Suche:black pus

Black Pus is the guttural, raw, freeform project of singular drummer, vocalist, & artist Brian Chippendale. A heavy drum foundation and distorted electronics anchor Black Pus" sound, and remain directly connected to the intensity of Chippendale"s legendary duo with Brian Gibson, Lightning Bolt. Recorded at Machines with Magnets by engineer Seth Manchester, Terrestrial Seethings is pure energy, pure Black Pus, capturing the precision, frenzy, and ecstatic performance in all its glory. After more than a decade playing and improvising, Chippendale"s imagination and curiosity continue to push his world of twisted joy in expressive new directions. While known primarily for his iconic style of drumming with Lightning Bolt, Chippendale has also worked alongside artists such as Björk, The Flaming Lips, Boredoms, Andrew W.K., and Lee "Scratch" Perry. Outside of music related endeavors, Chippendale has made a name for himself as a renowned painter and painterly silk screen artist. Known for his frenetic color work, for Terrestrial Seethings Brian created striking black drawings that, like its title, pervert assumptions. Chippendale"s approach to crafting music as Black Pus mirrors his restless and indomitable spirit as a creator. His daily practice of making music and art on his own is both as meditative and cathartic, as it is inquisitive and spontaneous.

Black Pus is the guttural, raw, freeform project of singular drummer, vocalist, & artist Brian Chippendale. A heavy drum foundation and distorted electronics anchor Black Pus" sound, and remain directly connected to the intensity of Chippendale"s legendary duo with Brian Gibson, Lightning Bolt. Recorded at Machines with Magnets by engineer Seth Manchester, Terrestrial Seethings is pure energy, pure Black Pus, capturing the precision, frenzy, and ecstatic performance in all its glory. After more than a decade playing and improvising, Chippendale"s imagination and curiosity continue to push his world of twisted joy in expressive new directions. While known primarily for his iconic style of drumming with Lightning Bolt, Chippendale has also worked alongside artists such as Björk, The Flaming Lips, Boredoms, Andrew W.K., and Lee "Scratch" Perry. Outside of music related endeavors, Chippendale has made a name for himself as a renowned painter and painterly silk screen artist. Known for his frenetic color work, for Terrestrial Seethings Brian created striking black drawings that, like its title, pervert assumptions. Chippendale"s approach to crafting music as Black Pus mirrors his restless and indomitable spirit as a creator. His daily practice of making music and art on his own is both as meditative and cathartic, as it is inquisitive and spontaneous.

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK viny. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

With Burn The House Down, Ghalia Volt delivers a raw and electrifying blend of blues, garage rock, and roots-driven energy. Fueled by gritty guitar riffs, hypnotic rhythms, and her unmistakable raspy vocals, the album captures the spirit of stripped-down, high-voltage rock’n’roll. Recorded with an organic and live feel, the songs pulse with authenticity and urgency, balancing infectious grooves with a rough-edged charm. Ghalia Volt’s performance is both fierce and soulful, channeling the essence of traditional blues while pushing it into a more modern, rebellious direction. Burn The House Down is a bold and uncompromising release—perfect for fans of The Black Keys, Larkin Poe, and raw, unfiltered blues rock

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

Crypt of the Wizard is proud to present Scimitar – Scimitarium I on vinyl and digital formats. Formed in 2024 by veterans of Copenhagen’s underground music scene—including members of Slaegt, Endless Glory, and Shaam Larein—Scimitar arrives as a fully formed force of nature. In their raucous wake lies Scimitarium I, a frenzied, whirling dervish of black occult rock. For those familiar with the members' previous efforts, this should come as no surprise. This piece of musical alchemy is a perfect knife-edge dance, seamlessly blending elements of black metal, post-punk, and occult rock. Dark and serpentine, onyx black, scaled and sacred, Scimitarium I unfurls itself like an endless snake wrapped tight around the world. With a dark heart and a head full of fever dreams, this is an album of breathless intensity. Shaam A.’s constant presence provides an abundance of rich, overflowing lyrics, delivered in her distinctive and haunting voice—written as if hurriedly scrawled in feverish reverie—and reinforced by winding, twisted narratives played out on violent yet harmonic duelling guitars, alongside a rhythm section of unyielding intensity. Scimitar has quickly become an indelible part of the city's fertile and ever-evolving metal scene—a place where stalwarts continue to push boundaries and break moulds with seemingly effortless zeal. This is an album of forged perfection, honed and sharpened like a curved blade—shimmering with lethal precision—driven straight into the heart of all matters

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on
Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and
exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will
accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms &
Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album
was an extraordinary time for the band. The song writing became an unfolding
narrative as the world got stranger and more disturbing every day. With people’s
freedoms being pushed to the brink, the suffering Covid caused and the terrible
events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a
strange kind of inspiration that was at times unsettling. It really made us appreciate
the power of music and how lucky we are to be able to express our feelings in this
way.

 “It seems there is light at the end of the tunnel, but there are always shadows within
that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid
bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’
bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet
and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

In a Secret Room is a retrospective that reopens the sonic and visual archive of KKD, bringing back to light a trajectory that long remained underground within the history of Italian new wave. The tracks, recorded between 1979 and 1986, reflect a constantly evolving process shaped by experimentation, improvisation, and a drive toward new languages. The project takes shape inside a former hotel in Italy’s Po Valley, transformed into a studio, rehearsal space, and visual lab.

Here, among analog synthesizers, homemade electronics, and multitrack recorders, Kriminal Killer Division experimented with and pushed their available technology to its limits, developing a hybrid language: sounds captured from radio and the street, synthetic voices, guitars, and electronic sequences intertwine in compositions that move between art rock, minimal wave, and more industrial directions. This collection aims precisely to reactivate that imaginary. The vinyl is accompanied by a risograph fanzine that restores the project’s visual dimension: collages, photographs, and graphic materials reflecting the same experimental attitude found in the recordings. Sound and image move together, as parts of a single expressive device. In a Secret Room offers access to a hidden space where interference, noise, and intuition take form without mediation. Not a nostalgic operation, but a re-emergence: a living archive that continues to generate meaning in the present.

DYING VICTIMS PRODUCTIONS in conspiracy with DE PANKRAKER RECORDS is proud to present SHEWOLFF’s highly anticipated debut mini-album, We’re All Gonna Fukking Die, on CD and 12” vinyl formats. Hailing from Belgium, SHEWOLFF emerged from the underground as a solo-project of K. Von Shewolff, which eventually formed into the solid three-piece band it is today. They find their origins in raw, punk-driven blackness galore, faithfully returning to the old-school spirit of making music by modest and primitive means. A five-song digital-only demo was released in 2023 - songs which contain absolute fury towards the known and long-overdue established order, existential live-or-die sentiment, and a small tribute paid to the old-school believers who came before them. Now, SHEWOLFF blend all that together on the debut mini-album We’re All Gonna Fukking Die.

With six new tracks pushing towards a final and inevitable end, this bleakly titled record is actually invigorating and inspiring: railing against the dying of the light with a paradoxically dark metalpunk sound, familiar in its stomping swagger but exuding cantankerous charisma that’s all their own. The aesthetic signposts are planted firmly in the ground – think Hellhammer, pre-Viking Bathory, Darkthrone’s record-nerd era, early Midnight, the almighty Venom, or even labelmates like KARLOFF, HELLCRASH, and Germany’s LUCIFUGE – but SHEWOLFF manage to stir some diabolical little twists into the bubbling brew, with K. Von Shewolff’s vocals in particular imparting a femininity that’s fierce, frightening, and fucking going for the throat.

