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Bei ihrer Ankunft in den USA anlässlich der ersten landesweiten Tournee von The Tubs sagte Frontmann Owen Williams gegenüber dem ,New Yorker": ,Wir sind hier, um das Land zu vereinen. Wir werden so etwa dreimal kommen. Bis dann, denke ich, wird dieser Ort anfangen zu heilen." Und genau das taten sie dann auch voller Freude: Sie quetschten sich in einen Transporter und durchquerten die Vereinigten Staaten kreuz und quer, um den Massen ihren literarischen, verschlafenen, lebensmüden, ,Nacht-deines-Lebens`- Hochseilakt zu präsentieren, als dieser am dringendsten gebraucht wurde. Den Tubs hat es nie an Ehrgeiz gefehlt - auf ,Hard Life" geht es ihnen darum, das ,Tub-ullar"-Erlebnis zu verkomplizieren. Nachdem sie ihre Chemie über zwei vorherige Alben, Hunderte von Auftritten und ein ständig wachsendes Universum von Bands aus dem Londoner Gob Nation Collective (The TSG, Sniffany & The Nits, Spike und Garden Centre) perfektioniert haben, dringt die in London ansässige keltische Jangle-Boyband - Williams (Gesang, Gitarre, Keyboards, Bass), Dan Lucas (Gitarre), Taylor Stewart (Schlagzeug) und Max Warren (Bass) - dringen noch tiefer in das schillernde Herz des virtuosen Indie-Rocks vor. Zu ihnen gesellen sich die regelmäßigen Mitstreiter Lan McArdle (Gesang), George Nicholls (Gitarre) und Rachel Kenedy (Keyboards), die alle schon seit den Tagen von Joanna Gruesome an verschiedenen Projekten im Umfeld von ,The Tubs" mitgewirkt haben; doch das Geheimnis der Üppigkeit von ,Hard Life" ist die Mitwirkung des Geigers Chris Haigh, eines Musiklehrers und Session-Musikers, der mit dem Steps-Hit ,5, 6, 7, 8" unauslöschliche Spuren im britischen Pop hinterlassen hat. In Anlehnung an Williams' Einsatz von Trillern in den Gesangsmelodien untermalt Haighs Geige den wehmütigen Gesang des Sängers wie ein blauer Fleck. Bei ,Stoop to Me", dem folkigsten und klimperndsten Popsong des Albums, ergänzen Haighs Licks Williams in seinen selbstironischsten Momenten - das schiefe Lächeln eines Mannes, der versucht, nicht zu zeigen, wie sehr ihn die unerwiderte Liebe verletzt. Beim Album-Opener und Titelsong ,Hard Life" ist es die Süße der aufsteigenden Geigenlinien im Mix, die die Härte von Williams' Texten mit den mitreißenden Hymnen von The Tubs verbindet. Die harte Linie, die Williams hier und an anderen Stellen auf ,Hard Life" einschlägt, stellt die Vorstellung vom typischen Tubs-Song weiter auf den Kopf. Die Figur, die den Hörern von ,Cotton Crown" und ,Dead Meat" vertraut ist - um Williams: ,die Nabelschau über romantische Erniedrigung, Londoner Elend und die Demütigungen von Trauer und Zwangsstörungen" - ist nach wie vor präsent, doch ebenso gibt es eine zweite Stimme, die härter und erfahrener ist. ,Die zweite Figur hat nicht viel Zeit für die erste", erklärt Williams, ,und hält ihm oft seine Selbstgefälligkeit und Unreife vor; manchmal zu Recht, manchmal zu Unrecht." Es ist dieser Nörgler, der auf der Lead-Single ,Who's Gonna Love You Now?" im Mittelpunkt steht. Seine Fragen - von der im Titel genannten bis hin zu konkreteren Sorgen wie ,Wer bezahlt die Miete?" - stehen in spöttischem Gegensatz zu Ideen wie dem Umzug in die Stadt und dem Beginn eines wirklich erfüllten Lebens. Obwohl Williams den Griesgram spielt, ist der Song ein echter Raver, bei dem Gitarren über einem von Orgelklängen erhellten Horizont erklingen. ,Es ist dein Leben", singt Williams, während das Leben unter ihm vor sich hin tuckert und dabei außerordentlich lebhaft klingt. Er hätte wohl wenig Mitgefühl für den liebeskranken Williams aus ,If You Don't Love Me" - verdammt, seine gesamte Existenz wirkt wie eine Warnung, dass die Art von romantischen Verstrickungen, unter denen man in jungen Jahren leidet, in Einsamkeit, Scheitern und einem Posteingang enden wird, der mit ungelesenen Substacks überfüllt ist. Auf ,Hard Life" streiten diese Stimmen, bedrängen sich gegenseitig, verschmelzen miteinander und lösen sich wieder voneinander, manchmal sogar im Laufe eines einzigen Songs. Sie sind zwei Seiten derselben Medaille, Menschen, die Trauer, Enttäuschung, Reue und Scham erlebt haben und als veränderte Menschen aus den Trümmern hervorgehen. ,Mich interessiert, wie Mitgefühl und Geduld für jemanden, der leidet, immer irgendwann zu Ende gehen", sagt Williams. ,Wie das sowohl etwas Gutes und Befreiendes als auch etwas Trauriges und Brutales sein kann. Aber im Grunde sind es einfach nur Popsongs." Exquisite, unwiderstehliche Popsongs. Man höre sie sich so lange an, bis die Heilung beginnt, und dann noch einmal.

