architect in underground hip-hop.

Clocking in at just under 24 minutes, Collection Agency is the sonic equivalent of a pristine, low-mileage 911 Turbo. It’s lean, expensive-sounding, and devoid of filler. While the world was still grappling with a sense of stagnation, Spitta was in the garage, documenting the rewards of a decade-plus grind.

The 10-track release marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. Once again, Curren$y delivers another unforgettable round of smooth joints and cruising music.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

A1 GIRL IN A BAND (ORIGINAL BY HALF GIRL)
A2 INCOMPREHENSIBLE WORLD (ORIGINAL BY LAUNDROMAT CHICKS)
A3 NACHT (ORIGINAL BY CULK)
A4 PAST LIFE (ORIGINAL BY EUROTEURO)
A5 INVISIBLE (ORIGINAL BY LUISE POP)
A6 CAN'T YOU SEE (ORIGINAL BY SALAMIRECORDER & THE HI-FI PHONOS)|TOPSY TURVY
B1 THE BULLSHIT (ORIGINAL BY TELEBRAINS)
B2 TOMORROW (ORIGINAL BY DIVES)
B3 SCHÖNE GRÜßE (ORIGINAL BY TCHI)
B4 WHO'S GONNA LOVE ME (ORIGINAL BY BAD WEED)
B5 TROUBLES CAUGHT (ORIGINAL BY MILE ME DEAF)
B6 PLEASE WASTE YOUR TIME (ORIGINAL BY POTATO BEACH)
B7 MARCELINO (ORIGINAL BY TOPSY TURVY)

Das Wiener Label SILUH RECORDS feiert 20-jähriges Jubiläum u.a. mit dieser limitierten wirklichen Vinyl Only-VÖ (no CD, no DL, no Stream)! Das Album kommt mit 13 Songs, aktuelle Label-Artists covern jeweils einen liebgewonnene Song von Labelkolleg*innen. Ein wilder Ritt zwischen den Genres ist vorprogrammiert, was auch den breiten Backkatalog der Wiener Indie-Institution Siluh Records gut widerspiegelt. Das 2005 gegründete Label mit mittlerweile über 100 Releases ist ein wahrliches Szene-Juwel, wo Bands wie DIVES, GARDENS, CULK, MILE ME DEAF, LAUNDROMAT CHICKS, SEX JAMS oder EUROTEURO ihr zuhause haben und zum kleinen Undeground-Hype der Musikstadt Wien maßgeblich beigetragen. Doch im Label-Backkatalog finden sich auch ein paar internationale illustre Gäste. So zum Beispiel gab es Releases mit JAD FAIR von Half Japanese bzw. dem französischen Elektro-Akustiker PHILIP PETIT, den 90er US-Indie-Rockern SWEARING AT MOTORISTS, eine Techno-Remix Platte mit ALEC EMPIRE, ERIC D. CLARKE, JASON FORREST und BERNHARD FLEISCHMANN, ein Single mit CASSIE RAMONE von The Babies, oder Alben vom Chokebore-Frontman TROY VON BALTHAZAR. Für die Jubiläumsplatte wurde jetzt der Auftrag an derzeitige Siluh Acts erteilt, je einen Song aus dem Katalog neu zu interpretieren. ISCHIA zaubern aus einem LAUNDROMAT CHICKS Song eine wahre Dream Pop Hymne mit Shoegaze Finale. LAUNDROMAT CHICKS wiederum basteln aus dem Garagenrock von TELEBRAINS eine Neil Young'esque Version. TELEBRAINS nehmen sich DIVES' "Tomorrow" vor, diese wiederum graben einen alten LUISE POP Song, der nie auf einem Album erschienen ist, aus und erwecken ihn zu neuem Leben. Die Indie-Folk-Gruppe GARDENS bearbeiten eine Dada-Pop-Nummer von EUROTEURO, die wiederum einen TOPSY TURVY Song eingedeutscht haben. Und so geht's munter weiter... Der Titel "POCKET SONGS" bezieht sich auf ein Zitat des befreundeten Betreibers von Bachelor Records, der mal meinte "Pocket Band, eine Band für die Hosentasche. Eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen". Dem Vinylalbum beigelegt ist ein Siluh-Poster, alle Tracks nur auf LP hier exklusiv/original! Herzlichen Glückwunsch!