2026 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

Vince Staples is one of the most revered voices of his generation. Though he's a celebrated multi-hyphenate, making an impact in TV, film, & contemporary culture, music is where he most naturally pushes boundaries as an artist, storyteller, & creative force. Following a string of acclaimed introspective projects, Ramona Park (a melancholic tribute to his hometown) & Dark Times (deeper, more personal themes), Cry Baby is a more outwardly facing artistic statement and piece of social commentary.

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

Loud Ambient 2 picks up directly from where Loud Ambient left off. After picking the drum machines back up, we returned to the colourfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off.

Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality.

The creative side landed easily this time. There is some- thing about working with colourfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response.

With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result.

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.

‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.

The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.

While the older numbers are much sought after on Discogs, Light Touches pushes further and invites Irish underground heroes Frawl and Blackout (respectively founder and one of the resident djs of the connaisseur Backwards parties in Limerick) for the new release on the highly revered Light Touches Records.
On A side, “Fortune Teller” is a masterpiece of a lost disco tune with infectious funky bassline, while “Foxee” goes deeper into a brass driven relentless grooves with psychedelic melodies. On the flipside, “Me, Me, Me” is a 10 minutes journey, with a strong moody and deeper vibe.

All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

12” limited to 300 copies (no digital).

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

Brooklyn-based BlackCat Records continues its deep analog journey with Sonder, a refined dub techno statement by Argentinian producer Volpe.
Known for his warm sound design and subtle rhythmic detail, Volpe builds four immersive cuts around drifting dub chords, spatial depth, and slow-burning groove.
Instead of pushing for impact, Sonder explores atmosphere, patience, and emotional resonance, techno reduced to its purest and most timeless form.

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

SKYLAX RECORDS presents the second chapter in a landmark 4-part saga — a secretive and conceptual series uniting two titans of French electronic music: ARNAUD REBOTINI & ACID WASHED. Following the acclaimed Winter Sequences (LAXBLACK 01) and Rebotini’s Musical Component, SKYLAX BLACK 3 pushes further into cinematic rave, electro, and techno territory. On the A-side, Artificial Darwinism ignites the EP with raw intensity — fusing early 2000s Blackstrobe energy, UR aggression, and cold wave tension into a hypnotic, funk-laced ritual. They Are Coming follows with darker, driving techno — mechanical yet alive, pulsing with paranoia and urgency. Flip to the B-side for Space Time 303, a dreamy ambient-acid trip evoking early R&S and IDM — ethereal, timeless, and drifting through time. Closing the EP, A Comet in the Northern Sky delivers melancholic electro in the spirit of Dopplereffekt and Drexciya, elevated by Rebotini’s analog mastery. A visionary statement — intelligent, bold, and essential. The puzzle continues to unfold…

Maurice “Mobetta” Brown has always thrived at the crossroads—between jazz and hip-hop, improvisation and songcraft, trumpet and microphone. With Betta Days, the Grammy-winning trumpeter, composer, and MC sharpens his genre-bending vision into one of his most dynamic statements yet.

The album plays like a conversation between worlds: lush horn arrangements sit beside hard-hitting beats, verses weave seamlessly through melodies, and Brown’s trumpet leads with equal parts fire and finesse. A student of jazz tradition who came up in Chicago’s storied scene, he’s since expanded his reach into hip-hop and soul, collaborating with icons like Aretha Franklin, Santigold, Talib Kweli, and Anderson .Paak. Betta Days captures the spirit of all those influences while standing firmly in Mobetta’s lane.

At its core, Betta Days is about resilience and growth—finding light even in heavy times. The songs carry a message of pushing forward, fuelled by the energy of community and the joy of creation. Whether he’s delivering sharp verses or soaring trumpet lines, Maurice Mobetta Brown reminds listeners that the future is wide open, and that better (or Betta) days are always ahead.

EdB keeps pushing deeper into sonic chaos with “La Anarquía Sónica” — a raw, proto, and visceral journey built on hand-crafted beats, deliciously unhinged basslines and immersive field recordings. Music for the restless. For those obsessed with sound. For anyone tired of hearing the same thing over and over again. Dystopian music for a universal shift. This time, EdB joins forces with Belgian synth guru Peter Bonne / Chayell Zenn (Linear Movement, Twilight Ritual) to rework “The Enochian Keepers of Time” — also included in its original version on the EP — into an emo- electro industrial aberration titled “Guardianes del Tiempo.” Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes printed innersleeve. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

*Repressed on yellow vinyl

45 Pounds is a record of thrilling cacophony: whirring drums meet the sound of instruments which have been twisted and bent into new shapes, all of which are paired with the arresting growls of Zack Borzone. Across the record the four-piece re-imagine what is possible within the confines of a band set up, creating music that perfectly encapsulates the information overload of our times.

The band have become known for their stellar live performances and now with 45 Pounds they have set that electrifying feeling to record. With 45 Pounds YHWH Nailgun have created a statement that is short to cut through the modern day post-algorithmic sludge. Stay tuned for more news.

Possibly one of the best Mental Groove releases to date. Symbols & Sacrifice is raw, beastly, and savage — a cinematic and esoteric journey from the depths of Sindaco’s universe. A masterfully crafted experience across four sides, this release blurs the lines between ritual electronics, hypnotic repetition, and uncompromising raw techno. A powerful and immersive statement, pressed on audiophile-grade vinyl for full heavy sonic impact.

Under the name of Sindaco is hidden a complex yet mysterious project where different styles and cultures live together.Obscure kraut rock, no wave, black metal and Detroit techno collide in what can be considered songs more than simple tracks. All is played by Sindaco with analog equipment without the help of computers. All is driven to create the best soundrack possible. The idea is to avoid all the typical cliches of the contemporary electronic productions and push the boundaries into a new way of tropical futurism. Be involved by the unespected waves of sounds coming from another world!

(LP, purple cristallo vinyl, continuous mix) Legendary Belgian artist Push returns with a truly special project: an 18-track mini album, presented both on CD digipack and a special vinyl edition in a limited color, where every track connects into a seamless journey.

Each vinyl side plays as one continuous mix and so does the CD, a flowing soundtrack that guides you through deep, cinematic ambient electronica worlds.
Evolving strings, delicate rhythms, and immersive atmospheric layers blend into each other without interruption, creating a unified listening experience that feels more like a film score than a traditional album.
This is Push as you’ve never heard him before — pure emotion, timeless movement, and a full ambient chill out trip for the mind.

(Grey & Black Splatter effect 12’’ vinyl) Supported by leading artists such as Charlotte de Witte, Mha Iri, Amelie Lens, Klaudia Gawlas, Thomas Schumacher and more. Vibes Addikt, the label of N.O.B.A proudly unveils its latest vinyl release: a full-power EP from French producer Sta’an.

After previously appearing on the imprint, Sta’an returns with his first complete EP on Vibes Addikt, this time delivering a fully immersive project pressed on a grey splattered vinyl, echoing the aesthetic of the label’s previous collectors’ editions.

