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Aquainted through their shared love of music technology, and now a friendship, this is the second-time pairing between German artist Arovane and American artist Taylor Deupree after their first release together in November 2022: »Skal_Ghost« on 12k.

This new release explores once more an organic journey built around loops and layers or processed and re-processed sounds giving this particular color to a must-have album.

Anders als das 7 Jahre zurückliegende Album Hill West, das sehr zurückhaltend produziert war, gibt es auf dem neuen Album Alchemy von Todd Thibaud kaum leise, nachdenkliche, akustische Americana-Töne, sondern es ist - ganz im Gegenteil - lauter, voll elektrischer Gitarrenrock mit einer dementsprechend ausgerüsteten 5-Mann-Combo aufgenommen! Mit seinem lauten, dynamischen Sound, den süffigen Gitarrenläufen und rockigen Bandarrangements ist das Musik mit einem klaren Pop/Rock-Auftrag und einem erstklassigen Mix zwischen Westcoast, Heartland & Prairie Rock auf Basis von handfestem Singer/Songwritertum und melodieseligem Indie Roots/Guitar Pop, und so besitzt Alchemy die Grundtugenden all der Heartbreakers, Wallflowers, Jayhawks, BoDeans und Gin Blossoms mit einer ordentlichen Prise Springsteen/Mellencamp/Hiatt & Co. Aber das Endergebnis trägt natürlich die deutliche Handschrift von Todd Thibaud! Alchemy kommt mit geschmackvollem Artwork und komplett mit allen wichtigen Credits und sämtlichen Texten. Alle 10 Songs wurden von Todd Thibaud geschrieben und in derselben Quintettbesetzung eingespielt, die uns im April und Mai 2026 auch live begeistern wird: der Meister selber an der elektrischen Rhythmusgitarre (mitunter auch etwas Tasten) und mit seiner einzigartigen, sonoren Stimme, dazu die ewigen Mitstreiter Thomas Juliano an der Electric Lead (auch E-Piano, Chamberlin) sowie Multiinstrumentalist Sean Staples (hier auch mehr elektrische Leadgitarre als Banjo, Mandoline und Keyboards), dazu die Rhythm Section Ed Valauskas am Bass (plus Keyboards) und Drummer Chris Anzalone; alle beteiligen sich durchweg am prächtigen Harmoniegesang.

San Francisco hardcore stalwarts Western Addiction return with Psychedelic Munitions, a high-octane successor to Frail Bray that captures the explosive fervor and technical precision of their Bay Area roots. Recorded and mixed by Scott Evans at Sharkbite Studios and Antisleep Audio, then mastered by Brad Boatright at Audiosiege, the album delivers a massive, "live-in-the-room" sound that avoids modern polish in favor of visceral, room-shaking grit. Despite the time between releases, the band bridges the gap with a collection of songs that feel both seasoned and dangerously urgent. Psychedelic Munitions stands as a definitive masterclass in authentic California punk, honoring the legacy of the Gilman Street scene while pushing the boundaries of the genre's aggressive potential. Since forming in 2003, WA has defied easy categorization, the band crafting songs that comfortably draw from a wide swath of rock 'n' roll while retaining punk's ferocity with a hardcore feel. Fat Mike often lists WAs "Cognicide" (2005) as one of the greatest releases on the label, also calling it one of the best hardcore albums he's ever heard. Joey Cape from Lagwagon has also stated that it's his favorite album released on Fat Wreck Chords.

Sonedo is a scene-builder. The Japanese-Scottish producer, pianist and bandleader is pioneering a vital new UK sound that threads jazz improvisation with rap and grime. His music is collaborative and elastic, a blend of live instrumentation interwoven with MCs and vocalists.

Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.

On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.

El Mansouri, who holds a degree in Theoretical Philosophy, explains:

"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."

On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:

"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.

Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"

Das zentrale Thema von »Come« ist Rausch. Das Album behandelt Phänomene, die in verschiedenen Rauschzuständen auftreten, und hinterfragt, was real ist und welchen Eindrücken man vertrauen kann. Gedanken, Gefühle und Empfindungen entstehen ungehemmt, mal schön, mal bedrohlich.

Die Songs erzählen Geschichten ohne klare Logik, fließen ineinander und laden den Hörer ein, die Reise anzutreten und eigene Eindrücke zu sammeln. Produziert wurde das Album bewusst in organischem, retro-orientiertem Analogsound im Wide Noise Studio, um den typischen Band-Sound fortzuführen. Schlagzeuger Andre Schaltenberg wechselt sich innerhalb der Songs mit Gründungsmitglied Christoph Hesse ab.