RIP Magic haben keine Zeit verschwendet. In ihrem ersten Jahr wurden sie von The Guardian als ,Londons angesagteste Band" bezeichnet, spielten große Konzerte mit LCD Soundsystem und Fcukers sowie kleine Auftritte in Londoner Bars und Restaurantkellern, und jetzt bringen sie endlich eine physische Single raus, produziert von James Murphy, seine erste Produktion für eine andere Band seit über einem Jahrzehnt. ,5words" baut sich langsam zu einem euphorischen urbanen Epos auf, das gleichermaßen von Velvet Underground, Orbital, Rapture aus der Echoes-Ära und dem filmischen Universum von Dean Blunt beeinflusst klingt, und, ehrlich gesagt, auch von Nirvana. Es klingt, als würden Jahrzehnte in der Gegenwart zusammenbrechen, ermöglicht durch reibungslose Entdeckungen und gelöst durch die einfachste Methode: vier Leute in einem Raum, die nach etwas Neuem, etwas Großartigem, einem guten Gefühl suchen. Auf der B-Seite ist ein Remix von niemand Geringerem als Maurice Fulton zu hören, sein erster Beitrag für DFA seit den Syclops-Platten, die 2008 sofort zu Klassikern wurden. Maurice ist einer der besten Remixer und Produzenten seiner Zeit und Schöpfer eines Sounds, der so einzigartig und unverwechselbar ist, dass selbst all seine Pseudonyme die Trainspotters nicht täuschen können. Dieser Remix ist genau so: aufregend exzentrisch und unausweichlich mitreißend.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

Mastery, London’s pioneering sound studio, has spent its first two years creating live experiences and installations exploring sound as a gateway to altered states. Now, with co-founders LWE, Mastery enters recorded music with Quantum Sound, a first-of-its-kind project combining sound meditation, breathwork, neuroscience and ambient electronic composition. Announced in December in collaboration with Houndstooth, the album builds on Mastery’s ongoing exploration of sound as both meditation and live electronic music, first introduced through immersive performances by Cherub Sanson, Tim Wheater and Daniel Avery.

Released on 12th February, Quantum Sound positions sound as a psychedelic catalyst, designed for eyes-closed listening. The multi-artist album spans ambient and transcendental spaces, featuring Jon Hopkins, Hannah Holland, Wata Igarashi, Manami, Jennifer Loveless, Silent Shadow and Alessandro Cortini. It also includes a continuous 60-minute mix by Hannah Holland, alongside a 15-minute sound meditation by Cherub Sanson and Tim Wheater with electronic composer Rommek. Following Djrum’s Come Find Me, Ruthlss'’ Dark Angel is out today. Ruthlss is a live electronic artist, composer and producer building a singular musical universe where club culture, classical virtuosity and emotional
storytelling collide. At the centre of the project is a fully authored live show - written, produced and performed entirely by Ruth - that treats electronic music with the emotional and structural depth of film scores and symphonic works, while retaining the physical impact and communal release of the dancefloor.

Two of the UK’s finest party-starters Dub Pistols and the Freestylers team up on ‘Enter The Sound’ to bring you an album of high-grade & high-pressure, bass-heavy cuts. Enter the party, Enter The Sound!

The album is a sonic journey through their diverse influences, blending genres like Reggae, Ska, Breakbeat, Jungle, Hip Hop & Trip Hop. It’s a celebration of their shared musical roots and evolution.
 
The album features an all-star lineup of guest artists, including Johnny Osbourne, Tippa Irie, General Levy, Too Many T’s, Horseman, Belle Humble, Scarlett Quinn, Tenor Fly, MC Spyda, Persona, Harry Shotta  and of course, Seanie T.

FELT enter 2026 with a newly established sub label for reissues, retrospectives and oddball adjacent non-FELT material under the anagram catch-all LEFT. First on the agenda is a vinyl issue of a modern classical tape by Danish post-hardcore/late 2000s rock guitarist Johan Surrballe Wieth, founding member of the band Iceage (Escho/Dais/Mexican Summer/Matador).

Initially released on a limited cassette edition and plucked from the vast catalogue of the Copenhagen label Posh Isolation, the solo project Health & Safety can be read as composers meditation on anxiety, depression, insomnia and all the damned things they entangle. Wieth moves across the spectrum with dour, deliberate keys, mangled drone fx, barely-there violin scrapes, erratic chimes and whistles and with a knowing pace that feels akin to a guiding hand. We’re unsure if the form of each piece is meant to directly correlate to the drug so referenced but the quiet fever dream atmosphere of the 25 minutes also blurs each piece into a whole.

This quote from Wieth certainly rings true for the highly introspective nature of Health & Safety - “You should be very careful listening to too much music when you're writing an album. It has a tendency to become a little too explicit”

Miles Borghese’s Direct Styles, up next on Jupiter’s Depth, explores a meditative dub techno palette that sits somewhere between dub, tech-house, and minimalist club music. Following a run of standout releases on 9FINITY and Squid Recordings, among others, we’re thrilled to welcome that alien modern club sound to the label.

The floor-focused Direct Styles opens with the title track, driven by a hyperactive bassline and layered with delay-drenched synth chords, galloping through time with restless momentum. On A2, a more tempestuous techno side of Miles Borghese reveals itself on “Dark Plan,” charging the release with a mind-bending looped groove, pulling everything on earth into a hypnotic, blitzed state.

“Climber” — a storm of immaculately constructed, phase-shifting textures that drags us deep into the B-side; a real dub-techno delight made for outer space. Closing the EP, Miles joins forces with Pipo Renault on the lush “Parapluie”: warm and groove-focused, a captivating, house-leaning masterclass built to keep you moving.

A Bandcamp-only digital bonus, Substance, awaits those willing to dig a little deeper.