With five striking tracks oscillating between techno and hard trance, Sta’an showcases his signature intensity: driving kicks, razor-sharp synths, hypnotic atmospheres and high-voltage energy built for peak-time moments. Each track channels a raw yet modern rave spirit, perfectly aligned with the identity of Vibes Addikt.

With this explosive release, the label continues to push its techno-trance hybrid forward, cementing its place among the most impactful underground platforms for DJs seeking pure, cutting-edge dancefloor power.

SKYLAX RECORDS presents a monumental new release by two of France’s most revered electronic music icons: ARNAUD REBOTINI & ACID WASHED. This record marks the first chapter of a secretive 4-part project — each release forming a piece of a bigger picture — a bold and mysterious tribute to the roots and future of rave culture. Following in the footsteps of Rebotini’s landmark album "Musical Component", this new project feels like a natural evolution — deepening his vision while expanding it into new sonic territories. Without giving too much away, this is SKYLAX BLACK 2 (after the LAXBLACK 1 "Winter Sequences EP" which marked the collaboration between Rebotini & Skylax) and features a set of four stunning tracks. On the A-side, Redshifts to Blueshifts opens the EP with an epic and soulful Detroit-style journey, evoking the finest moments of Underground Resistance — militant yet emotional, full of futuristic melancholy. 99 Shakes follows with a more direct club-driven assault, propelled by massive synth riffs and machine-gun rhythms, pushing the boundaries of dancefloor energy. Flip to the B-side and discover Futur Race, a pure electro odyssey à la Juan Atkins and early Metroplex (think 1985 sci-fi transmissions), sharp, robotic, and ultra-funky. Closing the EP is Gen Mix, a powerful and cinematic slice of what can only be called Wagnerian techno — intense, dramatic, orchestral in scope, and unmistakably Rebotini. This release is a statement — timeless and forward-thinking. This release is the first in a series — a mysterious and powerful journey through sound, vision, and legacy. What’s next? You’ll find out… one piece at a time.

Following a breakout year that saw them torch the Sonora Stage at Coachella, storm Europe on the HONEYPAQQ TOUR, and rack up co-signs from Carl Craig, LSDXOXO, Jamie xx, Crystalmess, SHERELLE, TELFAR, Tinashe, Smino, Nia Archives, Earl Sweatshirt, and Denzel Curry, HONEYPAQQ VOL. 1 captures HiTech at their most ambitious: unfiltered, explosive, and impossible to pin down.

Across a stacked track list, the trio bring together the raw DNA of Detroit techno, Chicago house, rap, and punk, honouring the roots of Black electronic music while taking the scene to new global heights. Features include boundary-pushing collaborators like George Riley, ZelooperZ, and Na-Kel Smith, adding warped soul, razor-edge bars, and unruly energy to the HiTech universe and demonstrating how HiTech are the only act straddling underground chaos and mainstage euphoria while unifying global scenes across electronic, rap, and rock in one breathless body of work.

Klur (Patrik Kindvall) has quickly become one of the most exciting names in melodic and progressive house. Since his breakout debut, Summit / Odysée, the Swedish producer has captivated listeners with his signature blend of organic textures, meticulously crafted synths, and evolving melodies, garnering over 100 million streams across DSPs and a loyal fanbase of over 1 million monthly listeners on Spotify.

His music across labels including Colorize, Anjunadeep and This Never Happened, has found global resonance, earning radio support from SiriusXM Chill, where he is one of the most-played artists in the last few years, and DJ endorsements from Lane 8, Madeon, Tritonal, Above & Beyond, Black Coffee, Sultan + Shepard, and more. Recognised as one of Sweden’s fastest-rising songwriters (+100! by STIM), Klur continues to push boundaries, proving that electronic music can be both deeply emotional and sonically cutting-edge.
Beyond the studio, Klur has taken his immersive sound to stages worldwide, with performances in New York City, ADE, London, L.A., San Francisco, Seattle, Phoenix, Denver, Austin, Toronto, Montreal and beyond. His music is more than just sound—it’s an invitation to explore a world where the digital and natural coexist in harmony, stirring emotions and inspiring connection.

Klur drops his sophomore album ‘After The Rain’ on Colorize this October, followed by an album tour across Q4 and into 2026.

2025 Repress

Sean McCabe’s impressive Good Vibrations Music is back with its 3rd vinyl instalment and features 4 heavyweight, tried and tested soulful cuts.

Kicking off the 12 Inch is the Black Sonix & Sean McCabe Extended Mix of ‘Rise’ from the Matsiko World Orphan Choir, a moving and heart-felt orphan choir group based in Liberia. The choir is an initiative that aims to provide education and break the cycle of poverty for vulnerable children around the world. With a strong message embedded throughout and given the 5-star production treatment, ‘Rise’ has already been heavily pushed by a wide array of artists including Daniel Steinberg, Red Rack’em and The Shapeshifters.

Next up is Sean’s lush piano-laden remix of ‘Baby Don’t Make Me Wait’, from David Bailey and MissFly. David is a firm favourite amongst the London house music community and regular across labels such as Idris Elba's 7wallace, Makin Moves, Rhemi Music & Unquantize. MissFly is widely renowned for her soulful serenades and ability to write songs 'on the fly' in the studio as well as being found regularly on tour with the likes of Thelma Houston, Andrew Tosh, and The Notorious BIG. Sprinkled with luscious piano undertones and subtle string lines. With support from the likes of Dave Lee and Natasha Diggs.

On the flip is ‘Got It Bad’ from Ellis Aaron & Sean McCabe. Built on a rocksolid foundation of late-night, swing-heavy beats, ‘Got It Bad’ bubbles and froths with creamy Rhodes, lush organ swirls and a bassline that moves and grooves in all the right places. Ellis’ warm and rich soulful vocals are the perfect complement to that unmistakeable sound Sean has become renowned for. Early adopters include Ash Lauryn, Ralf GUM, and Mr V.

Rounding off the EP is Last Nubian’s ‘Dance Together’ which beautifully blurs the lines quite beautiful between Deep House, House and Broken Beat, Josh’s strikingly soulful vocals pair harmoniously with the lush, musical backdrop spear-headed with an abundance of Rhodes, soothing string & synth riffs and a tight, rhythmic drum arrangement that simply refuses to let your feet rest!

East Kilbride’s Scott Fraser finally comes good on a 25 year promise to his younger self with his debut solo album on his own label DX Recordings out of London. This record represents the closing of this chapter and the opening of a new one.

A truly international and collaborative project pulling together the help and talent of friends around the world with mastering by Radioactive man Keith Tenniswood, cut by Frank Merritt at The Carvery and world class US visual art and design legends, Tim Saccenti and Nick Martin on photography, artwork and design.

Limited to 300 solid red heavyweight vinyl copies, brown kraft sleeves; individually hand stencilled and numbered by the artist, printed inserts feature a collection of moments and images from the last 25 years - the studio, the equipment, the people and the places that came together to make this release. Japanese rice paper inner sleeves.

Limited edition hand printed screen print by Niall Greaves at Newbridge Print Studios in Newcastle on the first 30 copies exclusively available via the DX Recordings Bandcamp page.

Musically diverse, crossing styles, flavours and moods, threaded meticulously with razor sharp Roland TR606 programming and glued together with a Space Echo, Expanded opens with the sub aquatic funk of ‘Eden And After’. Side one takes you through banging electro on ‘Energy In Constitution’, the dark dub techno of ‘To The Letter Of My Oath’, leaves you disappearing through a black hole on ‘The Path Of Helium Rain’ and the sound of aliens talking through FM synthesis on ‘Collected Stills’. On side two: a slice of dark, heavy instrumental hip hop gets things started with ‘Where Is That Perception? ‘. Next we get into some straight 4/4 club techno with cut up drums and bumping baseline in ‘Mi Dominante’ before moving through some blissed out Detroit vibes on ‘Earth Looking Inwards’, a rough as you like TR606 driven experimental electro groover ‘Object of Life’ and finally closing out with the Ectomorph inspired stark electro of ‘Steel (NB_BLOOD cut)’.

Mastered by: Keith Tenniswood at Curve Pusher, Hastings

Cut By: Frank Merritt at The Carvery, London

Distributed by: Rubadub, Glasgow

Artwork by: Timothy Saccenti, Nicholas Martin, Scott Fraser

Photography by: Kate Green, Javier Gonzalez, Scott Fraser, Timothy Saccenti

Solid red vinyl (300 copies), 30 coming with a limited edition screen print designed by Timothy Saccenti, Nicholas Martin and Scott Fraser, hand screen printed by Niall Greaves at Newbridge Print studios in Newcastle.

Providing more prolific dance floor energy this winter are Italian house pushers Black Box Records, a carefully curated VA of feel good vibe from producers Ruff Stuff, Floska, label founder Vito Fattore, and the eclectic sounds of, DJ GLC. Available on vinyl this Oktober.

Kicking off proceedings is Berlin based Italian, Ruff Stuff. A killer cut, with ice cold drum arrangement which becomes one with the playful chords which propel the energy of the ‘Son Of Will’ track, the female vocal sample sprinkled in for some added pleasure. Young Italian trio Floska deliver ‘Get Up & Dance’ dreamy and mellow sounds on a lo-fi tip, almost seven minutes of pure bliss.

The brain behind Black Box,Vito Fattore, steps up for the B1 as any leader should. Clinical dance floor moods, laced with emotion. Magical pads and synths work their way around the funk laden body of the track, explosive summer time feelings. Switching things up for the closing track is DJ GLC, with a deeper and darker energy than the other three track. Aptly entitled ’Suspense’ mechanical whirrs carry the track, as broken drums burst through the seams of the record. A trip through murky waters that compliments the EP in great fashion.

Another display of zestful house music from a blossoming label, sure to be a winner with tastemakers and groove explorers alike. One to watch out for in the coming periods as Black Box Records continue to supply you with what you need.

The legendary Beatnuts bring the sound of the 90‘s back to the streets -“Street Level”, the iconic debut album, is being reissued and is available in various exclusive formats: a Standard CD, Music Cassette, Black Double Vinyl and a Limited Splatter Double Vinyl.

TWO BONUS TRACKS:
“HELLRAISER“(ORIGINAL VERSION) AND TWO AND “DAWN OF THE DEAD“
Old school flavor, Latin vibes & sample magic - that‘s the unmistakable Beatnuts sound.
With classics such as “Props Over Here”, and With and “Hit Me with That” the Queens duo made hip-hop history.

Repress alert! Due to high demand and increasing popularity, it was just about time to repress this Delta classic! And since a new cut was required, we decided to include a very special bonus track: a neo-classical piano rework of Black Endlessness, composed and conducted by the highly talented Area Forty_One.

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.

Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.


Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

Mexican artist Barbara Alvarez drops a fresh vinyl release on her own label, showcasing her signature sound. The record features three deep tech tracks with crisp electro basslines, tailor-made for the after-hours groove. Each cut pulses with hypnotic energy, pushing dancefloors into deeper territory. A standout breakbeat track rounds out the EP, layered with lush atmospheric pads for a dreamy finish.

SKYLAX RECORDS proudly unveils the fourth and final chapter in its epic, conceptual 4-part saga — SKYLAX BLACK 4 – Vision Quest. This secretive series brings together two pillars of French electronic music, ARNAUD REBOTINI and ACID WASHED, in a bold tribute to the essence of rave, electro, and techno. Following the critically acclaimed Winter Sequences and Musical Component, this last installment pushes even deeper into the roots and futures of the underground. On the A-side, Vision Quest opens the EP with a pulsating journey of progressive electronics — cinematic and sleek, evoking the robotic spirituality of Kraftwerk and the expansive textures of early kosmische music. Next, TOI 700-d channels the golden age of acid house with infectious 303 lines and jacking grooves. Think DJ Pierre, Phuture, and Ron Hardy at their most transcendental — raw, euphoric, and timeless. Flip to the B-side and dive into Black Star Liners — a dub techno masterclass in the lineage of Maurizio, Basic Channel, and Chain Reaction. Deep, minimal, and full of ghostly delay, it’s a meditative immersion in pure sound system hypnosis. Closing the EP, Trojan Asteroids fires into classic Metroplex territory — icy, futuristic, and funk-laced. A perfect nod to Cybotron and Model 500, this is hi-tech soul with a razor’s edge. Once again, SKYLAX RECORDS delivers a visionary release — timeless, intelligent, and essential. The final piece of the puzzle is here. The journey ends… or just begins.

Released during the late 1970's Disco era, Milton Wright's sophomore long player has always stood out as a singular, innovative example of the deepest, rarest grooves known to underground Soul lovers all over the globe. This often overlooked body of work has found a whole new audience who revisited the man's work retrospectively, pushing the LP into the domain of "holy grail" status amongst Black music lovers and Funk fanatics. "Spaced" has been at the top of the wants lists of serious music lovers for decades, often unattainable and commanding stellar collectors prices on-line, sometimes fetching amounts of upwards of £400. This unique LP could be perceived as being Wright's most personal work, tragically overshadowed by the burgeoning successes of his then label mates on Miami's Alston Records imprint. The sheer craftsmanship and songwriting prowess on show is undeniable, as is the top level musicianship and production, sounding ridiculously fresh almost some 40 years later. Above Board distribution has collaborated with Alston / TK Records to ensure the quality of this fully legitimate repress of this long lost Soul / Funk classic has been maintained. Remastered, reissued and represented with the full cooperation of the license holders for 2016. Do not pass up the chance to own a true gem, a pivotal, lost LP like "Spaced", now made available again to be enjoyed by all. "Magic Music".

In recent years, Blackploid has come to be one of Central Processing Unit's signature artists. The German producer has averaged more than a record a year for the Sheffield imprint since he first landed on CPU in 2021. This prolific run continues withCosmic Drama, Blackploid's second LP for the label. The album takes the baton from its predecessorEnter Universein style, delivering twelve tracks of top-quality machine-funk that draw down from electro's classic artists while also imbuing proceedings with a playfulness that very much gives things a signature Blackploid-ish flavour.

