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At its heart, this is truly a classic love story...

Musician, songwriter, and entertainer George Butts has always worked in the spirit of independence and love.

Beginning his musical journey on the East Coast, George spent his formative years playing in bands before eventually making his way to Southern California, ready to step out and pursue his own musical vision.

It was here that music and fate would meet, leading him to something equally important: Kathie, the woman who would become his lifelong partner- personally, professionally, and creatively.

Together, they embraced that same independent spirit and began building something of their own. In the mid-1980s, they established K-Star Productions, a label that became the home for George’s music and marked the beginning of a new chapter in their lives.

In 1986, that journey produced “I Love You So Much,” a song title that feels especially fitting once you learn the story behind it. Written as a dedication to their newly formed relationship, the song carries a sense of warmth that somehow feels familiar to us all. Built around the distinctive sound of a Linn drum machine, layered with lush synths and George’s unmistakable horn melodies, the record radiates heartfelt affirmations of love, capturing not only the spirit of independent ’80s Modern Soul, but the energy of two young hearts coming together and dancing in rhythm.

The record would soon become a dancefloor favorite among local DJs and clubgoers alike. But what began in Southern California would carry George much farther than they could have imagined. The success of the music helped establish him as a respected musician and entertainer, leading to performances and residencies throughout the 1980s and ’90s, from lounges along California’s golden coast to stages as far away as Japan.

Nearly four decades later, these recordings have been lovingly remastered from the original source material by Ron Leeper, the original recording engineer, allowing the warmth and spirit of the music to shine once again.

But this is more than the reissue of a rare independent record.
These classic songs evoke feelings of love and unity, filled with warm melodies, soulful grooves, and an undeniable sense of joy, all brought to life through the partnership of George and Kathie.

Together, they created their own label, followed their dreams, and lived life on their own terms- proving just how far a shared vision can take you.

Today, the music carries that same spirit: heartfelt, uplifting, and alive with the optimism of two people creating something they truly believed in. What they started with K-Star Productions helped launch a musical legacy that would take them around the world and back, a journey that continues today with George still performing live.

The Return of The Vagabond – Revisited! On The New Way
There are figures that do not belong to any single era. They traverse .me, watch the world evolve, and
con.nue their journey guided by a singular compass: music.
Born from a concept by Use Vinyl Records, The Return of The Vagabond – Revisited! On The New Way is a
compila.on that sets the "Vagabond" back in mo.on—an iconic symbol for those who live music as a
journey without boundaries of .me, genre, or genera.on.
His return takes shape through a curated selec.on of .meless interna.onal disco, funk, and rock classics,
reinterpreted with fresh soundscapes while remaining deeply faithful to the spirit of the originals. This
musical odyssey is helmed by Daniele Baldelli & Marco Dionigi, Marco Fra=y, (Ino)2, DJ Mauri, and
Corrado Pres@, proving that great music can transcend .me, reinvent itself, and con.nue to inspire.
More than just a compila.on, The Return of The Vagabond – Revisited! On The New Way is a sonic voyage
that rediscovers legendary tracks through a modern lens. It is a project that demonstrates how authen.c
music never belongs to the past: it evolves, changes its skin, and con.nues to resonate deeply with the
present.

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

Modern Hypnosis is proud to introduce Babaka, the new alias of esteemed German producer Jörg Müller.

Reigniting his passion for physical, visceral sound system music, Jörg uses classic analog gear and a few self-built instruments to create a unique, potent dub sound. While reminiscent of Jörg’s earlier ambient and dub techno styles on his 2019 album Drawn From Memory and 2022’s Groundworks LP on The Moth Club, his new direction has evolved those techniques and primed them for sound system use. His debut release as Babaka showcases four masterful tracks that differ widely from one another while remaining within his new realm.

The opening track, "Exterminating Angel," is a pulsating, supernatural dub experiment featuring a deeply infectious bassline, ghostly key stabs, tight percussive delays and an oddly dramatic vocal sample creating a profound sonic climax before tapering off, allowing you to escape its vacuum and recalibrate. The most skank'n track of the EP, "A Bug in the dark" with its murky half-time swagger feel, bouncy hats, dub saturation and mega sub-driven riff has become an all-time favourite at Modern Hypnosis HQ.

Featuring precise production with decorative atmospherics and swung drums, "Woodsman Blues" has an almost Boxcutter feel to its intro before plunging off the deep end, hitting the dub floorboards, and revealing its true self as a reincarnated, stoned dubstep track. Closing out the release is "Hysteria," a perfectly executed, dark, chugging techno steppa that remains a popular track for many early-access DJs and selectors around the globe.

In the words of Jörg Müller himself:

After my first Album "Heavy Heart”, I tried to push my music more into abstract territory, especially sound-wise, ignoring mixing and mastering rules... this culminated in the eerie, roomy, off-atmosphere on "ground works" on The Moth Club.

After that, my focus shifted further towards freeform electro-acoustic ambient music. I built a couple of instruments myself and released two albums on Shimmering Mood as Kaleidophon. This was during the pandemic as nightlife came to a stop.

In 2023 and 2024, I started to go to dances again. I saw The Bug on his Pressure System, Al Wootton at Meaksuma Festival, Channel One and Iration Steppas on Young Veteran Hifi Soundsystem. Especially impressive were Mark Ernestus, Mark Ainley and Aba Shanti on the infamous sound system at Open Ground in Wuppertal.

This reignited my passion for dub/sound system music; I wanted to make tracks with the physical, visceral quality of sound systems.

Amsterdam producer Baril returns to Intercept with his most personal work to date. In Between Highs was written in a short, turbulent stretch of 2024, a year marked by family illness and personal loss. Rather than dwell in despair, Baril channels the in-between state into something hopeful: music that acknowledges pain while reaching for escape, relief, and euphoria.

In Between Highs marks a valley, framed optimistically, kind of like the calm before the next ascent. Through warm, melodic textures and rhythmic flow, Baril offers both personal relief and a shared refuge for listeners navigating their own dips.

It follows a steady arc of releases on Intercept. His debut EP One More Rush (2020) introduced his dreamy, emotive production style. For You, Forever (2023), his first full-length, expanded that vision into a deeply atmospheric blend of ambient, breakbeat, and house. With In Between Highs, Baril sharpens the focus: the sound is organic, euphoric and unfiltered.

Rome, late afternoon, 1974. The light comes in over the colossal hills, the way it only does for an hour before the city forgives itself for the day's noise. Axefield is on an urgent quest to create cinema in the form of sound as a romantic alternative to disposable tools. He is looking for a sound so effortless he is not sure it can truly exist, but only be felt - somewhere between a film score, a heartbeat and a late night dinner at his favourite trattoria.

Ostuni Bound, NOW! is the debut album from Amsterdam-based electronic artist and composer Axefield, bringing club-heavy bass music together with the drama and romance of 70s Italian cinema. The narrative and emotions within the record stem from a romantic setting in Southern Italy that unexpectedly turned violent, forcing Axefield to flee the city after receiving the death threat "non provocare morte".

At its heart is the belief that romanticising life can lead us towards deeper human meaning, offering a different route from the hyper-capitalist pursuit of efficiency that increasingly shapes how we live and create. Throughout the album, Axefield worked through three characters representing innocence, control and destruction, using each as a framework for decisions in production, composition and mixing.

The album features Amsterdam-based rising UKG talent DANN and Johannesburg-based Kamohelo, frontman of Swedish electronic group Off The Meds. It's all starting to feel like cinematic time travel in which beauty is reintroduced in the realm of contemporary dance.

Released on Intercept alongside a beautifully crafted vinyl edition, Ostuni Bound, NOW! feels like the soundtrack to a film that was never shot. Somewhere behind him, a projector he cannot see begins to turn, playing a film for an audience that has not arrived yet.

As they arrive, he is the one who ultimately presses play.

And just like that, Ostuni Bound, NOW! Begins where Rome has always begun: beyond function and beauty and all that lingers in between.

2026 Repress

Originally Released as Ltd. Cassette- this is the first Edition of the Album on Vinyl! Matte Vinyl-Sleeve designed by Sam Gendel! For Fans of John Coltrane, Pharoah Sanders, J Dilla, Daniel Lanois, Brian Eno, Wayne Shorter, Joe Zawinul, Miles David, Knower, Alice Coltrane, Flying Lotus, Aphex Twin and Sun Ra ...

Leroy "Heptone" Sibbles
Garden Of Life (Horns cut)

This raw, deep roots grail by Heptones and Studio One legend Leroy Sibbles has been near impossible to find, until now.
Most reggae fans will be familiar with the Heptones’ Lee Perry sessions including their outstanding “Garden Of Life” from 1979.

Few but the most grizzled collector knew that Sibbles had recorded a deep roots cut in Toronto several years earlier in 1975 while living in Canada.
Urgent, soulful and raucous with its killer horns section and bubbling organ, this version of Garden Of Life is actually Leroy’s favourite.
The dub version transports us right into the converted garage/studio in 1975 as snatches of conversation between musicians are immortalized on wax.

One of 3 official releases showcasing Sid Lovejoy's Toronto productions including the long out of print “Rebel” by Rothadam and the roots missile “King Kong Man” by Sid Lovejoy.

Die legendäre „The Italo Disco Collection“ geht in die vierte Runde! Vol. 4 präsentiert erneut eine exklusive Auswahl großer Italo-Disco-Klassiker der 80er Jahre – zeitlose SynthesizerSounds, treibende Beats und unverwechselbare Melodien, die das einzigartige Lebensgefühl einer ganzen Ära verkörpern.

Auf 4 LPs versammelt die Box zahlreiche Highlights der ItaloDisco-Geschichte. Mit dabei sind unter anderem Ken Laszlo, Valerie Dore, Radiorama und Koto – echte Kultnamen und unverzichtbare Vertreter des legendären Genres.

Als besonderes Extra wartet auf alle Italo-Disco-Fans neben der hochwertigen Vinylbox ein exklusiver „Italo Disco“-Fischerhut. Damit wird die Collection nicht nur zum musikalischen Highlight, sondern auch zum echten Sammlerstück.

Ein besonderes Sammlerstück für alle Fans von Gigi D‘Agostino: Diese limitierte Box vereint vier ausgewählte Maxi Singles mit einigen der bekanntesten Tracks des italienischen Dance- und Italo-Dance-Pioniers.

Die hochwertige Sammlerbox enthält folgende Maxi Singles:
L‘amour Toujours
Another Way
Wellfare
La Passion

Mit diesen zeitlosen Klassikern präsentiert die Box die unverwechselbare Handschrift von Gigi D‘Agostino und bringt die legendären Sounds der späten 1990er- und frühen 2000erJahre zurück

Dream 2 Science’s 1990 release ‘My Love Turns To Liquid’ - reissued on 12” with three mixes from the original and the ‘Cozmic Remixes'. The Cozmic Remix instrumental is pressed on vinyl for the first time.

Ben "Cozmo D" Cenac who's the mind behind Dream 2 Science (as well as Newcleus and Sha-Lor) wrote the track which was “designed to flow and feature Yvette’s (Lady E’s) vocal stylings. He wanted something smooth, laid back, deep and hella sexy!”. It came out on Cenac's own Power Move Records, distributed by Fore Records which was owned by Gregg Fore - he then encouraged Cenac to produce a full EP which turned into the now iconic Dream 2 Science EP (reissued on Rush Hour in 2012).

The Dream 2 Science project left a mark on the deep house scene that went under the radar at first but years later still resonates and represents some of the best music to come out of that famed era.

Standards & Practices like to take musical risks and adventure into uncharted techno waters with their compilations and this latest one, split across three EPs, is a testament to that. Out Of Practice Vol 2 (part two) opens with moody, sub-aquatic dub from Izzy Vines that is alive with the clanking of distant shipping lanes and vast propellers. Matthew Patterson Curry's 'Not Weird At All' is glitch-step and hyper futuristic, then Jeff Pietro melts your mind with the syncopated loops of 'Mass Hex' (version), which has an eerie celestial glow. Brendon Moeller does what Brendon Moeller does best to close - fathom-deep dub class.

Anlässlich des fünfjährigen Jubiläums des gefeierten Debütalbums "Space 1.8" (2021) von Nala Sinephro, erscheint dieses als neue und einmalige Doppel-Vinyl-Edition, erstmals auf zwei Schallplatten geschnitten, im Gatefold mit gefütterten Innenhüllen.