Rising from the wreckage of a war torn planet, Czarface joins forces with MF DOOM in the epic Czarface Meets Metal Face! Blending DOOM's trademark abstractions and CZARFACE's in-your-face lyrical attack, this album is ripe with cartoon violence, societal observations and pop culture musings. Over banging beats provided by The Czar-Keys, the armored team give you the witty unpredictable treats any hip-hop fan can sink their fangs into. Expect beats, rhymes, and metal as Czarface controlled by WU-TANG CLAN powerhouse Inspectah Deck and 7L & Esoteric team up with everyone's favorite villain, MF DOOM. With track titles like "Nautical Depth","Meddle With Metal", "Astral Traveling" to "Madness of Badness" this album packs a punch with 16 brand new tracks. Add that with features from Open Mike Eagle and Jedi Mind Tricks' Vinnie Paz, we promise you mind-bending metaphors and brain-melting beats as this powerful pairing sounds off in March 2018! Long time rumored full length collaboration album from Czarface and MF DOOM, fan favorite "Ka-Bang" from Czarface's 2015 sophomore LP Every Hero Needs A Villain had fans begging for more. Cover Art by clothing brand Mishka's head designer Lamour Supreme. Album features Vinnie Paz of the legendary Jedi Mind Tricks, and Open Mike Eagle, who's most recent album "Brick Body Kids Still Daydream" was on Rolling Stone & Pitchforks top 50 albums of 2017 list. The albums lead video "Meddle With Metal" done by Animation Firm TFU Studios who have worked with MF DOOM prior on the "All Caps" video as well as with Mayer Hawthorne, Biz Markie, Cut Chemist and more!

Hoek van de laatste zon' sounds like the adopted bastard child of Dean Blunt and the late Luc De Vos. 'A cause de vos merdes' is as fierce as the title suggests — foaming at the mouth and growling, infectiously repetitive and menacing: a schizophrenic, peerless mantra summoning demons.

A 7" in the category of 'future Belpop classic'. Contrarian songs that leave you torn between humming along and bursting into tears. Catchy yet elusive, poppy and still avant-garde. For those drawn to intimate poetry over hypnotic rhythms, to wave and spoken word that still moves a dancefloor, to avant pop with a mantra edge.

Following the acclaim of 'Nachtdichter' on Knekelhuis, Victor De Roo and Alex Deforce reunited here for the inaugural release on Les Editions Deforce (LED), Deforce's Brussels-based imprint. 'In de hoek van de laatste zon' has since received airplay from NTS to Echobox and Kiosk Radio, from Dia! in Bayonne to EHFM in Edinburgh — making it arguably the most broadcast Dutch-language track beyond its own borders.

Alex Deforce is a published poet with two collections, including 'Tussenbruggen', released in five languages by Poëziecentrum.

CASSETTE VERSION

AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations.

Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album.

Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening.

Radhika Meera Dade: “Ever since I entered this realm, music has surrounded me in every way possible. The sounds of magic have been nourishing my soul since birth, the first memories I have as a young child are listening to my dad’s eclectic vinyl collection. I feel so lucky to have been exposed to such a range of music at a really young age: artists from Alice Coltrane to The Go-Betweens, all of these musicians have subconsciously and consciously inspired me musically in many different ways”.

Glass Modern is very proud to present the debut album by Radhika Meera Dade. Cine-Pop is a collection of songs that flow gently and easily in and out of each other - a suite, a short film, everything an album should be. Coming in at 33.3 minutes, it’s the perfect length for an album, it doesn’t short change you, it doesn’t stay too long - it’s designed to be played in one sitting. It’s like being in a friend’s house and noticing the things that are most important in their life - objects, family portraits, records, musical equipment, their curated accumulation. It reflects so many things - culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA. The record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens - her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time - one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear - most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present - Mitch Mitchell (The Pastels) , Gerard Love (Lightships/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table. Cine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable - there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. Following on from the first single, Starry Eyes, which was played multiple times on BBC 6Music and other stations, other singles to be released from the album include Feline Bandits plus a version of the Strawberry Switchblade classic Since Yesterday. Radhika will also be collaborating with Glasgow-based film maker, Laura Meek, on promos and the plan is to play live throughout the year.

Rashad and Confidence announce the vinyl reissue of their debut album “The Element Of Surprise”. Though originally released in 2011, the melange of soul samples, classic breaks and favoring of lyrical storytelling / conceptual joints could easily have been released in the 90’s.

The 2xLP vinyl edition includes the 2019’s single “Desires” as well as two never before heard tracks from the 2011 sessions entitled “Non Stop” and “Feel It.” All tracks on the 2026 vinyl version are remastered!

Rashad, a Brooklyn NY emcee who sports a nimble and rapid flow excels at making anthemic choruses interspersed with highly detailed bars. Examples of album topics include a vivid picture of the hood while making a cautionary tale of its pitfalls (“The City”), his personal emcee origin story (“Days Of My Youth”), and the results of low motivation (“Pass Me By”) among others.

Boston based producer Confidence has made a career of sample chopping and analog warm heaters. He also tends to favor the one emcee/one producer line-up of the golden years. This extends to his recent collaborative LP's on Below System Records including “Library Of Sound” with M-Dot and “Kool Moe Dese” with Big Dese.

The complete album + 5 bonus tracks - limited edition pressing on 180g vinyl American piano player and composer Martin Denny developed a new musical genre in the mid-'50s by combining lounge jazz, Hawaiian music, Latin rhythms, bird calls, and ethnic instruments from around the world (such as koto, gamelans, Burmese temple bells) into a sound that became known as Exotica. Best known as the "Father of Exotica," Martin Denny was responsible for the genre's biggest hit of all time with his 1956 single version of Les Baxter's 'Quiet Village', the title of the album presented here, and with the single included as a bonus track.









[i] Quiet Village [1956 Version]

Formed by "Fast" Eddie Clarke (formerly of Motorhead) and Pete Way (formerly of UFO), the band delivered a raw, energetic sound driven by powerful guitar riffs and melodic hooks. With standout tracks like "Say What You Will" and "Easy Livin'," Fastway received praise for its straightforward rock appeal and infectious energy. Lead vocalist Dave King's dynamic voice adds a gritty edge to the album's heavy rhythms and bluesy influences. Fastway was a commercial success, helping the band gain a strong following and cementing their place in the hard rock and metal landscape. For fans of classic rock and early heavy metal, Fastway is a must-listen, delivering a high-energy experience from start to finish. Fastway is available on black vinyl.

During the 1950s, Tito Puente was at the height of his popularity and helped to bring Afro-Cuban and Caribbean sounds, like mambo, son, and chacha-cha, to mainstream audiences. Dance Mania, probably his most celebrated album, features the great Ray Barretto on congas. It was added to the National Recording Registry in 2002 and is listed among the "1001 Albums You Must Hear Before You Die". Includes the bonus tracks 'Oye Como Va', 'Mambo Gil' and 'Cha-Cha-Gua'.

Individually, each one is known as a first-call player capable of handling any type of musical situation, and their personal credits are simply too long to list. They've collaborated on a wide range of projects and session work, including recent live, recording, and touring work with jazz-funk globetrotters Incognito and the American guitarist Robben Ford. Every now and again, their packed schedules permit them to take time out to make their own music, drawing on their shared love of the Latin jazz tradition, and whenever this happens, they're collectively known as TRYPL. Recently, they've found themselves with some rarely shared downtime and the opportunity to commandeer the capacious Big Jelly Studios.

The next step was to assemble the tunes and contact their favorite singers and players, including pianists Alex Wilson and Ross Stanley, guitarist Giorgio Serci, bassists Javier Fioramonti and Davide Mantovani, and Roberto Pla, Edwin Sanz and Davide Giovannini on percussion, with newcomer Sophie Stevenson on voice and vibraphone. Family and friends dropped round to provide an informal in-studio audience. Drawing inspiration from their shared love of the classic salsa sound pioneered by Fania Records in 1970s New York, given a twist by their own individual musical personalities, they've created Phantasticus - an album of joyously uplifting music that distils all the conviviality and good humor with which it was created into a heady yet feel-good brew. It's the perfect antidote to our nervous, fragmented times.

Glamgoth? Dark Electro? Industrial Cyberfunk? DEAD LIGHTS was founded in 2020, at the start of the Covid19 pandemic, forcing the international musician / producers duo (UK and NL) to work on all their output from a distance. Disguised as dark, sleazy electropop, Saul and Richard create their own personal blend of monumental synth bass lines and gritty sounds, elaborate vocal arrangements and brutal, dance-orientated beats. Their new album ‘Lash’ can be characterised as their boldest release to date. It contains 8 previously released singles which all are dance floor bangers - built to ignite strobes and command bodies into motion. On top of these, DEAD LIGHTS presents 4 brand new songs that emphasize the more cinematic side that is also present in their music and which move further away from conventional song structures.

Bruiser Wolf’s razor-sharp wit meets Harry Fraud’s luxury street sound on Made By Dope, a collaboration that feels both raw and refined. Fraud laces the project with his signature hazy loops, velvet drums, and smoked-out soul, giving Bruiser the perfect canvas to deliver his off-kilter flows, animated storytelling, and punchline-heavy bars. The result is a record that balances Detroit energy with high-end production polish. Now available on vinyl, Made By Dope is pressed for collectors and connoisseurs alike, bringing the album’s textured sonics to life in full analog warmth. From the cinematic instrumentals to Bruiser’s unmistakable voice cutting through each groove, this physical edition captures the chemistry of two distinct styles meeting at their sharpest point. A must have for fans of the Wolf, and the Wave alike.

Peach’s Soak Vol. 1 is a cross-Canadian link-up with Mood Hut that moves through slower, deeper waters.

The mini-LP was written after a tour through Asia that opened up something new in how Peach approaches making music. The turning point, as she tells it, came during a visit to a neighbourhood sento in Tokyo, while surrounded by steam rising in suspended time, something clicked about the relationship between the body and the sounds she wanted to make.

She’d been learning about cycle synching and working out with the phases of her hormonal cycle, respecting energy fluctuations throughout the course of a month, and decided to apply the approach to writing music. She allowed shifts in energy to guide tempo, density, and emotional tone rather than strictly answering to the floor.

Soak came out of this exploration, sketched and layered with field recordings from her trips to Vietnam and the Philippines during a challenging time in her life. Fragments of heat, air, and shoreline are absorbed into the music itself. Vapourous pads, low-end weight, fractured percussion, and melodies hover at the edge of dissolution. Water runs structurally through the record in surges, in tidal pacing, in the slow accumulation of texture.

Wherever this music finds you, please enjoy the Soak.

Studiomaster Digipack Vol. 2 sees Marco Passarani back with another serving of unique club sounds straight from Rome. Following the vibe of the first volume,
this new edition delivers his unmistakable blend of house pressure and pure techno, featuring two brand new gems: “Hypercuatro” and “Locked In A Trance.” Both are wired for late hours and low ceilings, where acid grooves meet hypnotic drum programming and forward leaning intent.
Completing the set are three remastered tracks from his Bandcamp vault, making their first appearance on vinyl: Analog Fingerprints (“Unusual Behaviour”, “Motion 5”) and PSS2099 (“Kir’Shara”). Together, these digitalonly transmissions sketch a lean map of Passarani’s studio practice: tactile, direct, and crafted with that in the moment feel.
No nostalgia trip here, just functional futurism with character. Whether you know these tunes from online drops or the first 12”, Vol. 2 delivers real deal dancefloor tools ready for heavy rotation. No fillers, just groove for dancers who still believe the floor is a testing ground for what comes next.

House and techno mainstay Steve Bug returns to Nu Groove with four-track EP ‘Let’s Work’, showcasing the sound of a true electronic pioneer on vinyl. Up first is title track ‘Let’s Work’, a bouncy club record with a cool, metropolitan feel. What follows are ‘Mr Wonders’ and ‘Not The First Time’, two tracks that highlight Steve Bug’s rhythmic expertise and mastery of tension. Closing out this vinyl collection of fresh house music is a collaboration with Los Angeles native and dance culture expert Juliet Mendoza; ‘Whispers In The Dark’ features Juliet’s magnetic spoken word over Steve’s brooding electronic groove.

“One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties. P.A.S albums tend to come together in their own time:

“External signals and signs combine until the recipe feels right, both musically and from being ‘out there’,” Slater adds. “10 years since I released Arc Angel on Ostgut Ton, and it’s a fitting pleasure to combine live show ideas and studio work for the new album, served up with raw energy” That patience runs through his whole Ostgut catalogue; since Temporary Suspension brought its machine-tooled weight and alien feeling to the label in 2009, each P.A.S. release on Ostgut Ton has been its own quest for discovery, from The Messenger’s search for sounds not yet present in club music to Arc Angel’s focus on melody to the deep hypnosis of Plantae.

His new album, Planetary People has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.

“Into The Night” creates a haunting, dystopic environment of corroded acid saturated in echo, absorbing from the first second. “Labyrinth” breaks into buoyant tribal percussion, modulated chirps trading off over propulsive drums. “Quadrant 10” is clean, delay-drenched techno, buzzing with noise splatters over saturated thuds. “Sermon Of The Light Tides” scrambles metallic bell sequences that distort and evolve throughout, reminiscent of a dial-up modem crossed with a game of Frogger, squelching between percussive bursts and stripped-back kicks. “Brave Cosmo” is tormentingly menacing, eerie synths panning around buried vocal fragments over frantic percussion. “Retina Burn” rolls on fierce, cement-mixer 909 cycles, rave stabs over a ride that locks you in, the whole track stuttering and repeating before stripping back to a bare echoing kick and building itself again. “Thunder Major” barrels on open hats and reverb-drenched claps ricocheting through twisting wreaths of delay, mesmeric and relentless. “Beton Brut” marches juggernaut percussion stamping through hall reverb so vast you can visualise the room, the darkest and most unrelenting track on the record. “No Ninja” crunches in metallic and immediate, a wiry plucked lead threading through glitch with the bass held low and deep, mixed so precisely you can see every layer stacked in your mind’s eye. “Ha Jam” is danceable techno with plenty of funk and a sophisticated looseness, a vocal laugh bouncing off clanging metal blocks and rave stabs. “Lynx” lowpasses its rave stabs and crystalline beeps, chirpy hats ticking, cold metal repeats, old school and mesmeric. “Generation Slip” closes everything out, ominous and churning, skittering percussion and electrical sparks rattling through steel, a freight train barrelling on into oblivion.

"Slime Wave 2" is the highly anticipated sequel to Hus Kingpin's 2019 album, immersing listeners into the gritty, yet hypnotic world of one of the waviest MC’s in underground hip-hop. Building upon the foundation laid by its predecessor, this album pushes boundaries, blending intricate lyricism with captivating production to create an auditory journey like no other.
Backed by an array of talented producers, the album's beats range from soulful and jazz-infused to hard-hitting and gritty, providing the perfect backdrop for Hus Kingpin's lyrical prowess. Each track is a sonic masterpiece, meticulously crafted to evoke a range of emotions and keep listeners captivated from start to finish.
"Slime Wave 2" features a killer lineup of guest appearances, adding layers of depth and diversity to the album's sonic landscape, with Bala No Judas, Shyheim, Supreme Cerebral, Skrilla and Tritty joingin Hus on this journey.
Behind the boards, a stellar lineup of producers brings their A-game to "Slime Wave 2," ensuring a diverse and immersive listening experience. From the legendary Madlib's signature soulful soundscapes to the gritty, boom-bap vibes of Macapella, Owltree, and Manny Megz, each producer leaves their indelible mark on the album, creating a rich tapestry of beats that perfectly complement Hus Kingpin's lavish lyricism.

"This EP is that classic MYTHM 140 sound my fans know and love, and the vibe fits perfectly with Deep Medi." - MYTHM

Vita Noctis is a curious Belgian formation that, in a more experimental vein, recorded two cassette tapes featuring a dark and distorted sound blending industrial with minimal, darkwave, and synthpop. Active during the 1980s, they remained inactive for many years until Dark Entries Records revived their work in 2011, releasing recordings created between 1984 and 1986. This encouraged Kris and Martine, the current members of the band, to continue the legacy of Vita Noctis by creating new music.

This EP is a selection of tracks created by Vita Noctis from the 2000s onwards. It includes songs that have never been released before, such as “Betrail,” an extended version of the song “Engaged,” along with other tracks that will appear on vinyl for the first time, marking the first release of Casual Strippers Rubicon Records. Also the EP comes with an insert featuring an image of Vita Noctis printed on yellow paper.

Hope you enjoy!

12 Inch Lovers nothing but classix, straight from vinyl! Part 2 of two double vinyl-pack incl. Tensnake, Afro celt Sound System, Midnight Star, Robert Babicz, Gregor Salto, Lovebirds, and Codec & Flexor



After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

2026 Repress

Cirkle returns to Sublunar, Sciahri's label, following the success of Sonic Surge, with a new EP that showcases both refinement and immense talent. This release encapsulates Cirkles distinct sound and artistic evolution, offering a rich and immersive sonic journey.

The EP opens with Shadows of the Past, a track driven by a pulsating, groovy synth line and dynamic drum patterns that propel the rhythm forward. It seamlessly transitions into Beaten, a dark, hypnotic piece that envelops the listener in a shadowy atmosphere.
The B-side begins with Shamanic, a track that pays homage to a more classic techno sound while maintaining an irresistible, steady groove. Following this, The Wall That We Build offers a more delicate and minimalistic approach, balancing precision and subtlety. The journey concludes with Tears of Light, an epic and transcendental piece that takes the listener to another dimension.

A groundbreaking collision of Atlantic psychedelia and cosmic dub!

A collaboration set to leave a lasting mark: Sensible Soccers join forces with dub master Mad Professor for an EP that redefines the boundaries of this year's electronic music.

Available in both physical and digital formats, this release captures a rare and powerful meeting of two distinct yet deeply connected sonic worlds. The result is a fully immersive experience—a new form of post-dub psychedelia, blending hypnotic grooves, expansive textures, and deep sound system vibrations.

The opening tracks, “Dub de Saia Travada” and “Berlaitada Dub”, are pure dancefloor catalysts: magnetic rhythms, heavy basslines, and a lysergic energy primed to ignite clubs and festivals throughout the summer. Music designed for movement, for the body and the mind—an invitation to lose yourself in collective, hallucinatory dance rituals.

Closing the EP is “Dub Discreto”, a cosmic and visionary journey that pushes the project even further. Here, dub meets the synthetic waves and abstract explorations of cosmic sound pioneers like Cluster and Klaus Schulze—reimagined through the warmth and depth of Jamaica. A timeless experience, suspended between deep space and earthly vibrations.

This EP is more than a collaboration—it’s a bridge between cultures, eras, and states of consciousness. An essential release for record stores, distributors, and listeners seeking something truly forward-thinking.

Presse: Eclipsed Interview, Jazzthing, Folker, OX, TAZ World Music, Bad Alchemy, Westzeit, Stadtrevue, Saarbrücker Zeitung, TIP Berlin, Zitty Konzert Tipp, Musikexpress, Choices, Journal Frankfurt, Süddeutsche Zeitung, FAZ, ...

Radio: WDR Cosmo, ByteFM Tour presentation, DLF Kultur Tonart Interview, BR 2 Nachtmix & Kulturwelt, DLF Corso, DLR Kultur Tonart, Radioeins Planet Fruit and other shows, BR 2 Zündfunk, NDR Info Nachtclub Radio Globo and Domingo, Radio Bremen Nordwestradio Sounds, SR 2 Voyages, NDR Kultur Neo, WDR 3 tba, HR 2 Hörbar, MDR Kultur, RBB kulturradio Musik der Kontinente, ByteFM, M94,5 Transglobal Express, Radio Querfunk Orsinos Lied, Oldenburg 1, Radio Dreyeckland, Freies Radio Stuttgart, Radio Darmstadt, tide Radio, Radio Corax, bermudafunk, Radio X, Radio Lora....


Türkischer Folk-Psych-Rock aus Amsterdam der brennt und funkt und treibt und unwiderstehlich außergewöhnlich ist. Wenn türkische Folk-Music Psych-Rock und Elektro-Pop trifft entstehen Altin Gün. Mit ihrem außergewöhnlichen Spagat zwischen scheinbar komplett unterschiedlichen Stilen gelingt dieser Band, die türkisch klingt, von deren sechs Mitglieder aber nur eines in der Türkei geboren wurde, etwas wirklich Außergewöhnliches. Als türkischen Psych Folk bezeichnen sich diese Niederländer selbst, und betonen, dass sie ihre Musik im Kern als Folk verstehen, freilich ein solcher, dem man die tiefe Liebe zur Musik der funkigen 60er und 70er anmerkt. Sehr groovig, elektrisch und voll explosiver psychedelischer Strukturen kommen die türkischen Stücke daher. Lieder, die zum Teil schon unzählige Male gehört und interpretiert wurden, die zur musikalischen Vergangenheit der Türkei gehören, ihr Erbe sind, aber völlig neu klingen. Bandgründer und Bassist von Altin Gün, Jasper Verhulst, betont, wie wichtig das identitätsstiftende Potential der Lieder ist, dass man diesem aber etwas Einzigartiges hinzufügen wollte, was die Hörer innehalten lässt. "Die Lieder stammen aus einer langen Tradition. Das ist Musik, die versucht, eine Stimme für Viele zu sein. (... Und dann) brauchen wir etwas, das die Leute dazu bringt zuzuhören, als wäre es das erste Mal." Der Sound von Altin Gün klingt gleichermaßen traditionell wie vollständig zeitgenössisch und zeigt auf fast schon märchenhafte Art und Weise, dass Musik ein kulturell durchlässiges, experimentelles Medium ist, in dem uns immer wieder wunderschöne Überraschungen begegnen. Mit "Gece", ihrem zweiten Album, hat sich die Band nun endgültig als unverzichtbarer Interpret des anatolischen Rock- und Folk-Erbes etabliert und ist eine absolut unverwechselbare Stimme in der aufstrebenden globalen Psych-Rock-Szene geworden.

The eleventh release from label Early Morning, run by Guy J, presents a three-track EP totaling 22 minutes and 23 seconds, reinforcing his position as one of the most disciplined and forward-thinking figures on the global scene. Despite intercontinental recognition, Guy J continues to approach his work with restraint and focus, treating sound not as a finished achievement but as an ongoing exploration. His imagination remains a constant source of carefully developed ideas that resonate through a restrained yet expressive intensity.

The opening track, Piece of Cake, sets the tone with confident momentum, unfolding through a precisely balanced structure where hypnotic rhythm meets expansive spatial design. Selector expands the palette with a fierce bassline drive, textured atmospheres, random squeaks, and euphoric build-up, building on the opening piece and taking the vibe into psychedelic territory.

The release concludes with Against the Wall, a composed and decisive finale. Strong rhythmic foundations, paired with suggestive female narrative vocal samples, bring the record to a resolved and coherent close.

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label's history, while the two remaining pieces are presented by the label for the first time.

"The works Ir Himinn, Grooenn by Kristoffer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the compilation XKatedral Volume II in 2016. Svenssons piece from 2014 combines justly tuned gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edbergs pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edbergs Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsbergs Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.

Glory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon. Dissolving Ceremony, composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past.

The newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers."

GER Mit Schemes präsentieren Kreidler ihr neuntes Album auf Bureau B - und öffnen dabei ein neues Kapitel ihres markanten elektronischen Kosmos. Die international renommierte Band aus Berlin/Düsseldorf setzt stärker auf atmosphärische Klangräume, bleibt jedoch ihrem charakteristischen, leichtfüßigen Groove treu. Feldaufnahmen und Outdoor-Sounds spielen eine größere Rolle als je zuvor; besonders eindrucksvoll ist der Gastbeitrag von Leo Garcia, der seine Vocals spontan über urbane Field Recordings improvisierte. Das Trio - Thomas Klein, Alexander Paulick und Andreas Reihse - nutzt auf Schemes den kreativen Zufall als Motor. Leicht skizzierte Strukturen, schwebende Texturen und subtil pulsierende Sequenzen formen ein Ambient-nahes Album, das dennoch ständig in Bewegung bleibt. Jede Komposition entfaltet ihre eigene kleine Welt, zwischen spielerischem Experiment, warmer Räumlichkeit und eleganter Präzision. On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes - of course maintaining their signature rhythmic groove, which on "Schemes" is simply more buoyant and less insistent. "Schemes" is also characterised by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With "Schemes", Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. Selling Points









i 1.9Fenix with Leo Garcia









i 9Fenix [with Leo Garcia]









[i] b4 Fenix [with Leo Garcia]









[i] b4 | Fenix [with Leo Garcia]

An album of improvised music was recorded in Belgrade, in the courtyard of one of the musicians’ homes. There were no prior agreements, prepared compositions, or preplanned ideas. The album came into being in real time, right there on the spot.



Ulya Volkova (pleurereme) - cellist/multi-instrumentalist, composer/sound designer, producer and music enthusiast with over a two decade of experience in cultural community. After studying for 15 years at the Gnessin School (Academy) of Music she began writing music for big films, documentaries, TV series, audio books, plays and exhibitions, soundtracks for games and sound design for interfaces, and music production for artists all over the world.

Evgenii Piankov - Keyboardist, producer, composer, sound designer, arranger, and multi-instrumentalist. Throughout his career, he has worked in various roles with different popular artists.

Aleksei Siubaev (Mark Borzer) - Musician, ( from True Flavas Band, and Great Rvivers ) producer and DJ operating at the intersection of funk, soul, avant-jazz, post-rock and experimental music. Alongside the collaborative projects, he develops a solo practice focused on hybrid forms and textural experimentation.

Matt Gold and Dustin Laurenzi present Devotional Fade, a collaborative record of electroacoustic rhythmic improvisations – equal parts meditation and dance, released on We Jazz Records, 24th April. Laurenzi and Gold, key collaborators in the Chicago creative scene and with genre spanning artists such as Bill Callahan and Makaya McCraven, step forward here with a major artistic statement, a product of extended improv sessions capturing the duo's hypnotic interplay. This is the sound of two of Chicago's most vibrant instrumental voices listening deeply, communing in sound.

Recorded in Laurenzi's attic studio, Devotional Fade emerged from a series of weekly sessions over the course of a single month. The duo kept the tape rolling continuously each day and selected a number of immersive sonic worlds to present, oscillating between patient, sacred minimalism and wild, dancefloor-worthy combustion.

The pair set two parameters to heighten the sessions' stakes: editing would be kept to a minimum, and a rule of "no pitched overdubs" was put in place – ensuring that all melodic and harmonic gestures would have to be committed in real time. Laurenzi and Gold held true, only sparingly adding a stray shaker or brush to these already largely complete improvisations. Devotional Fade is imbued with quiet propulsion and ecstatic repetition.

Matt Gold is a guitarist, multi-instrumentalist, songwriter, and producer based in Chicago, IL. His work pulls from diverse traditions of electric and acoustic music. Matt has performed across six continents and contributed to over fifty recordings as a collaborator and instrumentalist, garnering critical praise from Pitchfork for playing "one of the most exhilarating guitar solos of recent memory, in any genre." Gold has several long-running collaborative bands spanning jazz, folk, experimental, and chamber music including Sun Speak, Storm Jameson, and Tin. He performs and records with an array of creative artists including Makaya McCraven, Marquis Hill, Jamila Woods, Natalie Merchant, and Greg Ward. Gold co-curates the record label and concert series Flood Music.

Chicago saxophonist/multi-instrumentalist Dustin Laurenzi has developed a personal approach to improvisation and composition that has garnered the attention of the city's creative music community. Laurenzi's music is inspired and informed by jazz, folk, and improvised music. His inventive improvisational sensibilities have made him a sought-after musician in many circles of Chicago's vibrant music scene and beyond. Laurenzi has toured extensively with songwriter Bill Callahan and is featured on Callahan's 2024 release Resuscitate! He has toured with Grammy award-winning artist Bon Iver and appears on the band's critically lauded 2016 release 22, A Million. Laurenzi has also performed with Jeff Parker & The New Breed, Marquis Hill, Makaya McCraven, Matt Ulery, Japanese Breakfast, and This Is The Kit.

There is an abruptness to waking up to the sight of the other person’s back, a quiet violence hidden in the impression of intimacy, that’s leaving an aftertaste of emptiness. The feeling of losing oneself completely in a love that is given but never returned. Or the slower, less immediate one - the gradual disintegration of a world into which so much was once invested.

Love, Diskito is like a worn out overdubbed cassette found in a drawer, with its underlying tracks flickering between contrasting emotional states. Written, produced and mixed by GbClifford, the release follows up on the elusive, multifaceted output of the Prague-based experimental artist, who dresses fleeting glimpses of youthful yearning, sentiment and fragility in the blunt apparel of distortion and immediacy.

Drawing from their idiosyncratic, collage-like approach to music production, GbClifford condenses on Love, Diskito a varied palette of field recordings, samples, distorted instruments and ambient sounds. They resemble doodles in the corner of a school notebook, tightly overlapping with the evocative, minimalistic artwork by Czech artist Kateřina Šípová.

The guidance of GbClifford’s personless, at times highly decomposed vocals modulates the emotional urgency of the recording and reflects on the past. “I’m so close to relapsing, I’m here for you, closer than ever,” echoes in the elusive track So Only Yours, carrying the undercurrents of surrendering to the sole necessity of caring, even at the cost of individual ache. While the album does not forgo its earthbound, bare setting, there is something deeply pastoral and sky-gazing in the layered, multi-pitched vocals, horn-like tones and sense of space that Love, Diskito evokes.

Man nehme eine Prise Rock, füge ein paar Hip-Hop-Einflüsse hinzu und kröne das Ganze mit starken Texten. Man denke an Nu-Metal mit viel weniger Metal und einer funkigeren Note. So klingen die 90er-Jahre-Legenden Senser. Wenn du diesen Sound magst, wirst du die Neuauflage 2023 ihres Debütalbums »Stacked Up« lieben, die das ursprüngliche, neu gemasterte Album plus ungehörte Bonustracks auf zwei Discs enthält.

XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

Darwin Chamber is a veteran of the prog game, and now that sound is very much back en vogue, it's no wonder new generations are falling for the American's sounds. Back in March, he dropped this EP which was inspired by a San Fran acid trip, and it became an instant classic that meant the initial translucent yellow vinyl edition, limited to 303 copies, soon sold out. Now it reappears on black wax and obviously it still bangs. 'The Acid Test (DJ Spun mix)' is a heavy, raw jam with plenty of trippy details, warped pads and vocals that come and go so subtly you can't really be sure they're there. 'Never Coming Down' is a deep and dark workout with cold analogue hits and paranoid vocals, then '25th Century Acid Cat' is a little brighter with its synths but no less of a mind-fuck. 'Get Down' is gurgling, coruscated, sleazy and mid-tempo acid techno for the freaks. Brilliant.