Cosmic Dramasets its stall out from the off. The opening run of 'Alien', 'World Construction' and 'Virtual State' all deliver piston-snapping beats which anchor pleasing melanges of B-movie synth lines. Alongside this, Blackploid adds little flourishes which add buoyancy to each joint - a syncopated bassline reminiscent of I-f's late-90s classic 'Space Invaders Are Smoking Grass', crackling robo-voiced commands, skittering synth chords which wash across the mix and so on. It's the work of someone completely at ease with their craft, comfortable enough to take risks without upsetting the apple cart of their sound's core appeal.

Blackploid's idiosyncratic approach to synth work is something which distinguishesCosmic Dramafrom the pack. Electro has long been a genre which prides itself on innovation on the keys, but few producers are willing to push their sonics as far as Blackploid does - take the seasick churn of pads and processors on 'Multiverse', for instance, or the way John Carpenter-esque single-note lines dovetail with gurgling synthetic pulses and eerie, spacious chords on 'The Lab', a highlight ofCosmic Drama's midsection.

Cosmic Dramaskips along at club tempo throughout - every one of these joints will get bodies moving in dark rooms across the galaxy. However, even when tracks maintain their single-minded pursuit of machine-funk perfection, they never forget to deliver on the hooks. Blackploid has lead lines (and counter-melodies) to burn here, and each track knots them together in ever-more intriguing ways as they plough onwards. Drexciyan heads will be thrilled by the sci-fi delights of 'Species', for instance, while Blackploid brings melodies as cold as they are catchy on the aptly-named 'Polar Dunes'. By the timeCosmic Dramahits upon the vroom-vrooming bassline line of closer 'Contact', you're fully enthralled to the album's combination of broken-beat heft and synthetic melodiousness.

Central Processing Unit mainstay Blackploid comes through with another delightful dozen of electro heaters for the Sheffield label.

RIYL:Drexciya, I-f, Cygnus, AFX

Dead Mammals II' is the second album by the UK's Dead Mammals, written and recorded by founding members Chris Garth and Peter Basden. The album further explores the sounds made during the last great decade of music (Nirvana, The Jesus Lizard, Some Velvet Sidewalk and Big Black) which influenced their first album 'Dead Mammals' released in 2021. 'Dead Mammals II' pushes into new territories, expanding on the lo-fi sounds of their debut but more powerful, corrosive and uglier than before. New Noise Magazine have said Dead Mammals Il "....continues in the purest tradition of idle losers seeking revenge on a sanitised society. Noisy, devastating, and endowed with the same sh** *y humour. Everything we like". 'Dead Mammals II' is now available for the first time on "toxic River Medway "coloured vinyl via new label House of Gain Records.

Tunnel was made in Naples in 1978 by Giorgio Verdelli and Danilo Rustici only on 7inch and it was the theme song for two RAI radio programs. Going through the names of the musicians we begin with the inimitable voice and the splendid guitars of Danilo Rustici, then passing through the saxophones of Enzo Avitabile we arrive at the keyboards of Joe Amoruso, musician-arranger who left a great void with his untimely death. For Joe, who crossed his experience with Premiata Forneria Marconi, Zucchero, Vasco Rossi, Mauro Pagani and was part of that 'dream team' of Pino Daniele - made up of technically extraordinary musicians, but above all gifted with an inimitable sound - this one-off project represented his recording debut. 'Tunnel Lights' and 'Speed Up' have been brought to light by Dario Di Pace and Claudio Casalini, two visionaries who believe that Neapolitan music is a sonic mixture of ancient and modern musical registers even if it sometimes develops a conflict between tradition and modernity as the recovery of popular tradition is strongly opposed to the push for innovation. This therefore is the reason for a 12" reissue in which the evocative original songs - from almost 50 years ago - are reflected in the new versions created by a bevy of talented DJ-arrangers including Massimo Berardi (with the bassist Luca Andreozzi) and by the industrious and passionate Francisco & Malkuth (ed: Francesco De Bellis and Cosimo 'Cosmo' Mandorino in disguise) in turn assisted by other zealous musicians and dee-jays - including the very good and always very collaborative Raffaele Arcella - who took part in a remix of this EP with enormous fervor The 12" reissue of Tunnel was released both on the classic black vinyl and in the very limited red vinyl version, in order to reflect the lips of the extravagant cover, a graphic work by another brilliant and multifaceted artist: Lino Vairetti, legendary singer of the historic prog rock band Osanna. The envelope developed by Best Record is embossed (front and back cover) to further enhance the passion that Neapolitan musicians have always had in knowing how to combine their roots with all the other musical genres of the world.

Freddie Gibbs and Madlib release their new album, Bandana, via Keep Cool/RCA Records and MadlibInvazion/ESGN. The album includes previous releases "Flat Tummy Tea," "Crime Pays," and "Giannis" featuring Anderson. Paak. The album is the pair's follow up to their 2014 critically-acclaimed debut Piñata, and includes additional features from Pusha T, Killer Mike, YasiinBey, and Black Thought.

The duo's seamless collaboration juxtaposes two giant talents: Madlib,the prolific producer with a record collection spanning all genres and eras, an adept sampler, peer to the late J Dilla (his collaborator on Champion Sound and his musical soulmate), foil for DOOM, hip hop's Charlie Parker, with whom he created the landmark album Madvillainy. Freddie Gibbs, the gravel-voiced braggadocios rapper, a vocal athlete, a star-on-the-rise knocked off course who refused to give up and has since offered some of the most compelling rap music in the past ten years.



On Piñata, Madlib offered Gibbs, then a gritty street rapper from Gary, Indiana, a chance to expand his captivating storytelling, giving him the dramatic backgrounds for his brutally-honest, soul-scraping lyrics. As a pair, Freddie and Madlib exude a natural chemistry and craft an alchemical music, appealing to everyone on the hip-hop spectrum.



Freddie Gibbs and Madlib are also set to play a string of shows in the U.S. and Europe this summer, which kicked off earlier this week with a sold-out, two-night residency at The Roxy in Los Angeles. They're set to play at MoMa PS1's Warm Up series in New York, Paredes De Coura Festival in Portugal, and Made in America in Philadelphia later this summer before heading off to Europe again in the Fall. Additional dates to follow soon.

Mark Hawkins has had a career in music spanning the past 25 years.
It has encompassed torturing Goa trance ravers with esoteric techno records on Welsh hillsides in the mid '90s, hanging with UK house heads like the DiY and Smokescreen sound-systems around quarries, fields, clubs and pubs in the Midlands, after which he found his initial niche in producing punky techno around the turn of the millennium for labels like Djax Up Beats and Mosquito.
After an eight-year stint producing, releasing and playing out proper underground house music as Marquis Hawkes on labels like Houndstooth and Aus Music, making techno records for DVS1's Mistress imprint and Len Faki's Figure recordings as Juxta Position, alongside other work under the names Contactless and Falcon Black Ops for Unknown To The Unknown, Hawkins now embarks on the next phase of his career, which will gradually amalgamate his broad influences into one unique sound.

Fresh and direct from Toronto, Pacific Rhythm is pleased to welcome Emissive (aka Evan Vincent) for a solo cruise on the label. While Vincent has appeared on the label twice as part of house music duo Active Surplus (alongside Ian Syrett), this new EP entitled Wave Science sees the young musician push his sound into warmer and more melodic waters.

Vincent says the new tracks pay tribute to the Black American roots of electronic music; a historical fact the producer says is an ongoing source of motivation and inspiration in his work.