Bei ihrer Ankunft in den USA anlässlich der ersten landesweiten Tournee von The Tubs sagte Frontmann Owen Williams gegenüber dem ,New Yorker": ,Wir sind hier, um das Land zu vereinen. Wir werden so etwa dreimal kommen. Bis dann, denke ich, wird dieser Ort anfangen zu heilen." Und genau das taten sie dann auch voller Freude: Sie quetschten sich in einen Transporter und durchquerten die Vereinigten Staaten kreuz und quer, um den Massen ihren literarischen, verschlafenen, lebensmüden, ,Nacht-deines-Lebens`- Hochseilakt zu präsentieren, als dieser am dringendsten gebraucht wurde. Den Tubs hat es nie an Ehrgeiz gefehlt - auf ,Hard Life" geht es ihnen darum, das ,Tub-ullar"-Erlebnis zu verkomplizieren. Nachdem sie ihre Chemie über zwei vorherige Alben, Hunderte von Auftritten und ein ständig wachsendes Universum von Bands aus dem Londoner Gob Nation Collective (The TSG, Sniffany & The Nits, Spike und Garden Centre) perfektioniert haben, dringt die in London ansässige keltische Jangle-Boyband - Williams (Gesang, Gitarre, Keyboards, Bass), Dan Lucas (Gitarre), Taylor Stewart (Schlagzeug) und Max Warren (Bass) - dringen noch tiefer in das schillernde Herz des virtuosen Indie-Rocks vor. Zu ihnen gesellen sich die regelmäßigen Mitstreiter Lan McArdle (Gesang), George Nicholls (Gitarre) und Rachel Kenedy (Keyboards), die alle schon seit den Tagen von Joanna Gruesome an verschiedenen Projekten im Umfeld von ,The Tubs" mitgewirkt haben; doch das Geheimnis der Üppigkeit von ,Hard Life" ist die Mitwirkung des Geigers Chris Haigh, eines Musiklehrers und Session-Musikers, der mit dem Steps-Hit ,5, 6, 7, 8" unauslöschliche Spuren im britischen Pop hinterlassen hat. In Anlehnung an Williams' Einsatz von Trillern in den Gesangsmelodien untermalt Haighs Geige den wehmütigen Gesang des Sängers wie ein blauer Fleck. Bei ,Stoop to Me", dem folkigsten und klimperndsten Popsong des Albums, ergänzen Haighs Licks Williams in seinen selbstironischsten Momenten - das schiefe Lächeln eines Mannes, der versucht, nicht zu zeigen, wie sehr ihn die unerwiderte Liebe verletzt. Beim Album-Opener und Titelsong ,Hard Life" ist es die Süße der aufsteigenden Geigenlinien im Mix, die die Härte von Williams' Texten mit den mitreißenden Hymnen von The Tubs verbindet. Die harte Linie, die Williams hier und an anderen Stellen auf ,Hard Life" einschlägt, stellt die Vorstellung vom typischen Tubs-Song weiter auf den Kopf. Die Figur, die den Hörern von ,Cotton Crown" und ,Dead Meat" vertraut ist - um Williams: ,die Nabelschau über romantische Erniedrigung, Londoner Elend und die Demütigungen von Trauer und Zwangsstörungen" - ist nach wie vor präsent, doch ebenso gibt es eine zweite Stimme, die härter und erfahrener ist. ,Die zweite Figur hat nicht viel Zeit für die erste", erklärt Williams, ,und hält ihm oft seine Selbstgefälligkeit und Unreife vor; manchmal zu Recht, manchmal zu Unrecht." Es ist dieser Nörgler, der auf der Lead-Single ,Who's Gonna Love You Now?" im Mittelpunkt steht. Seine Fragen - von der im Titel genannten bis hin zu konkreteren Sorgen wie ,Wer bezahlt die Miete?" - stehen in spöttischem Gegensatz zu Ideen wie dem Umzug in die Stadt und dem Beginn eines wirklich erfüllten Lebens. Obwohl Williams den Griesgram spielt, ist der Song ein echter Raver, bei dem Gitarren über einem von Orgelklängen erhellten Horizont erklingen. ,Es ist dein Leben", singt Williams, während das Leben unter ihm vor sich hin tuckert und dabei außerordentlich lebhaft klingt. Er hätte wohl wenig Mitgefühl für den liebeskranken Williams aus ,If You Don't Love Me" - verdammt, seine gesamte Existenz wirkt wie eine Warnung, dass die Art von romantischen Verstrickungen, unter denen man in jungen Jahren leidet, in Einsamkeit, Scheitern und einem Posteingang enden wird, der mit ungelesenen Substacks überfüllt ist. Auf ,Hard Life" streiten diese Stimmen, bedrängen sich gegenseitig, verschmelzen miteinander und lösen sich wieder voneinander, manchmal sogar im Laufe eines einzigen Songs. Sie sind zwei Seiten derselben Medaille, Menschen, die Trauer, Enttäuschung, Reue und Scham erlebt haben und als veränderte Menschen aus den Trümmern hervorgehen. ,Mich interessiert, wie Mitgefühl und Geduld für jemanden, der leidet, immer irgendwann zu Ende gehen", sagt Williams. ,Wie das sowohl etwas Gutes und Befreiendes als auch etwas Trauriges und Brutales sein kann. Aber im Grunde sind es einfach nur Popsongs." Exquisite, unwiderstehliche Popsongs. Man höre sie sich so lange an, bis die Heilung beginnt, und dann noch einmal.

Funky DL returns with Camden to Covent Garden, an eight-track instrumental journey through two of London’s most culturally influential locations. Camden’s history of independent music, fashion and creative expression meets Covent Garden’s legacy as a centre for performance and the birthplace of a defining era of UK Hip-Hop culture. Built through the foundations of hip-hop production after digging, sampling, chopping and rearranging, the album transforms fragments of sound into a cohesive musical journey. Featuring titles inspired by the spirit and character of these locations, including “Lock Keeper,” “Chalk Lines,” “Amy’s Dream,” “Connaught Jazz” and “Acres Long” A refined, atmospheric and deeply crafted jazz hip-hop instrumental vinyl release from one of the UK’s respected independent Hip-Hop producers.

British composer Simon Goff interprets space, both within ourselves and the objects that surround us with Interior Realms - vol.1; a wondrous, contemplative work of electronic chamber music.

The idea first came from the philosophical idea underpinning the book Interior Realms, published by Theatrum Mundi in 2021. In it, a collection of essays reflects upon architecture’s influence on the human spirit. It challenges us to think not only about music as space, but also about how architecture can shape our ideas of composition. It also asks us to think about how space can make us experience music internally differently.

Interior Realms, the album, inhabits this idea and creates a dreamlike, atmospheric arch between its outer and inner parts. Joyous, immense and light-filled compositions sits side by side with the almost pure silence and introspect of its inner core. Goff wanted to create parallel compositional voices, performing them in various locations, each offering its own sonic character, unique spatial sounds, and reverb. Together with his long-time collaborator, Lynn Wright, the album was recorded in the Großer Wasserspeicher, Berlin's oldest water tower, and at the Grunewaldkirche, a location known amongst others from being the birthplace of many great works by artists such as Nils Frahm, Dustin O´Halloran and more. Cellist Anne Müller appears alongside Goff’s violin and viola on several pieces as they improvised and interacted with each other in the resonance of the space.

In addition to his own endeavors, Simon composes primarily for film and has collaborated with Hildur Guðnadóttir, Jóhann Jóhannsson and Peter Broderick among others. His collaborators has left an inspiring mark on him, all while standing firmly on his own feet with grand intention and results as heard on this absolutely brilliant atmospheric work.

Silver Vinyl
Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

orange in white splatter coloured vinyl

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.

That initial fearlessness has since fueled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music.

Diese Neuauflagen enthalten neu remastertes Audiomaterial: Toningenieur Kevin Vanbergen hat sich erneut die ursprünglichen analogen Bänder der Band vorgenommen, um atemberaubende neue Master zu erstellen, die auf spannende Art und Weise weitere Facetten dieser absoluten Klassiker der Musikgeschichte offenbaren. "Bossanova" ist das dritte Album der Pixies. Die Band arbeitete weiterhin mit Gil Norton zusammen, nachdem die Zusammenarbeit an ihrem mit Platin ausgezeichneten zweiten Album "Doolittle" so erfolgreich verlaufen war. Als ihr drittes Album in ebenso vielen Jahren war das Jahr 1990 eine besonders fruchtbare Zeit für die Band, da Kim Deal auch mit The Breeders Erfolg hatte, die ihr Debütalbum "Pod" nur wenige Monate zuvor veröffentlicht hatten. Mit den Singles "Allison" (eine Hommage an den Jazz- und Blues-Pianisten Mose Allison), "Dig For Fire" und "Velouria" sowie dem ersten Cover-Song auf einem ihrer Alben, "Cecilia Ann" (im Original von The Surftones), zeigte "Bossanova" eine weniger ursprüngliche Seite der Band, wobei Surf- und Space-Rock in den Vordergrund traten. Textlich ist Black Francis noch rätselhafter, mit einem wiederkehrenden Science-Fiction-Thema, das sich durch das gesamte Album zieht und wiederum Vaughan Olivers klassisches Planetendesign für das Cover beeinflusste.

Donkey Inching', the Cellophane Suckers' ninth studio album, is set for release in September 2026. Unwavering and stubborn as a donkey, the Cellophane Suckers follow their very own path at their very own pace. The band, decried as "lead-swallowing" high-speed rock 'n' rollers, stoically let chords linger and celebrate feedback, reducing rather than harmonising, then picking up the speed when you least expect it and slowing down shortly afterwards to roll on in a Dadaist fashion the drums become a machine, the guitars increasingly embodying yin and yang. With "Execution Day", they pay tribute to Spencer P Jones, whom one might well cite as a musical influence, and Neil Young is also honoured, whose Wall of Sound goes down well with the Suckers. The fact that a text by Charles Bukowski is also "set to music" may be down to their love for red wine "Donkey Inching"... creeps stoically and stubbornly, like a donkey, into your ears. In July 2026, the Cellophane Suckers will once again be touring Brittany, and in September they'll be hosting a release party at the Sonic Ballroom in Cologne. Further concert weekends are planned for autumn/winter 2026...

Mighty Music is proud to announce the release of "Electrifyed", the brand-new studio album from NWOBHM pioneers TYGERS OF PAN TANG. The album finds the legendary British metal act returning to a heavier and more aggressive sound while retaining the melodic identity that has defined the band throughout its celebrated career. ""The heavier, the better" that was our mantra throughout the writing and recording of "Electrifyed"", singer Jack Meille comments about the writing process of the record. "We wanted to rediscover the pleasure of being driven by the powerful force of a heavy riff without losing that melodic touch all great Tygers songs have". Written with a clear artistic vision from the outset, "Electrifyed" draws inspiration from the raw energy of the band's early years, particularly their landmark debut album "Wild Cat", while showcasing the chemistry and creativity of the current line-up. The result is a collection of songs built around powerful riffs, memorable melodies and a renewed commitment to the heavy metal traditions the band helped establish. The album also introduces guitarist John Footitt on record for the first time. Joining founding member Robb Weir, Jack Meille, drummer Craig Ellis and bassist Huw Holding, Footitts guitar skills fit the album's muscular and contemporary sound. To achieve the sonic impact envisioned by the band, Tygers of Pan Tang worked closely with producer and musician Marco Angioni, a longtime friend and collaborator who helped translate the group's ambitions into a cohesive and powerful final product. The album artwork was once again entrusted to Andy Pilkington of Very Metal Art, whose striking cover concept perfectly captures the spirit and energy of "Electrifyed".

Transparent Orange w/ blue splatter vinyl. Mighty Music is proud to announce the release of "Electrifyed", the brand-new studio album from NWOBHM pioneers TYGERS OF PAN TANG. The album finds the legendary British metal act returning to a heavier and more aggressive sound while retaining the melodic identity that has defined the band throughout its celebrated career. ""The heavier, the better" that was our mantra throughout the writing and recording of "Electrifyed"", singer Jack Meille comments about the writing process of the record. "We wanted to rediscover the pleasure of being driven by the powerful force of a heavy riff without losing that melodic touch all great Tygers songs have". Written with a clear artistic vision from the outset, "Electrifyed" draws inspiration from the raw energy of the band's early years, particularly their landmark debut album "Wild Cat", while showcasing the chemistry and creativity of the current line-up. The result is a collection of songs built around powerful riffs, memorable melodies and a renewed commitment to the heavy metal traditions the band helped establish. The album also introduces guitarist John Footitt on record for the first time. Joining founding member Robb Weir, Jack Meille, drummer Craig Ellis and bassist Huw Holding, Footitts guitar skills fit the album's muscular and contemporary sound. To achieve the sonic impact envisioned by the band, Tygers of Pan Tang worked closely with producer and musician Marco Angioni, a longtime friend and collaborator who helped translate the group's ambitions into a cohesive and powerful final product. The album artwork was once again entrusted to Andy Pilkington of Very Metal Art, whose striking cover concept perfectly captures the spirit and energy of "Electrifyed".

Oliver Baroni, stand-up bassist and Hillbilly Moon Explosion co-vocalist has a new side-project with a flexible group of musicians, under the moniker The Baroni Blow-Up. In keeping with the Englishman"s worldwide rock"n"roll viewpoint from his base in Switzerland, it"s an international affair. The band-members are American, though two were found in London. Guitarist Andy Kandil, a session favourite and veteran of psychobilly legends Mad Sin amongst others, and drummer Tuck Nelson, who also co-engineered recordings in his London Echo Ray Studio. On vocals is Shy But Flyy, the celebrated blues and jazz singer from Long Beach, CA. The A-side song "I Wanna" is an obscure punk song original by Berlin band Hot Boogie Chillun; the flip "Free" is a Shy But Flyy original. The single"s artwork originated in Spain.

One year earlier, 50 years ago this December, THE HEARTBREAKERS arrived in London to join the Sex Pistols on the "Anarchy" tour. They spent most of 1977 there, recording "L.A.M.F." and cementing their status as elder statesmen of the punk movement. This last date of their 1977 European tour was to be their very last as a band - until the reunions. Drummer Jerry Nolan had already jumped ship; his substitute is The Clash"s Terry Chimes. The gig was filmed for a movie that was never to be - this is the soundtrack recording.

MEMPHIS, TN — Fat Possum Records and Hi Records are proud to announce the first vinyl pressing in half a century of Ann Peebles' 1975 album Tellin' It, fully remastered and recovered from the Hi Records vault, where it had sat untouched for decades. Available on vinyl in stores September 11, 2026 and can be pre-ordered now and also available streaming everywhere now. 
Peebles was at the height of her career when she recorded Tellin' It — coming off her biggest hit, "I Can't Stand the Rain," the year before. Produced by Willie Mitchell at Royal Studios in Memphis, with the grooves that defined the label's sound, backed by Howard Grimes' drumming and the Memphis Horns. 

"Peebles and Mitchell don't just recast "Rain" 10 different times—instead, they lean into the supple support laid down by the Hi Rhythm Section, who have plenty more uptempo grooves to offer." Andy Beta, Bandcamp
The original master tapes were sent to John Nicholson at Nashville Tape Transfer for their first listen in fifty years. From there, the project stayed close to home: remastered by Clay Jones in Taylor, MS, then back to Memphis for lacquers cuts by Jeff Powell (Take Out Vinyl), and was pressed & plated at Memphis Record Pressing.

Jess By The Lake’s fully analog sophomore album out in September Jess By The Lake’s highly anticipated second full-length album, HUMAN, will be released on September 11th via Svart Records. Jasmin Lempinen, the former vocalist of Jess And The Ancient Ones, is now focusing on her solo career and has this to say about the upcoming album. “This album is an analog counterattack and a celebration of live band music. It’s a statement against everything that modern society seems to be churning out from every nook and cranny: disposable, soulless, plastic, mindless output meant to be swallowed without question. The album is a carefully crafted work of art from start to finish and a tribute to both its creators and its listeners. In making it, we’ve strived for the best possible performance and sound quality that we were capable of at the moment of recording. And in that moment, we truly lived and channelled all our energy into it, which we hope will also reach the listeners. It unashamedly pays homage to the past, to the traditions of rock music.” The band began working on the album in 2019, when the first songs were written, and it was recorded live on magnetic tape in the summer of 2023 at the legendary Höyrybaari in Lapinlahti, Finland. The recording was handled by Tommi Saikkonen and the band’s guitarist Sampo Leksis, who also mixed the album. The old railway company’s log warehouse resonated beautifully, and at times the tape also picked up the rumbling of a train on the tracks right behind where the band was playing. However, making the album took time due to changing life circumstances and new additions to the family. Keeping the album entirely analog has also delayed the process

Jess By The Lake’s fully analog sophomore album out in September Jess By The Lake’s highly anticipated second full-length album, HUMAN, will be released on September 11th via Svart Records. Jasmin Lempinen, the former vocalist of Jess And The Ancient Ones, is now focusing on her solo career and has this to say about the upcoming album. “This album is an analog counterattack and a celebration of live band music. It’s a statement against everything that modern society seems to be churning out from every nook and cranny: disposable, soulless, plastic, mindless output meant to be swallowed without question. The album is a carefully crafted work of art from start to finish and a tribute to both its creators and its listeners. In making it, we’ve strived for the best possible performance and sound quality that we were capable of at the moment of recording. And in that moment, we truly lived and channelled all our energy into it, which we hope will also reach the listeners. It unashamedly pays homage to the past, to the traditions of rock music.” The band began working on the album in 2019, when the first songs were written, and it was recorded live on magnetic tape in the summer of 2023 at the legendary Höyrybaari in Lapinlahti, Finland. The recording was handled by Tommi Saikkonen and the band’s guitarist Sampo Leksis, who also mixed the album. The old railway company’s log warehouse resonated beautifully, and at times the tape also picked up the rumbling of a train on the tracks right behind where the band was playing. However, making the album took time due to changing life circumstances and new additions to the family. Keeping the album entirely analog has also delayed the process

Friends of Jesse Malin: I Would Do It For You – Vol. 1 brings together musicians from the worlds of rock, punk, Americana, and the underground to celebrate one of modern rock's most respected songwriters. "I've been a fan of Jesse Malin for decades now so I was thrilled when Valley Lodge was asked to be a part of the tribute album,”says Dave Hill. The song originally appeared on D Generation’s 1996 album, No Lunch. "'Too Loose' has always been one of my favorites—a great and timeless rock song that we had a blast re-interpreting." Produced by Lyle Hysen, Friends of Jesse Malin: I Would Do It For You Vol 1. is the first in a two-volume series of nearly 80 songs (!) recorded by Jesse’s friends and community. Proceeds from the album will benefit Malin’s healthcare as he recovers from a paralyzing spinal stroke. Vol. 2 will feature Thurston Moore, Willie Nile, and many more. "Friends, collaborators, and artists from every corner of Jesse's world wanted to be involved," says Hysen. "The songs just kept coming. What started as a single collection quickly grew into something much bigger, encompassing almost the entire Malinverse. We're excited that this is only the first chapter." The compilation features contributions from Amanda Cross, Bebe Buell, Trapper Schoepp, Valley Lodge, Danny Sage, James Maddock, Gogol Bordello, Ursa Minor, Sami Yaffa, Prima Donna, Das Damen, Rene & Grace Mata, Dead Milkmen, Cat Popper & Sasha Dobson, Robinlee Garber, The Seashore Sharks featuring Jesse and Alexei Sanoff, Derek Cruz, Jill Fiore, Matt Madly & Co., Davey La, American Dream, Joe McGinty, Randy Schrager, Stephen Chopek, Ben Foley, and Kelley Swindall. Friends of Jesse Malin: I Would Do It For You – Vol. 1 will be available digitally, on vinyl, and as a deluxe double-CD edition. The vinyl release features twelve tracks across two sides and includes a download code for the complete digital collection, while the CD edition presents all 26 songs across two discs.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Time Heals Everything is the fifth studio album from Blu and Exile, a duo that first connected in 2007 and has spent nearly two decades refining a chemistry that continues to evolve. The ten-track LP follows 2024’s Love (the) Ominous World and leans deeper into their core strengths: soul-forward production, incisive writing, and left-field choices that feel instinctive rather than experimental.
The album opens with “Soul Unusual,” a mission statement that builds on the lineage of “Soul Provider” and “Soul Amazing,” reframed through Blu’s present-day perspective. “The word special comes to mind,” Blu explains. “This is my perspective of those songs now.” Exile adds that the record went through multiple iterations before landing in its final form. “Once I changed the beat, it really came together for me, and his words hit differently,” he says, setting the tone for a project rooted in refinement and intention.
“Crumbs” pairs Blu with Rome Streetz and ICECOLDBISHOP on a golden era-inspired backdrop, taking aim at the ‘crumbs’ people are expected to accept from corrupt systems of power. The track underscores one of the album’s central themes: clarity through experience, and the perspective that comes with time.
Time Heals Everything finds Blu and Exile honoring their foundation while continuing to push forward, proving once again that soul and risk-taking can coexist without compromise. “We took a different approach with the direction while still staying true to the culture our music has built with our fan base,” Blu says. In 2026, that culture remains alive, evolving, and resonant as ever.

With the album 'El Ritmo' Delinquent Habits mark their 30th anniversary with 11 tracks blending West Coast vibes and Latin spirit. Featuring guests like Sick Jacken and Reverie, the album celebrates resilience, culture, and community, carrying the unmistakable spirit of East L.A. worldwide and underlining the band’s timeless impact on global hip-hop and the voice of the Latino community.

The Galvanizer/Morbific Split, once trapped in cassette‑only form, erupts again in a remastered version with a blast of rancid Finnish death metal for the first time on CD!
Two of the filthiest underground abominations collide in a whirlwind of chainsaw riffs and grave‑stench vocals and if you missed it the first time on cassette, this is your chance to seize a slab of pure decay before it sinks back into the crypt!
After having paid all their dues in the underground with tapes and eps like we were used back in the 90s, Galvanizer have quickly become one of the most promising underground acts around, their old school approach perfectly combines with their youthful energy and their sound will perfectly please both fans of old school finnish death metal and more modern death-grind approaches.
After "Sanguine Vigil" and "Prying Sight Of Imperception" the band is now ready to embark on a European tour with Malformed and finally launch the third, long awaited, third full length album!
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Morbific is a death‑metal trio from Kitee, Finland, formed in 2020 by brothers Onni and Olli together with Jusa. They play a rotted, old‑school style steeped in horror, filth and Finnish morbidity, drawing on the spirit of early Autopsy and Undergang. Their debut demo and first album "Ominous Seep of Putridity" quickly pushed them to the forefront of Finland’s new wave of grave‑soaked death metal, followed by "Squirm Beyond the Mortal Realm" and several splits that cemented their reputation for raw, putrid heaviness.
For fans of Xysma, Autopsy, Machetazo, Undergang.

Faith and Fate, Destiny and Devotion, Dark Nights and Dazed Illuminations. Josephine raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album. Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure. Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself.

Faith and Fate, Destiny and Devotion, Dark Nights and Dazed Illuminations. Josephine raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album. Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure. Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself.

Tash, founding member of Tha Alkaholiks, returns with a new EP that brings his signature voice, charisma, and West Coast energy back to the forefront. Known for sharp lyricism, humor, and effortless flow, Tash delivers six tracks that connect his legacy to a fresh chapter.
The project's centerpiece is the "Attention is a Drug" remix, a stacked lineup featuring Sway Calloway, King Tee, Defari, Tha Liks, Xzibit, Will.i.am, and Q-Tip. The EP also includes a classic Wake Up Show remix, bringing in DJ Revolution, Sway and Tech, and the Likwit Crew.
Pressed on limited clear vinyl, this is a collector's release built for Tash's core audience: Tha Alkaholiks fans, 90s and underground hip-hop heads, and Fat Beats regulars who've been true fans since day one.

If you’re as obsessed with unfairly unheralded bands as we are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot Records proudly announce GANDALF’s 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of THE LEFT BANKE, KALEIDOSCOPE, THE MILLENNIUM, and THE ZOMBIES, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond’s “Sweet Caroline” and Van Morrison’s “Brown Eyed Girl”), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band’s PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you’ve got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: “Put the needle in the groove, sit back, and take the trip with GANDALF.” Enough said.

The bleak, hard-driven third LP by the Wipers (originally released in 1983) offers Greg Sage at his most chased and breathless, lashing out with sharp staccato notes as if melody were his only defense. The 3rd LP from the PDX punks finds them tightening up their sound to create what is arguably the Wipers' definitive album statement. Kurt Cobain listed it in his top 50 albums of all time. A distant cousin of the preceding Youth of America but undoubtedly no less excellent and no less venomous, Over the Edge is a return to the easily digestible song lengths of Is This Real?; however, it all but leaves that debut in its wake. On the strength of some brave/smart radio stations that decided to play this album's "Romeo" (a propulsive horn-flecked slammer in the vein of "Youth of America"), Wipers solidified their status as a certifiable force in the American underground of the early '80s. Songs like "Messenger" and "What Is" show Greg Sage's increasing skill as a pop songwriter. Despite the fusion of punk and pop, the record hardly mirrors the bands that would later be called punk-pop. In fact, this collision of the two elements makes what followed decades later seem twee.

They live! If this summer’s endless bout of heatwaves seems an odd setting for a new Altar Of Eden record, maybe we should consider that the fast-accelerating destruction of life on Earth is an appropriate setting for more deathrock. The eagle-eyed among you might recognise guitarist Ben Redman from recent lineups of symphonic noiseniks …And You Will Know Us By The Trail Of Dead, while vocalist Albert Efraim has been making a thrillingly unholy racket with Texan hardcore faves like the Creamers and Nosferatu - and they both played together in gothed-out sensations Altar Duata before that band’s untimely demise. Altar Of Eden have thus far produced two mighty LPs of smartly chilling post-punk for Drunken Sailor - 2020’s wondrous The Grotto Screams and 2022’s superb follow-up Chimeras - but now they return with a sequel to their debut: The Grotto Screams II.

In keeping with their previous offerings, it’s superb. Redman’s guitar is brittle and minimal, but lurches into eardrum-lacerating strafes of deafening, brutal noise without warning, while Jake Cloud brings driving, pulsating basslines to the fore, dripping with the influence of Killing Joke’s Youth as they hold it all together somehow. Efraim intones his lyrics solemnly over the top, drenched in reverb and tucked deep into the mix; as much a texture as a means of delivering hooks. He’s cited the poetry of Jean-Pierre Duprey and Rene Daumal as influences in the past, and tracks like The Erasure and Light And Shade certainly contain their own suffocating sense of surrealism and obfuscated reality. It all builds to the epic finale of closing track The Moon, which handles their signature tricks in moodily grandiose fashion - a bleakly compelling version of post-punk that sears and soars even as it chills the heart. Arguably Duprey’s most famous line goes, “I shouldn't have got stuck in this galaxy,” and as humanity brings about its own destruction, it’s worth suggesting that this applies to us all. But at least Altar Of Eden bring a hell of a soundtrack while we all burn.

Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.

On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.

The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.

Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.

Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.

Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.

On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.

The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.

Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.

Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.

Piano Works 2016-2026 collects fourteen impromptu pieces by composer and producer John Carroll Kirby, written whenever he had the opportunity to sit at a piano while on the road. These mostly solo works for piano were recorded in Los Angeles, Rome, Tokyo, Wollongong (Australia), rural New Zealand and London. Piano Works marks a departure from the full-band sound of recent albums Blowout and Septet, which Kirby has spent the past years performing live around the world. The album is a study in piano repertoire: Baroque, Romantic, Impressionist, jazz, minimalist, atonal, and more. Most of the pieces have an impromptu feel - improvised, or meant to sound improvised, or at least written in one sitting. The collected pieces on Piano Works are a document of Kirby's life as a piano player and touring musician, and "serve as the melodic / harmonic lexicon for what would inform all my other compositions of the past ten years." John Carroll Kirby has scored two feature films, and his solo piano song "Walking Through a House Where a Family Has Lived" formed the score for Oscar-nominated short film Retirement Plan.Fans of John Carroll Kirby's cult favourite solo album Conflict will find plenty to love in Piano Works 2016-2026.

There is an important difference between "mature" club vibes (leather porkpie hats) and "adult" club vibes (a post-ego-death experience of the world through the eyes of an Eames chair). Extrawelt's Jamborghini EP exemplifies the latter in ways that extend beyond sophisticated wordplay*. Well beyond.

Sophisticated electro-techno hybrids occupy an incredibly dangerous space. One false move and you corner listeners into an unsolicited conversation about "gain staging." The four tracks on the vinyl EP thread the needle in thrilling fashion, and then use that needle to stab at the sweet spot between sentient cell tower admin software vibes and the kind of architecture hot people like.

And with the digital exclusives, we've once again saved you from the depths of "bonus beats" hell by supplying three tracks that are as good as anything that has ever been pressed to vinyl. If your knee-jerk reaction is to doubt this, we would simply point out you haven't even heard them yet, and here you are talking shit. Go push your hateful agenda somewhere else.

Extrawelt are fast becoming a Turbo Recordings staple, and don't think the globalist EDM cabal hasn't taken notice. Jamborghini has already received heavy DJ support from Jumpin' Josh Junior, Monoburglar, Now or Never, Tiga, Never Say Never, Rumpled Glory, Moment of Truth, and the Hamburg Chamber of Commerce.

*Our best guess is that the title is meant to evoke a Lamborghini you can have a musical "jam session" in, and not the striking metallic purple Diablo SE30 driven by Jamiroquai frontman Jay Kay in the 1996 video for "Cosmic Girl."

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.

2026 Repress
12" - Fully Authorised Reissue on Original Release Label!

Canadian deep house don Nick Holder's Fruit Loops EP is next to get the remaster and reissue treatment from Definitive Recordings. This label, now overseen by Get Physical Music, first released the EP back in 1995 when Toronto-based Holder had already become one of house music's most tasteful operators. He went on to release over 125 EPs and singles under countless aliases, in various groups, and on his labels DNH Records and Treehouse Records, as well as !K7 Records and NRK. His style spans house, disco loops and minimal Chicago grooves and is always high on immersive atmosphere. Opener 'Dance Dance Dance' brings together all those aspects of the Holder sound with its funky guitar riffs looping beneath raw drums and disco basslines. Classic Chic samples burst out of the mix to bring an air of celebration and party, and it makes for an irresistibly feel-good sound. 'Keep on Running' is a steamy and sweaty house jam with loopy drums and bass and more smartly chosen samples, this time from Roy Ayers, that bring the funk and never let up. It has long been a go-to anthem for house DJs, and the realness and rawness of the emotions in Holder's work also shine through with the filtered synths and jazzy keys of 'The Message of Love', which is complete with bumpy and irresistible drums. Last of all is the unfettered party spirit and diva vocals of the brilliantly lo-fi funk-house pumper that is 'Clap Ya Hands'. This EP hasn't aged one bit and remains a definitive piece of early Deep House history.

*Glow In The Dark Coloured Vinyl*

Four years after its original release, Mochakk's breakout anthem 'Da Fonk' featuring Joni continues to define a generation of house music. Originally released via Nervous Records in 2022, the record has surpassed 60 million Spotify streams alone, becoming Mochakk's signature track and one of the most recognizable records in modern dance music.

Fronted by fellow Brazilian artist Joni's soulful vocals, "Da Fonk" bridges classic house and contemporary club energy. Its stripped-back bassline and timeless groove have made it a fixture on stages and dancefloors around the world, while also marking a turning point for Mochakk, who has since become one of electronic music's defining artists, widely praised for his vibrant live sets in which "Da Fonk" has remained a staple. To celebrate the track's continued success, Nervous Records releases the 'Da Fonk' Remix Pack today across all streaming platforms, alongside a limited edition three-vinyl release available during Mochakk's long-awaited New York City takeover from August 28, 29 and 30.

Spanning three parts, the remix pack brings together a wide range of artists, each offering a different take on one of house music's most enduring records of recent years.

The first vinyl features Mochakk’s Original Mix and OG Dub of “Da Fonk”, in addition to a new Bass Mix from Marco Carola, whose signature rolling grooves and understated approach bring fresh weight to the original without losing its unmistakable feel. The second vinyl moves across a broad spectrum of club sounds. Australian duo Confidence Man inject their playful, high-energy style into the track, while Berlin's DJ Gigola delivers a sleek, club-focused interpretation. Cinthie, known for her deep-rooted house sound and analogue production style, offers a warm and driving remix, with Brazil’s Bronka rounding out the record on a fresh, contemporary rework. The third vinyl shines a light on Brazil's electronic music scene with an all-Brazilian lineup. Solarce Brothers contribute a soulful reinterpretation that nods to the original's house roots, alongside remixes from DJ Fuzil, Classmatic, and Deekapz & kLap, each bringing their own perspective to one of Brazil's all-time most influential electronic releases on global stages.

One of South Africa’s most respected house music producers, SculpturedMusic returns with his sixth studio album, Playhouse – a release that further cements his reputation as a master of soulful, deep and emotionally rich electronic music.

With a breathtaking pair of intimately interrelated new albums, he applies that bold passion to an uncharacteristically pared-down setting, then transforms those stunning sounds via a startling process of sonic reinvention. ResoNation Trio convenes a new chordless trio with master improvisers Scott Colley on bass and Nasheet Waits on drums. The album's contemplative explorations feel like a departure from the raucous spirit that characterizes so much of the trumpeter's work, yet the trio discovers such an audacious beauty and celebratory gusto in these sparse environments that the music feels uniquely Bernstein's. It is also a rarity in his oeuvre for featuring Bernstein - whose mastery of the little- used slide trumpet has become so central to his sonic identity - exclusively playing valve trumpet and flugelhorn. In parallel with this captivating trio excursion, Bernstein handed the recordings over to his longtime collaborator, the pioneering producer Scotty Hard, to reimagine the album through his own iconoclastic lens. The result is the uncategorizable Ultra Resonance, which finds Hard breaking down the ResoNation Trio session into its constituent parts and redeploying them as the elements of a wholly original, mutant creation. The project will be released on June 5, 2026 via Royal Potato Family as a double vinyl or CD package containing both albums, and separately on digital streaming platforms.

A Project dealing with the relative length of time at a record label and the effect of adding another zero. To explore this passage of time and all those memories, we’ve commissioned remixes of key tracks from the LEX catalog by artists we love and admire. The album features contributions from Danger Mouse & Jemini, Fly Anakin & Pink Siifu, Eyedress, Golden Rules featuring Yasiin Bey and Freddie Gibbs, Neon Neon feat. Cate Le Bon, alongside Kaleida, Belief, Nevermen, Prince Po and MF DOOM. With remixes that reinterpret the tracks by Boards of Canada, Kevin Shields of My Bloody Valentine, DJ Premier, Prefuse 73, Madlib, Stereolab, Warpaint, King Krule, Chad Hugo and Thom Yorke. The limited edition physical release is presented in a rigid slipcase, with the vinyl housed in a triple sleeve gatefold, and accompanied by a large format board book, with both featuring artwork by Commission Studios. The records are pressed on 180g heavyweight vinyl, with the D-Side finished with a bespoke etched design.

Just featured on BBC6 Music in the CRAIG CHARLES FUNK & SOUL as part of the ODDBALL CREATIVES “Trunk of Funk Mix “ on Saturday 1st August - and already gaining great DJ feedback from the likes of Greg Caz, Laurent Garnier, Chris Bangs, Rocky, Chico Malo, Starla Recordings and many more ….

Another new collaboration on the Echo Labs label - the subsidiary of Echo Chamber Recordings set up to release tracks and remixes from other artists.

This one is a very special hook-up with Daniel Walls & Joseph Malik in Edinburgh with their new project under their “Oddball Creatives” production monicker. It was truly an honour that they reached out to Echo Chamber Recordings to bring this out on a vinyl 45 , fitting in perfectly with the foundation sounds of the label - combining classic timeless funk, jazz , Latin and soul with 21st Century production techniques

They have recruited the vocal talents of Philadelphia’s Kameela Waheed and the instrumental skills of Scottish jazz legend Colin Steele , to bring us the sound of the summer with a huge soul-jazz-funk cut. It combines elements of a classic early 70s groove with a subtle, up-to-date style, built around Joseph’s vocals and Kameela’s spoken rap.

On the flip you get the purely instrumental take - meaning you could extend the hypnotic groove even longer with two copies !

As ever, on Echo Labs there will be just 300 vinyl copies pressed for worldwide distribution

After years of steadily building momentum within the deeper side of drum & bass, Monika now delivers his long-awaited debut album, How We Saw Forever, landing this August on Spearhead Records.

UK-born and now based in New Zealand, Monika has developed a sound that blends deep rolling grooves, soulful textures, delicate musicality and moments of genuine emotional weight. Across the album he moves effortlessly between late-night introspection, euphoric warmth and darker, more experimental territory, showcasing an artist fully confident in his own sonic identity.

Having already made a strong impression through previous releases on Spearhead and appearances across the label’s 20-year anniversary campaign, How We Saw Forever feels like a major step forward creatively. From the haunting beauty of “What Turns Your World” featuring Oktae, through to the nostalgic rave energy of “Mango Pop” and the weightier pressure of “Syndicate”, the album captures Monika’s ability to balance emotion, atmosphere and dancefloor impact without ever feeling formulaic.

At its core, How We Saw Forever is an album about atmosphere, memory and emotion, music designed equally for solitary headphone moments and packed dancefloors at sunrise. There’s a cinematic thread running throughout the project, but also a raw honesty that gives the album its real depth.

Speaking about the album, Monika says:
“This project became a reflection of so many different seasons of life over the last few years. Some tracks came from really emotional places, others were written purely from joy and escapism, but together they tell the story of where I’ve been creatively and personally. I wanted the album to feel immersive, something people could disappear into.”

Released via BCee’s Spearhead Records — a label long celebrated for championing soulful and emotionally rich drum & bass. How We Saw Forever marks another exciting chapter for both Monika and the wider Spearhead family.