„Wer behauptet,es gäbe keine neuartige Musik mehr, kann entdecken, wie falsch dieses Urteil ist.“ – stern, Heft 21.09.2021‘Space 1.8’ is Nala Sinephro’s debut album; each contributing piece is part of a connected,
collaborative and deeply personal body of music.
Performed and recorded at Pink Bird Recordings in Wanstead and in the comfort of Sinephro’s bedroom, tracks one through eight allow experimentation to breathe and borrow from jazz, electronic and folk influences.

On the LP, Sinephro invites a host of talented musicians to enjoy its confines, providing a quiet place to dissolve the edges of London from the senses.

‘Space 1.8’ is a record for healing, which could not have arrived at a more needed time.

Almost Starlight is the extraordinary new album by Jem Finer (hurdy-gurdy) and John Matthias (violin). Produced by Jay Auborn and recorded in a Medieval Church, deep in the Devon countryside, in the Summer of 2025, the music is suffused with light, heat and the natural acoustics of the space.

The album defies categorisation; forced to pigeon hole it the nearest approximation would be ‘modern-classical’ but this ignores its myriad influences and explorations which encompass inspiration from Arvo Pärt through Terry Riley to Can via Delius, Alice Coltrane and a subtle reimagining of electronic music played purely with acoustic instruments, bending and shaping their possibilities in surprising and unexpected directions.

Jay Auborn plays cello on a number of the compositions and his production opens up and expands the music through a skilled and imaginative use of space, paying homage to the atmosphere of the church; ‘the sound evolved… chasing the imagined acoustics of that church in my mind; a place for worshipping light with sound.’

Almost Starlight will be released on the 4th September by Touch, available as CD, vinyl, cassette and on streaming platforms.

BIOS OF THE ARTISTS

Jem Finer

Since studying computer science in the 1970s, Jem Finer has worked in various fields, including photography, film, experimental and popular music, sound recording, sculpture and installation.

Much of his work relates to systems, extended processes and extremes of scale and includes Longplayer, a musical composition repeating once every 1000 years, and the Gurdy and Hurdy stones, ancient rocks set upright in fields in East Sussex and Gloucestershire with Jimmy Cauty. Their work together includes a band, The Standing Stones, whose most recent release is Twa Sisters, featuring Iona Zajac and Daragh Lynch.

He was a founder member of The Pogues, with whom he has played, written and recorded since 1981.

Recent music revolves around a fascination with the hurdy-gurdy and includes hrdy-grdy, a cassette released by Benedict Drew’s Thanet Tape Centre. His latest collaboration, with John Matthias, Almost Starlight, will be released by Touch in September 2026.

John Matthias

Since studying Theoretical Physics in the late 1980s and 1990s, John has created music and sound in many forms, including for installation, popular music, music for film, for dance and orchestra.

Much of John’s work plays with the physics of complex systems but he is also greatly influenced by stories and song. John has collaborated with Matthew Herbert, Stanley Donwood, Jay Auborn, Radiohead, Thom Yorke, Nick Ryan and many others to create music with a variety of textures and sonorities. He is particularly interested in simplicity and form and how context informs the way music sounds.

His latest collaboration, with Jem Finer, Almost Starlight, will be released by Touch in September 2026.

Black Truffle is thrilled to announce a second volume of unheard concert performances from legendary Pakistani kyhal singer Salamat Ali Khan, recorded at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974. Like the first volume, the immaculate recording by Michael Hönig (of krautrock legends Agitation Free) captures Khan performing a single extended raag in the company of Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. In addition to his stunningly inventive and moving vocal performance, Khan is heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither). The lack of an underlying tanpura drone gives the music its characteristic floating quality, with the three instruments and voice masterfully dancing around one another as they sketch the outlines of this grand, 40-minute Raag Chandrakauns.