Indeed, this new four-tracker sees Emissive bring in a pinch of futuristic boogie and cosmic funk to his dancefloor recipe—versatile flavours that should go down quite well at a variety of Dance Opportunities in the very near future! All of the tunes were composed and mixed at Vincent’s home studio in Canada’s largest city, with the tracks getting a warm, Hi-Fi mixdown via Syrett’s Nagra IV reel-to-reel. Tech talk aside, Vincent says he wanted to avoid over-analyzing the production and instead summon the spirits of dance, love and seasonal warmth.

Or as the artist himself says: “Less thinking, more feeling.” Check it out and we’re sure you’ll agree his approach paid off!

ncoming for the second release on House Music label Ascension on Wax, AoW's co-founder Lavan is dropping his 'For The Love EP.' This raw, authentic, party-ready release is arguably his best to date and pushes the purity of the old-school house music sound, whilst bringing it into the present. Lavans notorious usage of MPC sampling and borrowed synthesisers is flowing throughout the release alongside gorgeous jazz elements. Hydro-trip specialist Black Eyes closes the EP with a subterranean, downtempo roller of a remix which gives a nod to the iconic Detroit sound championed by the late Mike Huckaby amongst many others.

'For The Love EP' follows Lavan's 'It's Happening EP' on SlothBoogie released earlier in 2024 and his feature in DJ Mag's emerging artists section. This is a gentleman who is proving his dedication to his craft.

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively.

Hilit Kolet returns to Rekids for the ‘Snap Talk’ EP. It follows her ‘Hot Mess’ single for the storied imprint and features Kameelah Waheed's vocals on the title track.

Continuing her hugely successful run of 2024 releases, Hilit Kolet returns to Radio Slave’s revered Rekids label with the two-tracker ‘Snap Talk’, following in the footsteps of ‘Hot Mess’ (Rekids) and ‘Everything Is Amazing’ (Bush).

The two dancefloor favourites won DJ support from Laurent Garnier, TSHA, HAAi, Maya Jane Coles, Roman Flügel, Chloé Caillet, Jennifer Cardini and countless others while earning an extended string of radio plays from Danny Howard, Jamz Supernova and Sarah Story, who tapped Hilit for a Future Dance Mix.

For ‘Snap Talk,’ the fast-rising East London DJ and producer turns in yet another drop of striking, jackin’ power-house, this time propelled by Brazillian baile funk rhythms, a homage to her days as a samba dancer at London’s Notting Hill Carnival. Fellow Rekids alumnus Kameelah Waheed's seductive spoken-word vocals ride and push the driving 909-fuelled number, and the result is an outstanding 2 AM track that seriously cuts through the noise.

On the flip, Hilit’s ‘Gate 33’ combines tightly looped percussion opening up into a naggingly insistent drum-heavy cut that employs favela funk-patterned cowbells, a throbbing bottom end and a mix of passionate vocal and unnerving airport announcement samples to create an utterly compulsive late-night groove. Hilit Kolet has been integral to London’s underground scene ever since she was slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style established her behind the decks, playing everywhere from Ibiza to Berlin via Shanghai and Oslo.

Modularz label head Developer returns just in time for Summer. 2024. Presenting a new vinyl release pushing new limits recording with slightly increased BPMS and focusing more on driving dark rhythms and tribal hypnotic funk-infused drama cuts. After releasing over 100 records in the last 10 years the man continues to push into the next 100 with sure thing works and gaining the pressure knob on every track. this is a must if you want to destroy buildings. TIP!

Warehouse Find!

The Black 80s make a long overdue return to Freerange following their 2014 release Move On (from which the Kollektiv Turmstrasse remix become something of an underground anthem). The duo hailing from Montreal and consisting of Hollis P Monroe and Overnite have been responsible for some seriously influential tracks over the years, not least Hollis' bonafide classic from 1997 - I'm Lonely. For The Rest is a slice of sultry, stripped back house heaven which drips with soul and will melt the hearts of all who hear it. The key to the tracks beauty is in the minimalism of the production keeping everything paired back to the bare bones and placing all the focus on Overnite's vocal which twists and mutates thanks to some clever use of FX. Who better to work their magic on the remix than German producer Show-B
who comes fresh off his incredible Jaap Ligthart Remix and Washint EP on his own Lossless label . Here he pushes the original through his sonic mangle, injecting steely atmospherics and layers of synths to forge a driving, muscular version which will sit perfectly amongst the sounds of Dixon, Mano et al and has already been getting early spins from Ame´. A second remix from Carlos Sanchez completes the package (on the digital
version) staying truer to the original vibe but adding delicate pads and whispering strings for some late night bliss.

Samosa Records roars into 2024 with a sublime four-tracker, the curiously titled ‘(Re)-Funk+Head EP'.

All four tracks have been carefully sized, selected and re-edited by De Gama himself. For those not in the know, Re-Funking is serious business and you can tell De Gama’s laboratory was in full flow in bringing these tracks even closer to the dance floor!

First up on the A-Side are Samosa favourites Dirtyelements & Drunkdrivers with the hypnotic, smokey dim lit club thumper ‘Keep It Coming’. Coming in at a deceptive 115bpm, the bass massages your brain whilst the keys, vocal sample and beats tickle your toes. A deliciously salty and sweet re-edit.

Sneaking up on you is A2 and a track from label boss De Gama himself – the flutey, tootie late night funk bomb that is ‘Some More’. Be warned - this dirty birdie stirs up primordial feelings that are probably illegal in some countries. It’s not an overstatement to say that ‘Some More’ is the definition of pure, adult-orientated funking. Saddle up, put out the camp fire and ride it into town.

A quick flip to the B-side and you’ll find Paul Older’s Sax Francisco (B1) parading down the street in all its splendid glory. Mr Older sure knows how to cook - and served on his sombrero-shaped sun terrace is this fantastic tropical sorbet of a tune. The production is assured and so warm that you lose yourself for the entire 6 mins and 26 seconds in its spell. Expect this to be packed in your summer 2024 suitcase with your Factor 50.

Closing the EP off is the super-talented MB Edit and his deadly groover ‘Got The Feeling’. The serious business of Re-Funking is on full display here – stompy, squeaky clean four-to-the-floor drumbeats, twisted riffs and subtle piano prepare you for the soaring horns, heavenly strings and disco-fied vocal breakdown that used to make lofts bounce and dark clubs heave. A dreamy, relentless journey into the disco ball for those lucky enough to jump in.

(Re)-Funk+Head is another exceptional EP from the Samosa stables and pushes the ever-expanding sonic boundaries with seriously solid production, stone cold grooves and a roster of amazing talent on one EP. A must, must, must have for the record box!!

Ste Hendry Black Light Disco

Diogo Silva, Nuno Fulgêncio and Rui Martins collectively go by the name Bardino. With their sound consisting of an inventive mix of
electronica, rock, jazz, the Porto-based trio are pushing their sound into unchartered waters. A feeling that will be reinforced after
experiencing their new album, ‘Memória da Pedra Mãe’.
Their enthralling music draws upon the imagery of the beautiful and rugged scenery of their home country. ‘Centelha’ , their previous
album (released by Saliva Diva in 2020) was recorded in Chaves,
in the very remote region of Trás-os-Montes. Their 207 EP of the same name was created in the rustic heart of Serra das Meadas. In this
latest offering, the mention of "Pedra Mãe" (Mother Stone), refers to a rare geological phenomenon popularly known as "breeder stones"
found in isolated, deserted, and inhospitable places. On the inspiration of the new album, they explain that they want to refer to "the
importance of collective memory in the cohesion and identity of communities and the process of creating new memories, a process that
is both natural and conflicting, since it mirrors a tension between past, present and future".
The album was recorded in the summer of 2023 at Arda Recorders in Porto and produced by João Brandão and Rui Martins. In this
new material, Bardino's resources expand: Nuno Fulgêncio's drums, Diogo Silva's bass and Rui Martins' veritable arsenal of keyboards
(acoustic and electric piano, various synthesisers) are augmented by the alto and tenor saxophones of Brian Blaker (who stands out in
"Memória" and "Black Mica"), the guitar of Leonardo Outeiro (who features on "Punctum No 2") and, already indicating their affiliation
with the Porto label Jazzego, Hugo Oliveira, who records as Minus & MRDolly (and is a guest on "Pedra Mãe") and Sérgio Alves, aka
AZAR AZAR (who plays piano and Moog on "Tília"). Bardino's entry into the increasingly unavoidable Jazzego catalogue also reinforces
their obvious links to a new wave of projects that have been experimenting with different tangents to the notion of "jazz", taking this
music as part of a wider set of coordinates.
Over the course of eight tracks, and clearly benefiting from the distinct imprint of the recognised quality work of João Brandão, one of
Portugal's current best producers, Bardino presents dense, deeply cinematic music of the highest definition, in which the different
instruments translate a broad emotional and visual landscape, with solos of enormous elegance arranged over grooves that induce the
idea of movement. All the musical coordinates mentioned earlier are present, but perhaps in this new material you can feel a greater
fluidity, certainly the result of honing the vision of the central trio through a vast experience collected on stages all over the country. And
there are even echoes of a decidedly Portuguese songbook, as is so clearly felt in "O Semeador", something new in the range of aesthetic
references embraced by Bardino. This is, in fact, music that thrives on a benign tension between past, present and future, in the sense
that it embraces traditions and history, seeks a new framework in this diverse now and dares to project itself forward. Because the future
is the best of all locations.

Monty Luke release ‘Nightdubbing’ LP on Rekids.The Black Catalogue bosses' second album explores dub-infused dance music and, following the recent two EP drops on Rekids, will be released on Radio Slave’s imprint on 29 March. Succeeding part two of Monty Luke’s ‘Nightdubbing’ series on Rekids, the US-via-Berlin artist unveils an album of the same name on Radio Slave’s lauded Rekids imprint. ‘Nightdubbing’ encompasses the first two instalments and adds five more tracks of intricate sonic material, completing this gorgeous work of art already supported by Fred P, nd_baumecker, Louise Chen, and Laurent Garnier. Luke’s ‘Nightdubbing’ album starts in the club, with the rave-primed ‘40 Acres And A Terabyte’ utilising the rich melodies of deep house alongside the crushing weight of subs. It is followed by the title track, with ‘Nightdubbing’ taking a more traditional house route, its soothing sounds enveloping the listener while honing in on that reverb sweet spot. Black Catalogue boss and former Planet-E label manager Monty Luke’s timeless ‘Nightdubbing’ effortlessly traverses deep house and techno rife with bass-rattling low-end and experimental rhythms. It is no surprise, then, that the album is heavily inspired by ‘70s and mid-80s dub reggae, seeing Luke incorporate and modernise the genre’s iconic rhythms, spoken word poetry, and spacious bursts of harmony across the LP. ‘Bob Molly’ picks up pace with nods to Caribbean dem bow-like rhythms of old, Monty Luke filling the space between its infectious beat with tumbling percussion and echoing plucks. Tracks like ‘Supernova’, ‘New World / Old Future’ and ‘Starstorms’ return to the modern-day traditions of club music while ‘Future Mystic’ and ‘Avant Garde Dance Hall ‘, again find room in between the dancefloor and sound system listening sessions. Monty Luke spent ten formative years in Detroit, where the city's unique musical spirit influenced him immensely. He has since distilled this experience into the music he has released on labels like Rekids, Planet-E, Hypercolour, and his own Black Catalogue. His raw, dub-infused sound comes with plenty of futuristic designs, and this final complete iteration of ‘Nightdubbing’ continues to push the boundaries of his music.

Dive into the groundbreaking soundscape of Byron the Aquarius, where innovation meets house music in a mesmerizing fusion. Phonogramme is proud to present "Dey Know Vol.1," a groundbreaking EP showcased on a Transparent Red Splattered Vinyl. Renowned for his avant-garde approach in the house music genre, Byron curates an EP that pushes the boundaries of house music. From the infectious beats of "Black Is Black" with the collaboration of Brandon Banks on "Dr. Devil," each track is a testament to Byron's unique artistic vision. "Real MF From The Avenue" and "Rock That 808!!!" featuring Jordan GCZ further amplify the EP's genre-defying brilliance. The see-through red splatter on this special vinyl screams Byron's style, making "Dey Know Vol.1" more than just an EP – it's a vibe. Brace for it: "Dey Know Vol.2" drops next year.

There’s something to be said for getting noticed, for standing out from the crowd. West London’s T.Williams is one of those people, having accomplished a full sweep of merited recognition over the years. Emerging onto the house scene in 2010, T.Williams instantly marked himself as a breakthrough artist with a difference; his unique take on house music turning heads.

Far from a newcomer, his path as a musical artist started in the grime scene as Dread.D. Signed at the tender age of 17 with grime anthem Invasion on Jon E Cash’s Black Ops label, Williams went on to have mass success in the grime and bass world selling thousands of singles worldwide. After a five-year reign, Williams found himself veering towards the world of house music. With a new found love for the sound and its sub-genres, T.Williams forged a signature sound influenced by his grime days, jungle, and garage. With a style that undoubtedly impacts, T.Williams’ crossover has been the catalyst for his success. Not only rife with groove and feeling but meticulously produced and engineered with deep rumbling basslines, the unapologetic bounce of grime and smooth vocals that bleed through African infused percussion work.

While in 2010 the industry took note when hit record ‘Heartbeat’ featuring vocalist Terri Walker made an impression, it was throughout 2011 that T.Williams defined himself - releasing solo works on his imprint Local Action and Pattern with remixes for Maya Jane Coles, Ben Westbeech and Skream. Not stopping at pricking the ears of fellow artists and those on the dancefloor, the end of 2011 saw Williams nominated for ‘Best Breakthrough DJ’ by DJ Mag, ‘DJ Stars of 2012’ by Time Out and featured in The Guardian.

Two relationships came to the forefront in 2012 that propelled Williams to greater heights. The first was his weekly show on legendary London station, Rinse FM and the second, Williams’ relationship with label PMR through his remix of Javeon McCarthy’s ‘Lost Time’. The remix was named Record of the Week by BBC Radio 1 and supported by tastemakers Annie Mac and Fearne Cotton. From here T. signed to the label exclusively releasing his debut EP for the label in September 2012, and in the process receiving further support from BBC Radio 1. Further remixes of Mikky Ekko, Wretch 32 and Lianne La Havas followed suit, as well as his biggest to date - Disclosure’s ‘Latch’. Powering dancefloors across the globe, T. went on to play three US tours, numerous festival stages, and deliver a second EP on PMR titled ‘Feelings Within’. The EP once again spanned a number of bases, from club bangers to heartfelt vocal driven tracks alike. Gaining his own monthly residency show with BBC Radio 1, 2013 ended with T. having played over 100 shows across four continents.

2017 marked the launch and release of the first collaborative EP with UK producer Julio Bashmore, via their joint independent Conch Records, a label aiming to push out more underground cross-genre music with heavy rotation from the likes of Moxie and Shy One. With an ever-expanding global tour schedule and further solo releases on the legendary NYC house label Strictly Rhythm turning heads, T.’s upward trajectory has never showed signs of slowing down. Selected to soundtrack the social media campaign for boxer Anthony Joshua in 2019 and now using his technical prowess as a musician to educate the next generation of rising stars at London’s respected Point Blank Music School has cemented his status as one of the UK music scene’s key players.

Cocoon Recordings' next 12” vinyl comes from a well-known face. No introduction needed as nobody less than Gregor Tresher once again delivers a superb and surprising pair of tracks.

“Black Halo” is down-the-line and perhaps one of the catchiest tracks by Gregor Tresher.
The wobbling driving bassline builds up a rising tension that increases through the vast, detuned, and powerful string parts appearing to extend out to light years, reaching far beyond. Zaps drive the rhythm forward while rushing cymbals push the groove and weld everything together to absolute unity. For Gregor, techno and club culture have certain transcendental qualities, “Black Halo” is concerned with these sentiments and tells an ambivalent story. The onset of bliss oscillates between melancholy and hope, making it an exuberant roller coaster of emotions. A classic Gregor Tresher track, which perfectly represents Gregor’s signature sound!

“Phantom Dancer” literally pulls you onto the dance floor. Discharging beats, which hit you heavily but pleasant. The atmosphere violently evolves with a twisted noise-like signal sound and gets even more brute through the low-pitched filter vocals. An exceptionally deep techno production by Gregor Tresher, which will definitely come to full fruition in the clubs at peak time.

More than a decade after the release of ´Land Lines', the mythical Humboldt County, California based duo of Brian Pyle and Merrick McKinlay reappears seemingly out of nowhere with 'Atheistsaregods'. With past releases on such cult-like labels as Root Strata, Weird Forest, Blackest Rainbow or Digitalis, Starving Weirdos were an indelible part of a sprawling and loose network of artists in Northern America whose DIY work ethic and extreme activity revolved around shoestring-budget constant touring, numerous limited editions on CDR, tape and vinyl and a relentless drive to push the boundaries of genre.

Out of that cauldron, Starving Weirdos stood out as one of the most persistent and visionary acts, developing a mind altering body of work that went from warm soundscapes through droney digressions, freeform improvisation and raucous noise summoned from a myriad of instrumentation and low budget processing - vocals, keyboards, violin, flute, percussion and an assortment of less identifiable sound sources. 10 years on their legacy remains a timeless and wildly under-appreciated one, but hopefully this new album will shine a light on their idiosyncratic approach. As time itself was never a constraint. This is music suspended outside of it.

Right from the start with the echoing percussion, dissonant keys and processed vocals of 'Haiku Nagasaki', 'Atheistsaregods' draws a continuous flux of psychedelic elevation that goes from the gloomy electronic motifs not unlike the early Cluster vibes of 'Invocation' into the dank percussive maze of the appropriately titled 'Barulho do Samba'. The self titled track induces a sense of post-apocalyptic vertigo via hallucinatory scraps of voice, suspended synth tones and reverberating field recordings, connecting into the droney mystics of 'Dudukahar (Reed Prayer)'. Coming full circle, 'For Vinny' brings back the echoing percussion amidst hypnotic cello lines until it drifts off into the unknown. With the same palpable sense of urgency, Starving Weirdos feel as vital as ever. And even if we didn't realize it we were in need of them. Welcome back.

Fractions are back with "Dimension X," a release that signifies the beginning of their new music label, NRG TRAX. This release is a statement of purpose, cementing the duo's signature high-energy sound and 00s aesthetics.

"Dimension X" takes listeners on a sonic journey through the duo's musical influences, showcasing their love for The Prodigy-inspired infectious leads and breaks, EBM-infused basslines and fast-paced tempos that are dominating the current club scene. Paying tribute to their previous two releases on Dax J's Monnom Black, this release marks the start of a new era for Fractions as they continue to push the boundaries of uncompromising club music.

Get ready to be transported to another dimension.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

August Greene culminates years of mutual respect and friendship, channeling the musicians’ various talents into a cohesive project. The perfect marriage of jazz, hip-hop and soul, it’s music that just is. This is black expression the way God intended: earnest, unfiltered, and harmonious. Throughout August Greene, you feel the abundance of Glasper’s rolling keys, the sheer honesty of Com’s lyrics, and the nuanced subtlety of Riggins’ drum work. It’s a fluid sound that’s sorely needed in today’s landscape, and a teachable moment for the next wave of creators. “I feel like we need to set the bar for this generation of musicians and producers,” Riggins says. “There’s a lot of computer-driven music. This is the opposite of that. We’re showing you can still use your creative muscle on an instrument to generate your own sound.” August Greene is a meditative offering that stands tall against the era of “fake news.” “They body snatching black girls in D.C. / Politics and propaganda on the TV,” Common observes on the opening track. On “Nirvana,” the lyricist uses a stuttering percussive loop and faint piano chords to search his inner being: “Thought I was gonna fly when Obama became the king … when it’s all done, will I have heaven’s dress code, and been able to let God and let go.” As Com puts it, Glasper and Riggins’ soundtrack allowed him to open up in ways he hadn’t done previously. Like on “Fly Away,” for instance, where he riffs on the public relationships he’s had. Other songs, like “Black Kennedy,” feel spacious and scenic. “I got to go new places with the music, and it didn’t have to fit within a genre for me to participate on it,” he says. “This gave me an experience I haven’t had in a long time, so I want people to feel that. I want this to be a cleansing of whatever doesn’t feel good or inspiring.” In the end, August Greene speaks to those pushing through the dark for brighter days. It's a masterpiece from which virtue can shine. “I want people to go on the ride and be open,” Glasper says. “We just created and it became a sound. I want people to approach this with an open mind and without expectations.” —Marcus J. Moore

2023 Repress

When the reopening is slowly approaching, chaos is slowly dissolving. We pushed the button to try the new reality and for the soundtrack we've got for one of the more club oriented releases we have made till date.

Dakar's newest affiliate midnight menace starts the release with his already known schranz alike beat, dark and acidic pushing the Dance floor limits.

Cressida strikes with a funk push which could have totally fit in a Black Nation record from 2002, one of the very few produces using swing in his tracks these days. Freshness guaranteed.

Debuting the Spaniard Jheal Bashta deliver a hyper futuristic song, amen breaks, autotune, which year is it again?

Closing the issue, we warmly welcome to the legend Deeon, who deserves no introductions. Ghetto-punk. For disc-jockeys and collectors.

We spit on your plate f*kers
#oftenplusneverminus8