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,fantastische Songs" - The Sunday Times ,hypnotisch und eingängig" - Brooklyn Vegan ,7ebra sind auf lange Sicht dabei" - So Young Magazine Es gibt keinen Fahrplan für die Mitte bis Ende der Zwanziger, und auf ,How to Land a Plane" verwandeln die schwedischen Zwillingsschwestern Inez und Ella Johansson von 7ebra diese Ungewissheit in ihr bisher fesselndstes Werk. Das zweite Album des Duos aus Malmö erkundet die Unsicherheiten, Frustrationen und stillen Absurditäten des frühen Erwachsenenalters durch ihr bisher direktestes und weitreichendstes Songwriting. Aufbauend auf dem eindringlichen Minimalismus ihres gefeierten Debüts ,Bird Hour" aus dem Jahr 2023 verbindet das neue Album mitreißende Hooks, summende Synthesizer und treibende Rhythmen mit scharfsinnigen Beobachtungen über Identität, Arbeit, Beziehungen und den Druck, in einer zunehmend unwirtlichen Welt seinen Weg im Leben zu finden. Geschrieben im Anschluss an ausgedehnte internationale Tourneen und gemeinsam mit Produzent Jens Lindgård gestaltet, fängt ,How to Land a Plane" eine Band ein, die in ihr Selbstbewusstsein hineinwächst, ohne dabei die Verletzlichkeit zu verlieren, die sie ursprünglich auszeichnete. In Songs, die dunklen Humor, Selbstreflexion und spätkapitalistische Ängste miteinander verbinden, verwandeln 7ebra persönliche Kämpfe in hypnotischen, emotional mitreißenden Indie-Pop. Im Kern ist das Album ein Zeugnis der einzigartigen kreativen Verbindung der Schwestern, zweier Stimmen, die sich verflechten, gegenseitig herausfordern und unterstützen, und bestätigt 7ebra als eine der markantesten und spannendsten Bands, die in den letzten Jahren aus der schwedischen Indie-Szene hervorgegangen sind.

Kid Katana Records teamed up again with KOEI TECMO GAMES and Team NINJA, to bring you the NINJA GAIDEN 2 Black OST on vinyl for the first time.



This physical edition is a 2LP designed in close relationship with the game's creative team:


2-colored vinyl with a unique “corona” effect that is reminiscent of “Sumi (black ink)”: handmade vinyl effect melting white and black colors to shape a unique vinyl color on each product, evoking Ryu Hayabusa style.
Handpicked curation of the game music, mastered for this specific vinyl edition
A Gatefold created for this specific vinyl

Kid Katana Record produced this album with supervision from Koei Tecmo Sound, who composed the original game music.

Bézier ripples their way back to Dark Entries with Decompose, an LP of doomed spa music. Multi-instrumentalist Robert Yang has made numerous appearances on Dark Entries for more than a decade, with releases spanning the stylistic gamut from hi-NRG disco floor-fillers to lush ambient epics. Decompose, Bézier’s second LP, is perhaps his most introspective work yet. It is an album almost ten years in the making, a deep investigation of life, loss, and the struggle of knowing oneself. If one were to pull a tarot deck for this album it would be the Nine of Swords. The album honors the lives of the fallen victims of Pulse Nightclub. It honors lives lost or suffering through the ongoing genocide in Gaza. The title track takes the form of a Buddhist chant, a brooding synth-driven meditation that scales steadily until breaking into John Carpenter-esque arpeggios halfway through. Tracks like “Egg,” “Marionette,” and “A Fading Citadel Atop Black Sand Bluffs” build on this soundworld, one in which intricate melodies and cavernous reverb induce in the listener feelings of both claustrophobia and free-fall. The album’s dancefloor-leaning moments, like “Codebreaking” and “Split a Path Towards the Thicket” are spartan, tunnel-vision techno tracks speeding towards ego-death. Decompose chronicles Yang’s journey to find peace with himself, as a gay Asian American. During this process, they learned to “repot” long-lost parts of their identity so they could grow forth in wholesome fashion. The sleeve for Decompose was designed by Eloise Shir-Juen Leigh, and features a photograph by Frankie Casillo of Robert laying on a bed of rocks in savasana pose, resembling an ascetic, evocative of the monastic vibes of the record.

Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.

Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.

Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.

Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.

Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.

Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.

Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.

Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.

TrioRox is a project born from the encounter between three leading figures on the Italian music scene (and beyond):
pianist Giovanni Guidi, bassist Joe Rehmer, and electronic musician DJ Rocca (Luca Roccatagliati).
Three individuals boast eclectic and impressive resumes. Guidi, a child prodigy of jazz piano, has released several
albums for the prestigious ECM label and has collaborated with top jazz and electronic musicians, from Enrico Rava
to Matthew Herbert, Joe Lovano, and Ricardo Villalobos. Joe Rehmer, an American living in Italy, is one of the most
sought-after bassists, sharing stages and recording studios with such luminaries as Bob Mintzer, James Moody, and
Danny Gottlieb. DJ Rocca has been a DJ and musician since the 1990s, boasting numerous albums, singles, and
remixes with and for key figures in the alternative dance scene (Andrew Weatherall, Dimitri From Paris, and Howie
B), as well as a stint in the jazz scene, releasing several albums with Franco D’Andrea.
The trio's music is a blend of electronic, dance, jazz, and pop, with hints of groove in house and techno, as well as
blends of electro, classical, and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig. The album
will be released on IRMA Records in September 2024, featuring guests Luigi Di Nunzio, Gianluca Petrella, Dan
Kinzelman, and Jacopo Fagioli.
This EP of remixes is by:
Zed Bias: Manchester-based electronic musician, producer, and DJ in the Garage/2-step, Broken, and Funky
Breakbeat genres.
Alexander Robotnick: Italian record producer, DJ, and composer considered a cult figure in the New Wave and Italo
Disco scene.
Daniele Bladelli: One of the first and most important Italian DJs, famous for pioneering Afro and Cosmic music.
Bjorn Torske: Norwegian house and breakbeat producer. He has collaborated extensively with Röyksopp.

"The duo (ino)², Walterino & Marcellino, are back. Following 'Ralf Ciao Ralf', they return with their
second tribute to the ul Alongside this track, they have included two other songs that showcase their eclec roots in underground classics. The release blends heavy old-school vibes with a fresh,
contemporary sound and groove. With 'Le Cose Belle' and 'Il Mundo Dansa', the duo explores the
space between techno and minimal, infused with late '88-'89 house influences and killer vocal
hooks."

Dark Entries returns to the steam room with Coatshek’s Sound Bath. For their SoundBaths series, now-defunct poppers brand Double Scorpio commissioned artists to make mixes for an imaginary queer bathhouse. When asked to contribute, San Francisco-based artist Coatshek aka Sheki Cicelsky took the opportunity to create original compositions. The resulting album, Sound Bath, serves as a masterclass in slow and sultry ambient techno. Taking inspiration from Pink Floyd, Manuel Göttsching’s E2-E4, and his friend’s DJ mixes (particularly Nick Moss and Matthew Paul’s for “Por Detroit”), Coatshek landed on 107 bpm as the optimal speed for sauna sex. With just a few synths, his Telecaster, and “lots of delays, reverb, and weed,” he sculpted stunning cuts like the effortlessly grooving “Softest” and the psych-laced “Triple Virgo.” The cover for Sound Bath was designed by Coatshek’s fiancé Nate Sprecher, and features photographs by Luke Kraman taken at The Ever Afters campout. The album also includes an insert featuring the Double Scorpio SoundBaths series artwork by Blake Wright. Equally hypnogogic and sexually supercharged, Sound Bath situates the bathhouse as a liminal dreamspace of unbounded erotic potentiality.

Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed “Spider” by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite.

Throughout the 70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early 80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker’s partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider’s music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider’s compositions for film veer from the expansive, reverb-drenched “Rainforest” to the Miami Vice-esque chugger “Tech.”

While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music will be available on both LP and CD, the latter of which includes a 20-minute version of “Strange Places…Strange Things!” as a bonus track. The album’s cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider’s estate by Michael Ely, Spider’s partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal of
city pop, Japanese fusion has been rapidly rising since around last year.
Widely known as a support member for YMO and also popular on the overseas club music scene through Colored Music, her cuttingedge dance-pop unit with Atsuo Fujimoto, keyboardist, composer, and vocalist Ichiko Hashimoto released this, her second solo work, in
1985. Released on DOMO, the label headed by Kazumi Watanabe, and naturally produced by Kazumi Watanabe himself, who also plays
guitar on the album.
A truly crossover work of remarkable freedom, moving across fusion, techno, piano pieces, danceable music, classical, Japanesque
sounds, bossa nova, ambient, and more. Her fleeting singing voice is wonderful as well.

Daniele Baldelli and Jolly Mare come together for a record that feels less like a collaboration and more like a shared state of mind. Flusso Uno moves through Afro-cosmic kraut-inflected psychedelia and cinematic electronics with a natural, unforced flow, where rhythm, texture and narrative all pull in the same direction.
Rather than referencing the past, the EP treats it as a living language. The longform, ritualistic percussion of early cosmic dance culture meets the hypnotic motorik pulse of krautrock and the more structured, sample-driven tribalism that followed in later decades. What ties it all together is a deep sense of atmosphere and intention: music that feels physical, emotional and quietly transportive.
“We particularly focused on ritual percussions, hypnotic grooves and suspended atmospheres, trying to blend musical anthropology, auteur electronics and narrative instinct.”
Dhol Parade opens the journey like a slow-burning procession, drums circling and expanding as if guiding the listener into another space. With Icari the perspective lifts, melodic lines drifting and tilting, constantly searching for balance between gravity and flight. Huldufolk pulls everything back into a shadowy, nocturnal zone, where textures feel half-real, half-imagined.
Finally, Viaggio Tascabile loses the record in a quietly reflective way, a compact voyage that sums up the EP’s philosophy: small in scale, deep in meaning. Flusso Uno is not about nostalgia or revivalism. It is about taking the spirit of cosmic culture and letting it breathe in the present, where storytelling, dancefloor intuition and sonic exploration still meet. A record made for open ears, open minds and long nights.

After the last release ‘Innocence’ with Nathan Cable gaining support from John Digweed on his renowned Apple Music Compiled & Mix Series, we bring forth one of the remixers for his own single release ‘Snake Altar’.

Richie Blacker Northern Ireland’s progressive house & breaks prodigy who’s seen releases on Sasha’s Last Night On Earth, Scream’s Of Unsound Mind, Franky Wah’s Shen, Armada, Anjuna Deep and so many more including his own imprint Mess Express. We were super excited to sign the original breaks mix of ‘Snake Altar’, an amazing ethereal & euphoric progressive breaks track with its haunting ethnic vocals we just knew who could step up as the originator (this time) to remix the third Break-The-Future project.

Ray Keith delivered his signature sound system Jungle / Drum & Bass sound to which we think you’ll absolutely love, just oozing in class. The way it flows from euphoric to his heavy hitting signature darkness to deep jungle roots and back is exactly what we wanted from the big man himself and absolutely buzzing to have Ray on the label for our third release.

To finalise the package Richie Blacker delivered a 4x4 mix, now the lead track and to close off the release a beatless mix & acapella giving you some serious tools to work with… THIS IS ESSENTIAL!

Duality Trax welcomes the newly formed 9 Hours Ahead to the label with their debut release, complete with a remix from progressive royalty Bliss Inc. Landing in early 2026, Smooth Sailing traces a blissed-out sonic journey from the combined minds of San Francisco’s Namastrange and Amsterdam’s Breeze. Their cross-continental connection threads throughout the EP, with subtle nods to the vast ocean that separates them. The title track opens the release with a gentle drift: airy synths, angelic pads, and tribal percussion guiding listeners steadily out to sea. Meridian Space picks up the momentum, driven by a pulsating, everexpanding bassline. Namastrange’s whispered vocals weave between swelling orchestral pads, before the track mutates into a mind-bending acid line - perfect for a heads-down, eyes-closed dancefloor moment.

The B-side turns up theenergy with Transatlantic Dreams, a dancefloor-minded cut that nods to the golden era of San Francisco progressive and the Hardkiss legacy. Lush piano melodies, breakbeat interludes, rave stabs, and glimmering gated vocals collide in a warm, nostalgic swirl. Closing the EP, Bliss Inc. delivers a psy-tinged reinterpretation of Meridian Space - a dark, brooding acid workout that pulls the original into deeper, murkier waters.

Black Vinyl 2026 Repress

Visionary producer Ilija Rudman confidently lands into the Black Jukebox catalogue with a truly mesmeric 2-tracker.

Based in Zagreb, Ilija has carved a legacy over more than two decades in the game throughout which he's released over 100 vinyl EPs and 8 studio albums, collaborating with the likes of Robert Owens, Greg Wilson, Faze Action and Ron Trent.

'Euphonia' opens up with a suave slice that melds deep Detroit shades with the flexible Electro funk of Morgan Geist and Clatterbox. A sawtooth bass climbs steps in the low end while gorgeous synths bend and glide at the groove's core. Crisp, delicate drums kick, snap and shuffle as they guide a low-slung, retro-futuristic trip to the moon.

'Late Checkout' draws for a similar sound palette as rich analogue pads form a magic carpet for Prelude-era synth phrases and another sneaking bass line. The tone is elegant and nothing feels forced as Ilija Rudman traverses the vast sonic territory between Salsoul-era Disco and modern Electro-funk in the most fluent and stylish manner.

Stonie Blue and Stephen Carmona come from house music's true school and combine here for a set of timeless, tough, but emotive jams steeped in Midwest magic. 'Joyful Noise' is a playful tease that rides mid-tempo kicks but is buzzing with little synth details that want you to go faster. 'Embrace The Night' is moody, smoky late-night house swing, 'Max Potential' has analogue drums coated in dust with plenty of room left for the sparse chords to make an impact way beyond their minimal design. 'Stone' ramps up a gear with more dense grooves and 'About Time' is all about pinging kicks and fuzzy pads as conscious spoken words bring the mental heat.