If anything, this epic performance of the late-night Raag Chandrakauns is even more seductively spacious and psychedelic than the music heard on the first volume. Obeying the traditional shape of Hindustani classical vocal music performance, a gradual rise in both pitch and rhythmic activity, the music hovers for twenty minutes in a reflective calm, the pulse only gently stated by the tabla while harmonium ornamentation and zither strums float by. In this meditative space, Khan gradually orients us to the contours of the raag, beginning with long notes at the bottom of his register. His improvisation at once builds with a stunningly firm sense of internal logic and seems liberated to explore every melodic and ornamental byway that comes up along the way. By the time we turn to the record’s second side, the music has grown into something far more frenetic, with virtuoso tabla passages at times occupying centre stage between Khan’s increasingly rhythmic melodic variations. Concluding with a sequence of unison tabla and voice passages of breathtaking complexity, the performance is met with rapturous applause. Arriving in a blue-toned variant of the first volume’s sleeve, with acclaimed musicologist Peter Pannke’s liner notes in the original German, Metamusik Festival Berlin ’74 Volume II is not to be missed. Essential listening not just for Hidustanti classic aficionados, but for anyone who needs reminding of the magic of collective music making in the moment.

Robert Nasveld (*1955 Utrecht) studied piano at the Utrecht Conservatory with Polo de Haas, Sas Bunge and Herman Uhlhorn, composition with Joep Straesser, and electronic music with Ton Bruynèl. After completing his piano studies, Robert Nasveld specialised in 20th-century repertoire, with a particular focus on Dutch, Russian and American music. He achieved international fame as a pianist for his interpretations of the works of the American composer George Crumb, which led to invitations to perform at various events, including the Warsaw Autumn Festival (1990). His connection with George Crumb also enabled him to produce a seven-hour live broadcast of Crumb's music for VPRO radio in 1986 and a television program with the composer. Nasveld recorded the complete works for one piano by George Crumb, which was released by the Attacca label in 1991. He has given concerts in Europe, Russia, and the United States.

Nasveld was also a member of the Orgella Quartet, founded in 1976 (with Margaret Krill, Polo de Haas, and Niek de Vente), Piano Kwadraat, and the Netherlands Pianists Quartet (with Marian Bolt, Corien van den Berg, and Niek de Vente). These ensembles specialised in performing music for two eight-handed pianos. He also collaborated with several vocalists, including Claron McFadden, Marjanne Kweksilber, and Liesbeth List (tour 1983/'84). Due to multiple sclerosis, he retired from performing in 1998.

From 1988 to 2021 Robert Nasveld worked for Dutch national radio (NOS/NPS/NTR) as a program producer for NPO Klassiek. Until 2004, he was editor of Supplement, which received the Silver Reiss Microphone in 1996, the highest award for a radio program, for its adventurous and innovative programming. Robert Nasveld also programmed concept evenings at Muziekcentrum Vredenburg, featuring contemporary music performed by soloists, ensembles, and the broadcasting orchestras for NOS/NPS. From 2019 until his retirement in 2021, he presented a series of podcasts for NTR/NPO Radio 4 about electronic music pioneers. The three compositions on this LP are the only tape pieces recorded by Nasveld. They were created at Ton Bruynèl’s studio at the Utrecht Conservatory and the Institute for Sonology in Utrecht.

World Of Echo are proud to announce the long-awaited reissue of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993.

Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups. Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.

By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups. The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies.

Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.

Movietone would go on to make 3 fantastic albums for Domino: Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) and their Peel Sessions were released earlier this year on Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

Five years after establishing himself as one of the UK's most distinctive selectors, Bloom marks the beginning of a new chapter for Yung Singh. More than a debut EP, it introduces EKTA his own label and creative world, built around the Panjabi concept of unity and the belief that dance music can be a meeting point for cultures, histories and new ideas.

Rather than treating heritage as something to preserve behind glass, Bloom places it at the centre of contemporary club music. Drawing inspiration from Panjabi folk traditions, Indian classical rhythms and centuries-old musical practices, Singh reimagines these influences through a modern electronic framework without reducing them to nostalgia or tokenism. The visual identity mirrors this philosophy, taking cues from Phulkari embroidery "flower work" passed down through his own family and connecting those traditions with the idea of growth, renewal and the arrival of a new creative season.

Finalised while touring Panjab during Basant, the festival celebrating the arrival of spring, Bloom became both a personal and artistic statement: the first release on a label intended not to represent one culture alone, but to create space for many. As Singh explains:

"EKTA as a name really sums up what I love about music and arts in general: unity and oneness. I want the label to be a sonic universe where artists bring their specific heritage into a modern club framework. It's about merging diverse folk traditions to treat these sounds not as relics, but as the future of dance music."

Across three tracks, Bloom presents different perspectives of that vision. 'NUG46' transforms field recordings captured in New Zealand into a meditative piece built around hypnotic tabla and razor-sharp jungle rhythms. 'Situationz' pays tribute to legendary Panjabi artist Sukshinder Shinda through the driving "Shinda Break", recontextualising a rhythm instantly recognisable to generations of listeners into a high-energy club weapon. Closing the record, 'Tabla Trouble' leans fully into organic instrumentation, layering classical percussion, strings, flutes and vocals into a composition that defines the open-ended musical language of EKTA.

Bloom is not simply the first release on a new label. It is the foundation of a wider vision one that looks to the past not for comfort, but for inspiration, using tradition as a catalyst for imagining the future of dance music.

Jude Brothers sails toward a new shore with Dogwood Maiden Voyage. Created in living rooms, recording studios, and train tunnels between Tennessee and Arkansas, it's an adventurous album that's every bit as eclectic as its world-traveling creator. Here, Jude's vision of freethinking folk music — a multicultural sound that truly knows no borders, inspired by a vast array of global folk, sacred music, and pop songs— is given a lush update with string arrangements and vocal harmonies, shining new light on an artist who's always evolving.

Jude's songs are rarely linear. Instead, they explode outward in unexpected directions, exploring left-hand turns and detours before returning to their original paths. Caught halfway between the free-form, the freak-folk, and the finely-crafted, they tell stories about the complicated paths we take toward self-discovery, the push-and-pull between the desire to belong and the perpetual feeling of otherness, and the growth that emerges during times of barrenness. "You can sit with an old southerner on the porch and they’ll be telling you a story, and there are 17 different tangents," Jude says. "That's how I make music. I take all different plot lines and weave them together."

Throughout Dogwood Maiden Voyage, Jude indulges in childlike fantasy as an adult, encouraging fractured pieces of identity to communicate with one another. Much of that fantasy takes place in the woods, surrounded by trees, protected by the natural world that Jude's music so wistfully evokes. There's grief and darkness here, but there's light, too, like a forested landscape that's beginning to embrace spring after a long winter. Dogwood Maiden Voyage makes room for both sides of that divide. It's an album of multitudes — a record for all seasons.

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

Environments are sticky, they stick to whatever happens within them. They can’t help it. And neither can you.

Land of the Few and Far Between / Songs for St. Michel is a collection of musical ‘figures’ written and recorded in 2022 and 2023 using a method Lyckle and Kim call the ‘snelkookpan’, translated as the pressure cooker. The ’snelkookpan’ in essence is trying to write and live-record as many musical figures in a given timeframe in a specific place. For ‘Land of the Few and Far Between’ this was an afternoon and evening in an exhibition Kim had curated about collecting and memory in The Hague. For ‘Songs of St. Michel’ this was 6 days in the basement of an art institution in Maastricht where they were joined by Otto de Jong on guitar. The figures are usually worked out by ear, sometimes improvised, sometimes written down, but often they are simply remembered and soon after recording forgotten. For ‘Land of the Few and Far Between’ they recorded ten figures. For ‘Songs for St. Michel’ fifteen. Of each a selection of five ended up on this seven inch.

F. van Abeelen (one of whom’s drawings is pictured on the sleeve of this seven inch and of whom 750 drawings were part of the exhibition mentioned above) was forced as a boy to hide in a basement for years. Only a small window gave access to the outside world. That sliver was his reality. After these years in hiding he began drawing his sliver of reality obsessively. Daily series of similar drawings that he would meticulously catalogue in an organizer. We never met F. Our friend who discovered the drawings in a closet of psychiatric nursing home Dorestad never met F. We only recorded ten musical figures next to 750 drawings by F.

St. Michel is a house that stands on the outskirts of Maastricht. It is built on the floodplains of the river Maas and living there you see the river change daily. It is a river fed by rain. No rain means a low river. Rain means a river that sometimes comes frighteningly close to flooding. Which it sometimes does. Due to the ebb and flow of the Maas, stuff is deposited in the boggy areas that are its floodplains. A shoe, a CD, a drone, some wood.

Places impress themselves onto what you are doing. You become an unwitting prop in the place’s story.