Gold Vinyl

Another 4-track release from People Unpleaser, delivering a blend of spicy and groovy Electro/House with acid vibes a little bit darker than the other releases. Featuring artists from across the globe, each bringing their unique signature to the table, this is a record you’ll surely want to add to your collection

Marking their 51st release, long time label collaborator and friend Owain K returns to 200 with a brand new solo 4 track EP, Kinematic Equations.

Having joined 200 back in 2012 with the “Colonius EP”, a lot has happened in that time. With 50+ releases on the imprint and Owain setting up his own blog and a label under the Innate banner. However, some things remain - mutual friendship, a shared love of underground Electronic music and Kölsch!

15 years on the Welsh rooted, Bristol (UK) based artist delivers some of his best music to date in the shape of the “Kinematic Equations”. A four track journey into astral electronics that weave together his take on deep space sounds, fused with a healthy dose of dubby aesthetics that are close to the label’s heart.

Starting with the rhythmic pulse of ‘Axial Shifts’ on side A, chords steadily arc into life as the intensity rises and falls, all whilst keeping a measured trajectory. Drifting into the ether, ‘Open Cluster’ fills the zone where heavy sub meets filtered percussion to a rounded 909 kick, set with dreamy atmospherics and shimmering delays.

On side B ‘Eta Aquarid’ blazes a powerful trail to machine-like rumbling and evolving pads which burst brightly over the course. Last but not least, the magical aura of ‘Ghost Of Jupiter’ appears - a fusion of glimmering melodies that float over driving bottom end and steady percussion, bringing the EP to a perfect conclusion.

Written and produced by Owain Kimber
Mastered by Emanuel Geller at Salz Mastering

Das Indie-Pop-Quartett Veps aus Oslo ist zurück mit seinem dritten Album ,ChurchyardStreet 8B", dem ersten beim schwedischen Indie-Label PNKSLM Recordings (ShitKid, Clutter, Vegas Water Taxi etc.). Die Band hat sich als eine der interessantesten Indie-Bands Nordeuropas etabliert. Helena, Laura, June und Maja kennen sich schon seit der Grundschule und gründeten die Band im Alter von 14 Jahren. Ihre brillante Debüt-EP ,Open The Door" (veröffentlicht 2021 bei Kanine Records) ebnete den Weg für ihr ebenso großartiges Debütalbum ,Oslo Park" und den Nachfolger ,Dedicated To". Mit gerade einmal 22 Jahren auf diesem Planeten stehen Veps erst am Anfang ihrer Karriere, haben aber schon eine Fülle von Erfahrungen gesammelt, während sie weitermachen, mit ihrem neuen Album "ChurchyardStreet 8B", ihrem bisher besten Werk.

Guided By Voices’ last album Thick Rich And Delicious (October 2025) was lauded by NPR’s All Things Considered and picked #1 on Magnet Magazine’s Best Albums Of 2025. The single “We Outlast Them All” from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: “ ‘We Outlast Them All’ could be our ‘We Are The Champions’ but it’s not necessarily about us.

It’s about anyone who perseveres over a long period of time.” On Crawlspace Of The Pantheon: “I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings...I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.” Guided By Voices will not be on tour in 2026. Pollard recently told Magnet: “Why would we stop playing live and make these kinds of records? I don’t know. We do what we wanna do.” “Pollard is the greatest rock lyricist of all time.” —Dennis Cooper

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

Wewantsounds is delighted to continue its extensive reissue program of Meiko Kaji"s early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse-famous for her starring roles in Lady Snowblood and Stray Cat Rock-was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji"s signature mix of Japanese Pop and Groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki"s cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion.

Brazilian duo DEAFKIDS returns with a vital and combustive new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE).

This nine-track sonic assault forges a path beyond the conventions and boundaries of static musical genres. Here, electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.

Vinyl is opaque orange with black dot splatter. Limited


PRESS FOR PREVIOUS ALBUM ‘METAPROGRAMACAO’ (NR113)

LEAD REVIEW IN WIRE MAGAZINE: 'BRAZIL'S DEAFKIDS PERFECT AN UNHOLY COLLISION OF DUB, METAL AND PSYCH ON THEIR CACOPHONOUS NEW ALBUM'
'OPENER 'MENTE BICAMERAL' SOUNDS LIKE BAD-TRIP MINISTRY AND THE SEVEN MINUTE CENTREPIECE 'RAIZ NEGATIVA' IS ABSOLUTELY HUGE' 4.5/5 NARC

“ONE OF THE MOST INDIVIDUAL ENDEAVOURS OUR COMMUNITY WILL DELIVER THIS YEAR” ZERO TOLERANCE.

9/10 REVIEW IN LOUDER THAN WAR: “. IT'S NOISY, IT'S INDUSTRIAL, IT'S PUMMELLING AND ULTIMATELY, IT'S COMPLETELY SATISFYING..

Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions
of power, tracing the anatomy of a systemic grand deception and exploring its mechanics
of psychological, social, and material domination, the indelible marks imprinted on bodies
and minds and its catastrophic consequences.

It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable - physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths