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The group's fourth album with songs written by Kris Kristofferson, Curtis Mayfield, Mickey Newbury, Janis Ian, and Emmylou Harris Featuring the single "No Regrets", that reached #7 in the UK Singles Chart and Dutch Top 40 50th anniversary edition on yellow, red & orange marbled vinyl

This year we celebrate the 50th anniversary of No Regrets, the fourth studio album by The Walker Brothers.

Following an eight-year hiatus Gary Leeds, Scott Engel, and John Maus finally reunited. This time the band drew stronger influences
from country and contemporary pop music. Most of the material on the album was written by renowned artists of its time such as
Curtis Mayfield, Emmylou Harris, Mickey Newbury, Kris Kristofferson, and Janis Ian.

The reunion was a success with the title song reaching the top 10 in the United Kingdom and Netherlands.

The album has now been reissued on LP for the first time in 50 years.

No Regrets is available as a limited edition on yellow, red and orange marbled vinyl and includes an insert.

Trudge "First Session" EP is a cohesive exploration of dark, bass-driven techno. The EP creates a tense and immersive atmosphere where minimal elements, hypnotic breaks, and futuristic synth textures converge into a raw yet emotionally charged sound. Built for peak-time impact, it reflects Trudge's uncompromising vision of techno, intense, powerful, and deeply emotive.

FONTINE’s debut full-length Good Buddy arrives October 7, 2025, marking a gritty, heartfelt turn from her folk-leaning EP. Recorded live to tape with her road-tested band, the album captures the loose, unfiltered energy of her live shows, pairing raw instrumentation with FONTINE’s powerhouse vocals and emotionally rich songwriting. It’s a rock record with a sensitive core — scrappy, cathartic, and full of heart. The title track, “Good Buddy,” uses CB radio slang for queer love as a playful, anthemic entry point into a record about identity, connection, and vulnerability. FONTINE, who identifies as Indigenous and queer, brings humour, honesty, and a deep sense of place to her writing. From personal struggle to activist fire, her lyrics are grounded and bold, wrapped in a sound that blurs the lines between alt-rock, Americana, and indie folk. With over a million streams, national CBC radio support, and a growing live presence across Canada, FONTINE is emerging as one of the most vital new voices in Canadian roots music. Her breakout charisma, fearless storytelling, and genre-fluid style make Good Buddy a debut worth turning up loud.

Ladies and gentlemen, please reserve a warm welcome to the eighth Outdom Records’ release on wax, proudly introducing an already known artist on the label, Denis Kostitsyn, with his new five-tracker EP: “Funny Games”.



A record as cheeky as its title suggests, Funny Games features an adventurous blend of techno, minimal, electro and tech-house, sprinkled with acid squelches, UK breaks & 2 steps grooves and a dash of dubby hypnotic atmosphere. Expect nothing less than Denis’ trademark creativity: playful, gritty and endlessly groovy, a proper bag of surprises for discerning selectors who love their tracks unpredictable, yet razor-sharp on the floor.



Denis Kostitsyn, respected Arma17 club resident and vinyl digger, strong producer with past acclaimed EPs on Exarde, Mung Records and also showcased on our previous Virtual Tools Vol.2 Series with “Rvbbit Hole”. This time, Kostitsyn dives deep into a palette of raw, analog-sounding textures and 90s-minded grooves, shaping tracks that carry both a vintage touch and a futuristic spirit. His production is full of twists—between hypnotic atmospheres, shuffling percussions, heavy basslines, and sudden left turns that keep the crowd locked and guessing. Built as pure dancefloor weapons, each piece doubles as both a tool and a trip, playful in form but deadly in effect!



Outdom Records once again shines a light on forward-thinking underground artistry—music that grooves, mutates, and flips expectations, while staying true to the label’s quirky yet uncompromising DNA.


WARNING: Handle with care, drop with confidence.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the Iliads series was to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This fourth and final instalment concludes the series; bringing all the different styles of the original Odysee sound together in a grand finale. From deep atmospheric beauty to sinister dystopian breakbeat fury; Iliads IV has it all.

Oubliette immediately creates a feeling of unease and paranoia. The rapid injection of different breakbeats gives the track an unsettled feel; with nervy piano jangles and moaning samples adding to this atmosphere. The track drops with punching subs and razor-sharp curling breaks from amidst the desolation of the atmosphere of the intro. The call and response style is used to cut from break to break maintaining the unease of the intro. The drums & bass break down into a
dystopian landscape of sound, before dropping once more to take the track towards its conclusion.

A Point In Time with its obvious reference to a compilation series on a certain well-loved atmospheric Jungle label is all about conjuring nostalgia. There are notable references to bygone days; the infamous bulb bass and bleeps of the Warehouse days of glory, and the tearing mentasms that enter in the approach to the breakdown. The breaks are crisp and complex, the sub-lines deep and dark; a track truly built for a dark sweaty basement club where the bass bins
are pushed to their limits!

Love & Desire is a sultry deep atmospheric roller full of subtle references to the early UK Garage sound of the mid 90’s or even Deep dub Tech-House. The elegant curls of the Apache break that takes centre stage in this track are complimented by sweeping pads and a set of deep synth stabs that form the rhythmic backbone. The subs drop deep amidst a palette of avant-garde electronica, as the spoken word vocals call out “my love....my desire.”

We really hope you’ve enjoyed the Iliads series as much as we have; they represent a very special sound that is close to the very heart of what we at Odysee are about. As much as they focus the lens on the past, we truly believe they have had a profound effect on our future....in as much as they have brought us back to the raw essence of our sound.
Andy & Tilla

Symmetry is proud to announce the arrival of Solid State Vol. 1 - a special vinyl release from Break. Due to popular demand, we’ve compiled four standout tracks, including some fan favourites that until now were only available digitally.

The EP brings together a serious collection: Release Me, which hit number 1 on Beatport; Overstayed, Symmetry’s highest selling tune on Bandcamp; alongside two more heavyweight cuts, All You Gotta Do and Zodiac.

Pressed and presented in physical form, Solid State Vol. 1 is both a collector’s piece and a must-have for DJs - and this time it’s something you can hold in your hands.

We Are The Robots Vol. 01 – Hypnotica Colectiva 25

Hypnotica Colectiva drops a fresh wax cut: We Are The Robots Vol. 01 — a heavyweight double vinyl release that channels the raw energy of the crew’s legendary club nights and distills 15 years of sonic exploration across electro, broken beats, and IDM textures.

Marking catalogue number HCR025, the Valencia-based imprint doubles down on its underground ethos, curating a ten-track lineup from artists deeply connected to the collective’s orbit. Each contributor brings a distinct flavor of robotic sound design.

Every track has been handpicked for its club impact, conceptual depth, and ability to resonate with the aesthetic of We Are The Robots — a party series that’s been pushing uncompromising electro since 2010. Expect a full-spectrum journey: from cerebral synth workouts to gritty analog pressure, industrial atmospheres, shadowy breaks, and raw minimalism.

Artwork come courtesy of Dani Requeni, keeping the HC Records design language sharp and functional. Steve Voidloss handles mastering duties, ensuring each groove hits with precision.

Mastered by Voidloss at Black Monolith Studio, London.
Artwork, Label art & Designs by Dani Requeni.
All rights reserved.
HC RECORDS
València, 2025.

With great albums you can enjoy them many times and still hear new things. So how about when a great album is re-imagined and you can hear even more new twists? Chris Pope has taken the classic 1980 album by The Chords and taken a new slant on the amazing songs he wrote on it which will see the album in a new light. When re- working older songs in your back catalogue you musn't miss any of the energy and swagger that made the songs so exciting to hear the first time around and Chris, along with the other members of the band: Sandy Michie on guitar, Mic Stoner on bass and Ken Cooper on drums, have brought a new power to the songs that energised a Fred Perry wearing movement in '79 and '80. Enjoy this album and the clever way it looks at each moment on that record and a few other choice cuts

With hundreds of millions of streams worldwide, Samm continues to bring sincerity and soul to every note he sings. London-born Nigerian singer, songwriter, producer, and multi-instrumentalist is redefining modern soul with emotion and rich storytelling. Blending gospel, R&B, blues, and alternative influences, his music captures the highs and lows of love, growth, and self-discovery. After breaking out with fan favorites like “Broke” and “Grow,” Samm earned critical acclaim from COLORS, Clash Magazine, The Guardian, NME, and NPR and collaborated with artists like Pharrell Williams, John Legend, Quincy Jones, and more. Samm Henshaw’s new album It Could Be Worse captures the raw beauty of heartbreak, healing, and growth. Blending soul, gospel, folk, indie, and funk, the London-born Nigerian artist channels vulnerability and emotional honesty through live instrumentation and powerhouse vocals. The project reflects on love, loss, and the humor in pain with songs like “Float,” “Get Back,” and “Tangerine.” The result is a soulful, hopeful, and deeply human record that reaffirms Samm’s place as one of today’s most authentic voices in modern soul. It Could Be Worse is being released exclusively on Vinyl first.

15 soul classics from the greatest artists of the genre including James Brown, Barry White, Stevie Wonder, Sam Cooke and Marvin Gaye.

SPFDJ steps up for her long-awaited debut EP, Heel Thyself, out Friday 7th November on Intrepid Skin.

A core figure in grassroots techno circuits, and an internationally lauded DJ, SPFDJ's ascent reflects a passion for music governed by love and grit in equal measure. At once providing a gleefully chaotic two-fingers to dance music's self-serious establishment, whilst also flexing an ever-expanding knowledge of its roots and potentials, her musical armoury is renowned the world over for inspiring debauchery and sweat-soaked hedonism.

As an artist whose journey has been defined by challenging the norms of electronic music, SPFDJ's rebel spirit is recognised locally and globally, but guiding this attitude is a vulnerability to the realities of the music industry, and the rise of conservatism that permeates every aspect of life. And whilst sensitive to the use of buzzwords like community, it's ultimately a respect for the people who keep these scenes alive that motivates her artistry.

In releasing this EP, she taps into a more vulnerable side. The title - a nod to internal healing processes, and a play on words to motivate queers and women to 'boot up for battle' against increasingly oppressive structures - shines a light on some of the values she holds up to electronic music culture. At once playfully chaotic and deeply energising, Heel Thyself spins us through a cyclone of kicks, punches, and noise.

Opener 'Cluster B Intro' is a tempo-twisting barrage of gabber led by a robotic vocal command, setting the scene for pretty much anything to happen. 'That Stiletto Track' kicks in like a tweaked out distortion of 90s trance before spiralling upwards into a storm of heavy breaks. 'F*ckboi' is hot n heavy electro - classic in its structure, but with the added industrial touch of hammerdrill synths and razor sharp percussion. Swinging into a bouncier state, 'The Hot in Psychotic' flings ricocheting rhythms through frantic claps, with a donk to keep things moving. Rounding things off, 'Mindless Counting' flies higher with pummeling drums lifted by a touch of euphoria.

A debut laced with both defiance and self-reckoning, Heel Thyself finds the rebel looking inwards - vulnerable, but sharpened and ready.

Goodbye Matters retraces Silly Boy Blue’s intimate journey through a year shaken by the loss of a loved one and the emotional transformation that follows. This EP explores the emptiness left by this sudden absence, and how, over time, that void slowly fills with acceptance.


Each track represents a stage of the grieving process, associated with a color and a season, reflecting the emotion that accompanies it.



Summer 1 opens the story with an apparent calmness of everyday life that hides an inner turmoil. Autumn dives deeper into the tangible pain of absence, as memories gradually fade away with the falling leaves of the season.



With Winter, the EP reaches a breaking point. The music is stripped down to its bare essence, conveying an emotional landscape emptied out, where the outer cold mirrors inner loneliness.



Then comes Spring, where sadness still lingers but gives way to a glimmer of hope, symbolizing the struggle between memory and renewal.



Finally, Summer 2 marks acceptance — a last imaginary conversation, a gentle farewell. The cycle closes, yet light returns, offering a peaceful conclusion to this journey through loss and reconstruction.

GO:OD AM (10th Anniversary) 3LP vinyl by Mac Miller. Includes 3 bonus songs from the GO:OD AM sessions.

Originally released in 2015, the album, hailed by the likes of Billboard and Rolling Stone as the best of his career upon its release, marked Mac Miller's first for a major label and was regaled as "one of the most musically appealing hip-hop LPs of the year" by The New York Times. After surprising fans and critics alike with his second full length Watching Movies with the Sound Off, Mac returned with another adventurous album in GO:OD AM that marked the beginning of a rapid artistic evolution that unfolded across 2016's The Divine Feminine and 2018's Swimming.

Each 3LP package includes a special triple gatefold jacket printed on silver mirror board with die cut, two inner sleeves with photos printed on silver mirror board and a yellow bonus vinyl with a custom etching on the back.

Kriv’s much-loved Bedits series is now getting the vinyl treatment with a few choice selects from previously digi-only releases, as well as some fresh unheard heat. From 90s dance to low-slung R&B, loopy disco and bouncey house, this 4 tracker is a party from beginning to end. Straight from the bed and into the bag!

Dear Wormwood acts as a volume II to Through the Deep, Dark Valley. While Through the Deep, Dark Valley is about the protagonist's past, Dear Wormwood is about the character's future. The duo explains, "This album is a collection of letters, all written by a single protagonist and addressed to a single recipient, a conversation to which the listener is an observer as a relationship gone wrong reaches its breaking point - the words and music are at times affectionate and bittersweet, at others resigned and resolute."

"We're in the joy business," says frontman Ketch Secor, who launched the Grammywinning band in 1998. "From the very start, a lot of the virtues of Christmas -- the revelry, the singalongs, the happiness -- have been present in our show." Nowhere is that more apparent than OCMS XMAS , the group's first holiday album. Decorated with seasonal spirit and string-band stomp, it's the rare breed of Christmas record that packs a punch all year long, shining new light on the band's chart-topping version of American roots music. Old Crow Medicine Show aren't just reinterpreting their favorite yuletide standards; they're adding new songs to the canon, too, from "Jolly Man" -- a country-blues number inspired by Mississippi John Hurt and laced with harmonica, sleigh bells, and resonator guitar -- to the Zydeco- flavored "All About A Baby." They're telling fresh stories, too. On "Corn Whiskey Christmas," a bootlegger drives his Chevrolet through the snow on Christmas Eve, bringing moonshine to those craving a cup of cheer. On the John Prine-worthy "Bethlehem, PA" -- a sly reimagining of Jesus' birth story, with lyrics that substitute Steel Country for Jerusalem -- the band heads to the Keystone State to witness the Nativity, making stops at Wawa and Motel 6 along the way.

"Grandpa's Gone" grapples with the loss of a family figure during the holiday season, while the wicked "Krampus Night" puts a minor- key spin on the Christmas catalog, paying tribute to a folkloric creature who, according to Secor, "just might leave ya coal and steal your soul." Old Crow have thrived for more than a quarter century. Like many of their heroes, they've become torchbearers of classic folk music, reshaping those sounds for the modern world. They're creators, not replicators, and OCMS XMAS finds them tackling another tradition -- the time- honored Christmas album -- with humor, hillbilly twang, and novel ideas. Supported by the band's first-ever "Holiday Hootenanny" tour, OCMS XMAS just might be the start of a new tradition itself: a celebration of the seasonal sounds, shared joy, and holiday rituals that bring us all together. Christmas just got a new soundtrack.

Editors-Frontmann Tom Smith veröffentlicht sein Solo-Debütalbum „There Is Nothing In The Dark Which Isn’t There In The Light“

Nach zwei Jahrzehnten als Frontmann von Editors und zwei Alben mit Smith & Burrows betritt Tom Smith mit „There Is Nothing In The Dark That Isn’t There In The Light“ nun endlich Solo-Territorium. Motiviert durch den Wunsch, zu den rohen, akustischen Anfängen seines Songwritings zurückzukehren, machte sich Smith daran, etwas Intimeres und Persönlicheres zu schaffen, weg vom kollaborativen Charakter seiner Bandprojekte.
Anfangs Stand noch der Gedanke im Raum, diese Songs wieder mit seinem langjährigen Kollaborateur Andy Burrows zu schreiben, entschied sich aber schließlich für einen einsameren Weg und engagierte stattdessen den Produzenten Iain Archer. Gemeinsam schufen sie ein Album, das auf emotionaler Ehrlichkeit, akustischen Texturen und Themen wie Verbundenheit, Erinnerung und Resilienz basiert.
Auf dem gesamten Album balanciert Smith reduzierte Arrangements mit filmischen Schnörkeln und schafft so eine dynamische Bandbreite – vom minimalistischen Schmerz von „Broken Time“ bis zum mitreißenden Drama von „Life Is For Living“.
Obwohl von Melancholie geprägt, schwingt auf dem Album letztlich Hoffnung mit – es unterstreicht Smiths Entwicklung als Songwriter und seinen Wunsch, Musik zu schaffen, die das Wesen seiner Persönlichkeit widerspiegelt.

- Oxblood Single Vinyl

Beat Machine Records is proud to present the fifteenth chapter of its iconic Swinging Flavors series, starring Ac1d Vicious—a brutalist force in underground jungle and acid rave—backed with a remix from high-speed specialist Samurai Breaks.

“Screamer” is exactly that: a hardware-driven sonic assault that draws from 90s breakbeat chaos and acid techno ferocity. Think distorted amen breaks colliding with tortured 303 riffs, all arranged on glitchy hardware gear with no safety nets. Every snare slices through, every bass stabs deep—it’s raw, unstable, and unapologetically intense.

The B-side flips the script with Samurai Breaks’ signature footwork‐meets-jungle rework. Twitchy, fast-paced and percussively scattered, his remix injects hypermodern energy while preserving the original’s rave DNA. The two tracks together form a high-pressure 7” that captures both the nostalgia of old-school warehouse violence and the momentum of cutting-edge club experiments.

Following artists like DJ Sofa, Ornette Hawkins and naco, to name a few recent ones, Ac1d Vicious marks a new evolution for the Swinging Flavors series—one where tempo and texture are weapons, and the dancefloor is a war zone.

This release continues Beat Machine Records' mission to highlight forward-thinking club music rooted in global underground culture, with a sharp focus on physical formats and hybrid rhythms.


b b1. Screamer Samurai Breaks Remix

Berlin-based Amy Dabbs makes a long-awaited return to Shall Not Fade with Green Room EP - four uptempo club heaters spanning UKG, high-energy house, and breaks.

The EP’s title pays homage to Renate’s Green Room, the floor within the renowned Berlin club where Dabbs has held her residency since early 2023. Each track was both written for and road-tested at her monthly Dabbs Traxx events in this space, where she’s cultivated a tight-knit community of UKG lovers in the heart of Berlin.

“When I started writing this EP, my goal was to create music that would fit perfectly into my nights in the Green Room, bringing in the London sounds I grew up on, across all the genres I usually play at Renate. This EP is a tribute to everything Renate has given me: opportunity, community, and a platform for my authentic UK sound.”

Opening track Take Me High launches straight into peak-time territory, with old-school-inspired rave stabs, staccato vocal flicks, and deep, subby basslines. Over You turns the heat up even further - a track built from choppy vocals and UKG basslines before melting into a warm chord progression; a perfect example of Dabbs’ ability to fuse high-energy rhythms with spine-tingling emotion.

On the flip side, Style & Pattern, featuring the signature tones of London’s Alfie Fraser, is a pure UKG cut - underpinned by lush pads and arpeggiators, topped with Alfie’s unmistakable live vocals to create an uplifting dancefloor heater dripping with London swagger. Closing the EP, The Way delivers a tear-jerking breakbeat finale, layering syncopated percussion, emotive vocals, and an old-school piano breakdown; it’s a sublime end-of-the-night moment and a fitting closing track for an EP which honours one of Berlin’s most beloved clubs.

Fourth edition of the Metro Jaxx series, 303 copies, hand-numbered on purple vinyl. Six tracks of jacking acid house, rave and techno. KMRT makes his vinyl debut with the opener Beez Waxx, all breakbeats and wonky 303 lines. Hacienda legend Jon Dasilva brings “Look At The Owl” which repeatedly builds and strips itself back, while Balkan mainstay Nightwave ends the A side with the frantic snares of “Bang The Rocks”. The B side opens with “Xtasy” in typical Acidulant distorted voices and acid lines, Hannah Holland goes high speed & high energy with the vocal talents of Kurtis Lincoln, and label boss Posthuman sees the collection out with dirty 303 & 707 action. And yes, this blurb was 303% written by a human not f’kin ChatGPT.