The first ‘snelkookpan’ happened in 2017 in the water-basin of one of the earliest concrete structures in the Netherlands; a bunker that was part of Amsterdam’s defensive line, built around the 1890’s. Something that used to house water was now empty. For three days Kim and Lyckle recorded improvised music there, which is still alive on a hard drive somewhere. In 2020 they recorded ‘the third of May’ at an old pumping station in Den Helder; an eleven part piece of auditory historical-horror which was released by South of North in 2024. Since 2023 Lyckle and Kim have mainly recorded live shows. With a Clarinet, kawai K1, Ipad, organelle, samplers and a variety of instruments curated for their minimal size or odd sound they’ve made chains of brief and improvised mini compositions inspired by browsing environments (digital and otherwise).

Land of the Few and Far Between / Songs for St. Michel adds to this growing collection of recordings for environments that are somehow sticky.

Chase & Status announce their forthcoming album Generic Everything, out 9th October 2026, alongside new single “Gone Too Far” featuring Debbie. The 10-track project brings together an expansive cast of collaborators including J Hus, Little Simz, Skrillex, Giggs, D Double E, Blanco, IRAH, Col3trane and more, continuing the duo’s long-standing ability to connect scenes, generations and sounds across British music.

Generic Everything follows a landmark period for Chase & Status, which has seen “Baddadan” spend over 15 weeks in the UK Top 10 and achieve Platinum status, while “BACKBONE” featuring Stormzy became their first ever UK Number One single. Alongside a BRIT Award for British Producer of the Year, a record-breaking sold-out UK arena tour and their Milton Keynes National Bowl takeover, the duo continue to operate at a career-defining level more than two decades in.

Built around the idea of resisting creative conformity in a world increasingly shaped by algorithms, endless content and more, Generic Everything sees Chase & Status once again refusing to be confined by genre.


Moving between rave, rap, soundsystem culture and electronic music, the album pairs their unmistakable production with some of the most distinctive voices in UK music and beyond, capturing a duo still driven by the instinct to keep evolving, collaborating and pushing their sound forward.

"Cinematic Visionaries Calibro 35 and Noir Master James Ellroy Pay Homage to L.A. with a Pure Crime-Funk Original Soundtrack. Out October 9" There are collaborations that feel inevitable like they were waiting to happen in some shadowed corner of culture. The union between Italian cinematic funk visionaries Calibro 35 and internationally acclaimed master of noir fiction and New York Times bestselling author James Ellroy is undoubtedly one of them. When Calibro 35 were invited to compose the original soundtrack for Francesco Zippel's documentary Ellroy vs L.A., they didn't simply write music for film. They stepped directly into Ellroy's universe the most dangerous corners of American crime fiction and discovered, to no one's surprise, that its darkness felt strangely familiar. The result is Ellroy vs L.A., the band's new album out October 9 on Record Kicks. Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it. The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. LSD on Sunset Boulevard drifts into a hazy, instrumental soul journey psychedelic, warm, and disorienting, like a late-night hallucination of the city itself. The Big Nowhere (Part I & II) expands the narrative into a slow-burning, atmospheric descent, unfolding like a two-act crime saga. Welcome to the Land of Vacation and Probation hits with kick-ass, uptempo crime-funk madness, urgent and relentless in its propulsion, while White Jazz is a mood of suspended, noir-infused jazz tension cool, shadowy, and unresolved. Together, the tracks map Los Angeles as a fractured yet hypnotic landscape suspended between glamour and violence, beauty and decay, myth and reality Born in Milan in 2007 with the mission of excavating the golden age of Italian film music Morricone, Piccioni, Trovajoli, Calibro 35 have spent nearly two decades transforming that initial obsession into a singular artistic language. Their work bridges vintage Italian soundtracks with contemporary jazz and cinematic funk, earning them a global following rare for an Italian instrumental act. Their music has been sampled by Dr. Dre (Compton, "One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), and Damon Albarn's The Child of Lov. Rolling Stone described them as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," while Far Out Magazine called them "one of the most skilful and innovative instrumental outfits on the planet right now." The band (Enrico Gabrielli, Massimo Martellotta, Fabio Rondanini, and Tommaso Colliva) continue to evolve without losing their core identity. In 2025 they released the critically acclaimed Exploration, further expanding their sonic universe, and were invited to perform at the closing ceremony of the Winter Olympic Games at the Arena di Verona, confirming their growing international stature. With Ellroy vs L.A., Calibro 35 don't just compose a soundtrack they translate a mythology into rhythm, tension, and groove. Between fiction and reality, they find a city that never truly sleeps, only pulses in darkness. Press play, and Los Angeles begins to unfold in sound.

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

Celebrate 40 years of Pixar storytelling through music with Pixar Hits, a collectible vinyl compilation featuring unforgettable songs and scores from some of Pixar's most celebrated films. Pressed on vibrant opaque yellow vinyl, this release brings together fan-favorite moments from Toy Story, Monsters,Inc., Finding Nemo, Cars, Up, Coco, Soul, Turning Red, and more.From Randy Newman's iconic "You've Got a Friend in Me" to the emotional storytelling of "Married Life" and modern favorites like "Nobody Like U" and "Steal the Show," this collection showcases the music that has helped define Pixar's most memorable adventures. A perfect addition for Disney and Pixar fans, vinyl collectors, and anyone looking to relive the magic through music

Unheard Music delivers a solid four-tracker from Italian producer Far&High, joined by Buba on the closing cut. Tight, rolling tech house built for peak-time sets.

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

"Life Is Beautiful Again" is the debut album of Nadine El Roubi, a Sudanese-born, New York-based singer, rapper, songwriter, and multidisciplinary artist.
The album is the culmination of music created over the last three to four years. While the album can be categorized as primarily neo-soul, its true genre remains fluid — shaped by influences in hip-hop, neo-soul,and indie music.

Both melancholic and powerful, introspective and self-assured, Life Is Beautiful Again explores personal and external chaos, womanhood, belonging, and the determination to maintain faith through struggle. Thematically, it marks a shift from her previous work. Where earlier releases were overtly political, defiant, and outward-facing, this album turns inward. It is softer, more reflective, and rooted in the belief that vulnerability can be its own form of strength.

Written and recorded over three years across four cities, the album carries the imprint of many different versions of a Sudanese woman navigating change, loss, love, ambition, and growth, these songs became a way of making sense of the world.
At its core, the album’s message is simple: even through the ugliest of times, life will always become beautiful again.

Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

The third chapter of The Third Room's curator-led series is shaped by Verraco, one of the key voices behind a new generation of artists reshaping contemporary club music. Through his productions, DJ sets and his work with TraTraTrax, he has helped define a sound where hybrid forms, rhythmic experimentation and cross-cultural influences are pushing the genre into new territory. Structured across two distinct sides, the release draws a clear connection between past and present. The A-side leans into a deeper, more classic space, while the B-side moves towards a more forward-facing, hybrid sound. It opens with Libration (Stone Version) by Substance & Vainqueur, a revisiting of their landmark 2007 release, a track that helped define the language of Dub Techno as it is understood today. Reduced, deep and spatially precise, it established a blueprint for how rhythm, delay and tone could function together. It's presence here acts less as a nod to the past and more as a reminder of a foundation that continues to shape the genre. Skee Mask's Clear Sky 909 continues this thread, softening the edges without losing depth. Warm, enveloping textures and fluid movement give the track a sense of openness, balancing clarity with emotional weight. The B-side shifts perspective. On Untitled (Teamgeist Mix), Verraco, joined by Tils, delivers the record's defining moment - a dense, intricately designed piece built on a driving low-end and evolving rhythmic patterns. Elements from Techno, Bass and Leftfield House converge into a detailed, forward-moving structure that actively bridges cultural contexts. It results in a form of dance music shaped by technical precision, but drive.n by a clear sense of intent, marking a distinct expression of Verraco's current sound. Untitled by 1morning introduces a rolling, tribal-infused groove with a strong sense of depth, while PatumPa by Regal86 closes the record with a bright, loop-driven energy that leans into pure motion. Across both sides, the release moves between reference and progression. Rather than separating old and new, Verraco connects them - tracing a line from foundational Dub Techno to a more fluid, contemporary club language. Copyright 2026 The Third Room A1 Written and Produced by Peter Kuschnereit & Rene Loewe | A2 Written and Produced by Bryan Mueller | B1 Written and Produced by JP Lopez & Jakob Ferdinand Tils and mixed by Lurka | B2 Written and Produced by 1morning | B3 Written and Produced by Regal86 Mastered by Andreas Kauffelt (Schnittstelle Berlin) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact