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We know there are copious amounts of PFAS in the water supply of Rotterdam, but there must be more! What else could explain the amount of talent this city provides? Foobar is yet another prime example of this phenomenon. coming of age in Burgundian Brabant and cultivated in the grimy streets of our beautiful harbour city, Foobar just has a way of looking beyond its imperfections and translating the warmer hidden sides of the city whilst still tapping into its more rugged edges in this 4 track EP, for his debut release "Shifting Phases" on WAXRDM. The title track Shifting Phases just eases you into the whole, getting you ready to face another day on the grind, that's Rotterdam baby! We work hard and we play hard, and when we play, these are the sounds we wanna play too. Proper House Music. Some serious anger management issues on Parallel Motion, hitting hard from the get go, starting off with some intimidating drums, in your face bass lines, enticing melodies & alluring vocals. All of a sudden you're 3 minutes in, and you can't even remember what got you so upset in the first place. Who said you needed to be loud to be powerful? Not us, that's for sure, and definitely not Foobar. Quiet Strength proves that point yet again, laced with the sultry vocals by ES-V, this jam just takes you even further into your own headspace, drums that keep you in motion, melodies that keep you grounded but bass lines that let you float off into the atmosphere. It's Monday again, another day at the office, cleaning apartments, trading cryptocurrencies or whatever the hell you do to make ends meet. Ahh damn, and now you remember what irritated you. Colleagues, employers, pay or the lack of it. It is a good thing you have Back on the grind to make it all sound relative, helping you forget and looking ahead at the weekend. The perfect come down track that moves forward.

Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound.

Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music.

Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.

Not many weeks go by without Patrick Sullivan aka P-Sol aka the New York City-based edit king dropping another tidy 7". He collides more classics from the r&b and hip-hop golden eras here, starting with 'Heard It All Before', which keeps the original, soulful and empowering vocal and reworks it into a slow, dubby, gentle broken bump. On the flip, 'Undone Wreck' is a classic early rap joint here reworked as a funky, jazzy fusion sound with smooth rolling bass and lush brass. The bars are storytelling and the effect is utterly seductive.

Melbourne producer Jordan Brando releases his new Fixation EP today via DJ Tennis’ Life and Death. The four-track project marks Brando’s debut on the label and arrives as he continues to establish himself as one of Australia’s top new club exports.

Fixation is built around raw, bass-driven grooves, moving between the shuffling percussion and hypnotic vocal hook of the title track, the tougher techno edge of “Vibration,” and the classic house influence running through “The Bassline.” “After Dub” eases the pace without losing that foundation, closing the EP on a warm, melodic note.

The release extends a growing connection between Life and Death and the current wave of Australian producers making an impact worldwide. It follows recent projects from Brando’s Not Without Friends collaborators Luke Alessi and William Kiss, who both joined the label at the end of 2025. Together, the three have built momentum around a shared strain of forward-thinking club music and recently reunited in New York City for a Raw Cuts event this summer.

Born and raised in Melbourne, Brando has developed a reputation for the breadth of his productions and DJ sets, with his original music and remixes appearing across dance charts around the world. While his solo work has earned support from international tastemakers such as Pete Tong (via his BBC Radio 1 show), he’s performed with Kiss and Alessi at Heide Museum of Modern Art, Beyond the Valley, London’s Night Tales and Rippon Lea Estate.

After a run of performances spanning Australia, New Zealand and Europe—including Lost Village, Beyond the Valley, Night Tales and Melbourne’s Collingwood Town Hall—Fixation finds Brando entering his next chapter with one of electronic music’s most respected labels, further cementing his place among a generation of Australian artists reshaping the international club landscape.

What does it mean to actually experience another City, one of such historical and cultural'd'asignificance as Detroit, A city that truly expands the capacity of Human love and resilience. Just to be there…?'d'aWhat sound do the birds make?…? What colour are the buses ? …?. What sounds do we hear in the streets'd'a?…? It's like one step beyond just experiencing a place but truly absorbing it as if it becomes a little piece of'd'aus. That's the only way you really get to understand the groove, the little everyday things that make the'd'apeople tick, their daily grievances and small moments of collective joy culminating over lifetimes. That is'd'awhere you get to the essence, the secret sauce and Lord knows this City is oozing with it.'d'aIn July 2025 Ziggy undertook a 6 week residency in the motor city with no concrete plan other than getting to'd'athe roots of a deeply layered and rich musical culture. One that has been a guiding light for many of us..'d'aWhether you are coming from the generation of Motown through the 1st generation of techno to hip hop'd'arevolutionaries, the city has left an undeniable mark on the history of American Music.'d'aAfter meeting at a weeknight vinyl session at a downtown bar, Ziggy and Malik realised they already knew'd'aeach other's work and immediately made plans to hook up in the studio. Malik being a Lifelong Detroiter with'd'aa background as a Gospel keyboardist and Singer turned House dancer, producer and DJ it was no wonder'd'ahe was a perfect addition to the Label Roster. To accommodate the sessions local turntablist and producer'd'aDJ Moppy kindly offered up his home studio and we shared many great records and vegan hot dogs in his'd'aleafy backyard.The music is primarily inspired by the enduring and charismatic folks we encountered in the city, their stories'd'aand personalities live on through the continued Musical Legacy of the city.'d'aSpecial thanks to Mike Banks, Cornelius, Crystal, John '?Jammin'? Collins (R.I.P) Rick Wilhite, Wajeed and all'd'aof the Underground Resistance family who hosted us. DJ Moppy, Meftah, Badriyyah, Raj Mahal all in the'd'abuilding!'d'aGospel and jazzy infused electro-funk and deep-house, a collaboration between one of Detroit'?s'd'aunderground dons Malik Alston and Ziggy Zeitgeist of EXREC. The result of a six week pilgrimage to Detroit'd'ain 2025, Zeitgeist set up shop in DJ Moppy'?s living room and the results are deep, dark and funky'd'a'd'a.

Twenty years after forming in Tommy Brenneck’s Bushwick apartment, Menahan Street Band returns with Illusions, their fourth full-length album on Brenneck’s Diamond West Records. The band— Tommy Brenneck, Dave Guy, Nick Movshon, Leon Michels and Homer Steinweiss—have each pursued an array of projects in the years since. Brenneck has produced for Baby Rose, Rogê and Kirby, toured with The Budos Band and runs Diamond West Records and Studio. Guy plays trumpet with The Roots and The Tonight Show Starring Jimmy Fallon and has released his own solo album; Steinweiss has made his own solo record and, with Movshon, has worked across multiple platinum album projects; and Michels continues as El Michels Affair, runs Big Crown Records and has produced Grammy-winning and nominated albums for Clairo and Norah Jones.
Despite their many individual ventures, the group reunited with an energy Brenneck says felt like “the first time.” Recorded quickly and instinctively, Illusions blends Menahan’s signature guitar, horns and drums with arrangements by Brazilian legend Arthur Verocai, taking listeners on an instrumental travelogue that lets the mind wander. Artist Ariana Papademetropoulos contributes original artwork to the album’s otherworldly collection of music.

Ltd pressing, Widespine, black paper inners.

Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape. 
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.

In April 1963, The Beatles stepped into a formal lunchtime ceremony at EMI Studios, where they were honoured with their first silver disc, for Please Please Me. This event, attended by EMI staff and the press, was likely recorded for Radio Luxembourg’s Friday Spectacular. Just one month later, the raw energy of Beatlemania exploded at the Walthamstow Granada. The 9-minute newsreel from this show is a time capsule of wild, full-throated screaming—a stark contrast to the relaxed EMI ceremony.
Fast-forward to 1964 and we feature TV performances from Shindig & Blackpool Night Out plus a Tyne Tees TV Interview where the interviewer tried—and failed—to pin down the band’s voting intentions on 15th October 1964, the day of the UK General Election. Whether you’re a longtime fan or a newcomer, these performances offer a unique lens into the group’s early years.

Nearly a decade after the acclaimed 2017 release of Hometown, Victor, the mind behind Module One is back with his highly anticipated follow-up album, dropping early November.
Now settled in Berlin, Victor's sound deeply reflects his integration into the city's vibrant cultural cosmos. Moving beyond earlier blueprints, his music has matured into a nuanced, fully developed aesthetic based on the personal reflections, artistic environment of the city, and live performances played and heard. Adding an intimate, personal dimension to the project, Soela and D'Loive lend their delicate vocal touch, weaving seamless melodic textures into Victor's refined production.

The upcoming Album HOMETOWN II stands as both a personal milestone and a captivating new chapter for Module One. Vinyl Tastes Better…

A year on from SickElixir - the acclaimed "debut" album that saw him hailed by Pitchfork, The Guardian and The Fader as one of British electronic music's most singular voices - Blawan is back with ‘Gi Mi Keys Back / Auto Fake’. Written in a new city, in a new home studio, the single finds Blawan rediscovering a sense of freedom and leaning back into dancefloor-driven territory after the more experimental, interior world of SickElixir. In signature Blawan style, Gi Mi Keys Back’s warped production constantly wrongfoots you, with its structure refusing to sit still, mutating underneath a vocal that pulls you into a trance-like state.

Wow! Chapter 16 of this successful and influential series. This time compiled by Michael Rütten (Soulpatrol) and Michael Reinboth. After 30 years of sharing the love for music and a friendship it‘s about time for these two to get together for a musical trip around the world. Voted one of the best electronic music compilations by music magazines such as Groove, Mixmag, FAZE and DJ mag. With the launch of the series in 1995, it’s fair to say that Michael Reinboth or Compost essentially pioneered and established the future jazz genre. Further info about the artists upon request.

Sean Thompson hat mehr als ein Jahrzehnt damit verbracht, sich zu einem der vielseitigsten Gitarristen in Nashville zu entwickeln. Derzeit ist er als Gitarrist für Margo Price auf Tour, und sein flinkes, lyrisches Spiel hat Bands unter der Leitung von Erin Rae sowie einer ganzen Reihe von Größen der ,Music City" geprägt. Außerdem ist er neben Rich Ruth und Spencer Cullum ein Drittel des kosmischen Trios Shrunken Elvis, dessen gefeiertes, selbstbetiteltes Debütalbum 2025 bei Western Vinyl erschien. Mit ,Inner Principles", seinem ersten rein instrumentalen Album, bündelt Thompson all diese Instinkte zu etwas, das sich wie ein echtes neues Kapitel anfühlt. Es ist ein Jazz-Fusion-Album im reichhaltigsten Sinne des Wortes: virtuos, aber schnörkellos, experimentierfreudig und stilistisch von einem Titel zum nächsten unruhig. Die acht Stücke bewegen sich mühelos zwischen ECM-artiger Weite im Geiste von John Abercrombie, rauchigem Akustik-Picking, lockeren Late-Night-Boogies und eleganten Post-Rock-Abenteuern, mit Synthesizern, die hin und wieder in Richtung Jan-Hammer-Territorium blitzen. Man könnte meinen, ein Großteil dieser Musik stamme aus dem Jahr 1978 oder 1983, und genau diese Zeitlosigkeit ist der springende Punkt. Thompson spielt ein rasantes Spiel namens ,Finde den Einfluss" und zieht dann weiter, ohne sich jemals lange genug an einem Ort niederzulassen, um wie eine Hommage zu klingen. Im Kern ist das Album ein Trio aus Thompson, Eric Slick am Schlagzeug und Alec Newman am Bass, ergänzt durch eine Handvoll bewährter Mitstreiter: Jake Davis, der produzierte, als Tontechniker fungierte, abmischte und Synthesizer beisteuerte; sein ,Shrunken Elvis"-Bandkollege Rich Ruth an der Gitarre; sowie Jo Schornikow am Keyboard. Dieses Zusammenspiel des Ensembles ist das Herzstück der Platte, und trotz aller technischen Meisterschaft ruht sich ,Inner Principles" nie auf seinem Können aus. Jeder Track strahlt echtes Gefühl aus, vom weitläufigen, treibenden ,Underwater Way" bis zum zarten ,Waltz For Mama". Thompson hat ,Inner Principles" digital in Eigenregie veröffentlicht und das Material live beim BigEars-Festival vorgestellt. Western Vinyl presst es nun zum ersten Mal auf Vinyl und verschafft damit einem der stillen, aber unverzichtbaren Musiker Nashvilles sein bisher umfassendstes Statement.

,Splendor & Misery (Anniversary X)" ist die Jubiläumsausgabe zum zehnjährigen Bestehen des für den Hugo Award nominierten Science-Fiction-Opus des experimentellen Rap-Trios Clipping. Diese Deluxe-Ausgabe enthält ein überarbeitetes Cover, das Originalalbum sowie acht bisher unveröffentlichte Songs und alternative Takes. ,Splendor & Misery" ist ein afrofuturistisches, dystopisches Konzeptalbum, das die Geschichte des einzigen Überlebenden eines Sklavenaufstands auf einem interstellaren Frachtschiff sowie des Bordcomputers erzählt, der sich in ihn verliebt. In der Annahme, allein und im Weltraum verloren zu sein, entdeckt die Figur Musik im bebenden Rumpf des Schiffes und in den zwitschernden Instrumententafeln. Die Musik von Clipping zeichnet eine imaginäre Klanglandkarte der Decks, Gänge und Quartiere des Schiffes, während Daveed Diggs' Texte auf den Rhythmen reiten, die von dessen Triebwerken und Maschinen erzeugt werden. ,Splendor & Misery" ist eine der beliebtesten Veröffentlichungen von Clipping. Es schaffte es in zahlreiche Jahresrückblicke und wurde von der ,New York Times", Bandcamp Daily, CLASH, The Line Of Best Fit, The Needle Drop, Uproxx, The Observer und Stereogum gelobt. Im Jahr 2019 stufte Pitchfork ,Splendor & Misery" als eines der 33 besten Industrial-Alben aller Zeiten ein. Clipping feierte das Album im August 2026 mit dem ,Splendor & Misery Fest" im Knockdown Center in New York City, mit den Vorgruppen SPELLLING, Shabazz Palaces, ELUCID, Fatboi Sharif, evicshen und Maria Chavez.

Mohammad Syfkhan is back with his second album for Nyahh Records. This collection of new recordings marks a hug milestone in Mohammad’s career as it’s the first album that features all original compositions. And with a full band! We had the great help of Syrian Cellist and composer Naseem Alatrash to help with the string arrangements. The resulting record is a beautiful journey into a timeless Middle Eastern and North African sound akin to the likes of Fairuz or Umm Kulthum with a fast Kurdish Dabke tempo.


I Love You Ireland is an incredibly personal album for Mohammad. The title alone, much like his debut ‘I Am Kurdish’ is as personal as it it’s political. To express such love for a place in music is saying, thank you for making me and family feel safe. Thank you for taking us in. A stand out track titled ‘Ah Yu Donia’ is Mohammad’s first real public moment of grieving for the loss of his son at the murderous hands of Isis. In this song he asks God why he was taken. Trying to figure the sense in the actions of fundamentalists. The strings sections are sad, but not morbid. Acting like a release or companion to the horrific reality of losing a child.


‘Al Huriya’ is Mohammad’s first attempt at using an Irish rhythm known as a Reel, as appose to his usual Middle Eastern rhythms. Again, this is a beautiful way for Mohammad to give thanks to all the musicians and supportive people his has met in Ireland since 2011.


WHO IS MOHAMMAD SYFKHAN


Mohammad Syfkhan is a Kurdish/Syrian Singer and Bouzouki player. He began
playing music in 1980 while he was in college studying nursing. When he got
his degree in 1983, Mohammad moved to the city of Raqqa, Syria where he
began working as a professional singer and started his own band, The Al-Rabie
Band which played concerts, parties, weddings and festivals all over Syria. The
Al-Rabie Band were a much sought-after group. Their live sets included Kurdish, Arabic, Turkish and some Western songs as well as Mohammad’s own original material.


Mohammad continued to play with his band while also working as a surgical
nurse until the war broke out in 2011. This unfortunately brought tragedy to
Mohammad’s family when one of his sons was killed by Isis thus threatening
the lives of the rest of his family. His family had no choice but to leave their
home and seek safety in Europe. Three of Mohammad’s sons were resettled in
Germany while Mohammad, his young daughter and wife were taken in by
Ireland. Mohammad has spoken at length of his confusion and despair with
fundamentalists and how their message is a far cry from the teachings of love
and understanding that he considers the true message of Islam.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Black Sheep is the influential hip‑hop duo from Queens, New York, formed by Andres “Dres” Vargas Titus and William “Mista Lawnge” McLean. Although both members hail from New York, they met as teenagers in Sanford, North Carolina, where their families had relocated. The duo became part of the celebrated Native Tongues Collective, alongside Jungle Brothers, A Tribe Called Quest, and De La Soul, a movement known for its creativity, positivity, and forward‑thinking approach to hip‑hop. After joining forces in 1989, Black Sheep made an immediate impact with their 1991 acclaimed debut album A Wolf In Sheep’s Clothing. The record earned widespread recognition for its inventive rhythms and sharp, witty, often humorous lyricism.

Their second album Non‑Fiction arrived in 1994, continuing their signature blend of jazzy hip-hop and clever, tongue‑in‑cheek storytelling. The album featured two singles “Without a Doubt” and “North South East West”.

Following its release, the group remained largely inactive throughout the decade, with the exception of Dres, who recorded a solo project under the moniker Dres The Black Sheep. Black Sheep eventually returned in 2006 with their long‑awaited third album 8WM / Novakane. Shortly thereafter, Mista Lawnge departed, while Dres has continued to release music under the Black Sheep name.

RADYO BOMBERO - ABOUT THE LABEL
Radyo Bombero is the record label founded by acclaimed filmmaker, author, DJ and record collector Fatih Akin. Born out of his personal passion for vinyl and film music, the label will initially focus on soundtracks from his films: previously unavailable works will be released on vinyl for the first time, while out-of-print titles will return as carefully produced reissues. Its inaugural release is the soundtrack to Akin's new film Geister, scheduled for release in November 2026. Further projects are already in development.

ABOUT THE RELEASE

MALAKOFF KOWALSKI - GEISTER
ORIGINAL MOTION PICTURE SOUNDTRACK
Composed by Malakoff Kowalski, the soundtrack to Fatih Akin's Geister is the inaugural release on Radyo Bombero.
Born in the United States, raised in Hamburg and now based in Berlin, Kowalski is a composer, pianist and multi-instrumentalist whose work moves between film music, contemporary classical composition, theatre and pop. He composed the music for eleven films by Klaus Lemke, as well as for productions including Schweigend steht der Wald and Stasikomödie. His solo work has been released by MPS and Sony Classical, and he has collaborated with artists including 2raumwohnung, Igor Levit, Chilly Gonzales and Nils Frahm. His sound combines elegiac melodies with a warm, cinematic atmosphere and a subtle sense of unrest beneath the surface.

For Geister, this distinctive musical language meets Fatih Akin's vision of a deliberately anachronistic and romantic score: a tribute to Ennio Morricone's great love themes that plays a defining role in the film's tragic love story and atmosphere.
LP 1 contains Kowalski's complete original film score.
LP by JUGGLERZ opens up a second musical world, bringing together four productions by the internationally successful Jugglerz on a four-track 12-inch disc at 45 RPM: the film's title song Ya Mami, performed by Aya Samra; Mood by Cloudee, Milaa and Jugglerz; Tip by Jugglerz, Limitlezz, Maureen and Demarco; and Beirut Nights Riddim. The four tracks bring Arabic tarab and contemporary Levantine pop together with hip-hop, urban beats and dancehall rhythms.

FATIH AKIN ON RADYO BOMBERO
"Radyo Bombero is on the air. Don't miss a tune!
"
Music is - alongside cinema and literature - a fundamental source of inspiration for me. Having grown up in the 1980s, the way I listen to music has hardly changed: I buy records, listen to them carefully and then copy them onto a portable device. It used to be a Walkman, then an iPod - today it is my smartphone with my playlists.
I do not use Spotify or any other streaming services. Why that is, I do not know. In most other areas, I try to keep up with technological developments. Not with music. I like unpacking a record, cleaning it before listening, holding the sleeve in my hands and reading who worked in the studio, who wrote the music and where the record was made. These things interest me. And they lower my cortisol levels.
Music plays a major role in my films. It is not that, as a director, I want to impose my favourite music on the audience. The music must always serve the story. In Head-On, for example, it tells us something about the characters and their biographies. Crossing the Bridge - The Sound of Istanbul is the musical portrait of a city. Its music tells us about the people who live there: where they come from, the cultures they brought with them and how those cultures have merged with local traditions. The Cut was conceived as a Western, and the music had to help reinforce that idea.
Geister tells a tragic love story. The music was meant to be gloriously anachronistic. And romantic. Just like the light and colours, it had to shape the atmosphere of the film. My films are often about cinema itself, and Geister is no exception. Its music is a tribute to Ennio Morricone's great love themes.
In Malakoff Kowalski, I found the perfect creative partner. He immediately understood my idea and realised it brilliantly. That made it all the more painful when I was told by the music industry that there could be no soundtrack release for Geister because soundtracks were too expensive to produce and would simply sit on the shelves.
It is not as though I am a spoiled child who absolutely has to have a lollipop. But this music is simply too good to withhold from the audience. The idea that there would be no soundtrack release felt like a great injustice.
Then several friends and collaborators advised me to release the record myself. No sooner said than done. But Radyo Bombero is not a one-off project. Geister is only the beginning.

Finally, I have the opportunity to gradually release all the soundtracks from my films that have remained unavailable. Soundtracks that were previously released but have since gone out of print will also return as reissues.
Hainbach's soundtrack to Amrum is already in development, as is a double album featuring the unforgettable German pop songs from The Golden Glove. And, finally, a vinyl soundtrack to Head-On.
Fatih Akin

Tony Price returns with NAME?, a new LP on his Maximum Exposure label delivering 10 tracks of red-hot house music realness.

Following two releases in 2025, the brutalist cybernetic jazz reveries of Requiem for the Ontario Science Centre and the ferocious machine funk of Street Theatre, NAME? keeps its crosshairs aimed straight at the dancefloor.

NAME? showcases Tony’s undying affinity for the sound of New York City and New Jersey house: Tony Humphries’ cybernetic gospel dubs, the crude, Todd Terry-style 12-bit hip-hop explosives, the cracking garage swing of early Strictly Rhythm, Mood II Swing and Masters At Work, the psychotic bleep-funk bombast of the Bomb Squad, and the deep, ecstatic machine soul pioneered by the likes of Blaze and the Burrell Brothers.

Produced in his Greektown studio in Toronto using an array of drum machines and samplers, these recordings are pure Tony: rude, crude and elemental. House music stripped down to its core principles and defining primordial textures. No nonsense, no junk, no varnish, no nothing. Just the funk.

With »The Future Is Futuristic«, the fifth album for Haleiwa (and third with Morr Music), Stockholm’s Mikko Singh draws from a deep well of nostalgic feeling, while making music that feels razor-sharp, on point, and full of hazy dream-pop pleasure. After 2019’s »Cloud Formations« and 2022’s »Hallway Waverider«, which imagined psychedelic post-shoegaze and mantric pop songs into being, »The Future Is Futuristic« feels like both consolidation and magnification; the noise-drenched songs feel thicker, heftier; the electronic interludes playful and kinetic; the rhythms boundless. It’s as though Singh has truly found his metier, his voice, a place from which he’s comfortable to indulge in the kind of home-recorded worldmaking that has always marked Haleiwa out as something special.

»The Future Is Futuristic« passes by in a rush of whiteout tones and scurrilous energy; the whole thing is over within half an hour, Singh ensuring his songs say exactly what they need to say – no more, no less – before bustling through into the next ecstatic pop moment, pushing the music further into the zone. While his music often has a similar, drenched quality to shoegaze, on »The Future Is Futuristic«, Singh seems to be settling in alongside other spirits – there are touches of the experimentation of both A.R. Kane and Flying Saucer Attack here; the more motoric tunes recall New Zealand’s Snapper; the glitchtronics have a City Centre Offices sensibility, while the sparkling folksiness of the melodies can recall Bristol bands like Light or AMP.

But it’s ultimately not about influence, beyond perhaps Haleiwa nestling alongside some like-minded souls in perceptive listeners’ minds. Instead, thrill to the rush of rhythms that float between jungle and punk on »Flourishing« and »96«, the latter a reference, from Singh, to moments of early revelation – »it’s about being thankful for having found punk rock and skateboarding at a young age, in 1996.« There’s also the hypnotic dream-rush of the opening »Smoke Will Rise«, the beautiful Cure-esque guitars swimming through »Sunset Street« and »Strange Notes«, the tumbling rhythms and heady, elated chord changes that grant lift-off to »Wave Chaos«… A real panoply of pleasures, in fact.

»The Future Is Futuristic« was recorded solely by Singh on four- and eight-track in his home studio, with a quick trip to Telefonstudion to record drums. Recording at home grants a certain intimacy to »The Future Is Futuristic«, even as the songs, at times, bliss their way off into the skies; there’s something both expansive and intimate about the music here, as though Singh is grappling immensities into intimacies. It also feels deeply personal for Singh, a summation of much of what he’s done over the years; as he says, simply and clearly, »The album is in my interpretation a mix between punk, electronic music, and dream pop.« The threads that connect these creative phenomena? Energy, texture, melody, tone, sensuality; pure pop pleasure.

DJ, model, artist and selector Yuka Mizuhara steps forward with her standout 12-inch release 'Moon Dust' on Rush Hour. For her debut release, she joins forces with producers Benedek and Mickey de Grand IV (Psychic Mirrors), delivering a vibrant boogie and city pop-influenced transmission that bridges contemporary rhythm with classic, sun-drenched grooves.

Having spent formative years immersed in the underground music scene in Tokyo, with extended stays in Los Angeles and London, Mizuhara channels a rich blend of influences into her work. Known widely for her encyclopedic all-vinyl DJ sets, her residency on NTS Radio (Wave Flower), and high-profile collaborations with legends like Haruomi Hosono, Yukihiro Takahashi and Towa Tei, her musical output reflects a deep appreciation for groove, melody, and rhythm, carrying the torch of foundational Japanese techno-pop, experimental, and dance music forward.

On Moon Dust, Benedek returns fully to his signature West Coast boogie roots, laying down rolling, intricate synth basslines and melty chord progressions that form the heavy-grooving backbone of the record. Around this foundation, Mickey de Grand IV and Yuka Mizuhara write and weave extraordinarily catchy, endearing vocal melodies and hook-laden arrangements. Across its three distinct mixes, the track radiates Yuka's cute spirit—evoking a bubbly, high-spirited aesthetic reminiscent of classic 80’s RAH Band productions while blending sophisticated electronic arrangement with warm, organic dance floor vitality.

Fully stepping into her own as a recording artist following recent debut performances at major festivals like RDC and Rally, Yuka Mizuhara invites listeners into a romantic, synth-laden world built on pure groove and creative freedom.

For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.

Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.

Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.

Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.

It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.

My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.

My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.

Hailing straight from Quebec City, Canada, GET THE SHOT is a hardcore band formed in 2009. With their strong work ethic, they quickly established themselves as one of the flag bearers of the Quebec hardcore and metal scene.

Their powerful music incorporates elements of thrash, death metal, and hardcore, creating an intense and brutal sound that captivates fans of the genre. Inspired by iconic bands such as Hatebreed, Obituary, and Slayer, GET THE SHOT has developed a unique style of extreme music.

With an impressive discography including albums such as "Perdition" (2012), "No Peace In Hell" (2014), "Infinite Punishment" (2017), and their latest album "Merciless Destruction" (2022), nominated for a JUNO award, GET THE SHOT has built a solid reputation with impactful tracks and explosive live performances.

“CRUCIFIXION DEPICTION”, marks a shift in attitude and resolve for the band. While celebrating the addition of a new vocalist and the comeback of the original guitar player, the latest EP sees the band undergo a transformation into a new persona and exploring a more visceral sound, while sticking to its hardcore roots.

After more than 700 concerts on three continents, including some on the biggest international stages such as Wacken, Hellfest, FEQ and Resurrection Fest, the six members remain committed to the core values of authenticity, integrity, and equality at the heart of the hardcore movement, while addressing with disillusioned realism the flaws of an era defined by blind individualism.

Hailing straight from Quebec City, Canada, GET THE SHOT is a hardcore band formed in 2009. With their strong work ethic, they quickly established themselves as one of the flag bearers of the Quebec hardcore and metal scene.

Their powerful music incorporates elements of thrash, death metal, and hardcore, creating an intense and brutal sound that captivates fans of the genre. Inspired by iconic bands such as Hatebreed, Obituary, and Slayer, GET THE SHOT has developed a unique style of extreme music.

With an impressive discography including albums such as "Perdition" (2012), "No Peace In Hell" (2014), "Infinite Punishment" (2017), and their latest album "Merciless Destruction" (2022), nominated for a JUNO award, GET THE SHOT has built a solid reputation with impactful tracks and explosive live performances.

“CRUCIFIXION DEPICTION”, marks a shift in attitude and resolve for the band. While celebrating the addition of a new vocalist and the comeback of the original guitar player, the latest EP sees the band undergo a transformation into a new persona and exploring a more visceral sound, while sticking to its hardcore roots.

After more than 700 concerts on three continents, including some on the biggest international stages such as Wacken, Hellfest, FEQ and Resurrection Fest, the six members remain committed to the core values of authenticity, integrity, and equality at the heart of the hardcore movement, while addressing with disillusioned realism the flaws of an era defined by blind individualism.

n resurrecting the band Krill—declared dead over 10 years ago—Jonah Furman considered the turritopsis nutricula: the “immortal jellyfish” that reverts to juvenile form instead of dying. “I was always afraid of coming home,” he says. “But home is inescapable.” Now living in the same Chicago suburb he grew up in, Furman ponders the passage of time on Secret Language, a nostalgic and cerebral exploration of family, fatherhood, and fated love.

From 2010 to 2015, Krill recorded three LPs and two EPs, growing into a cult project revered for its complex, rapturous compositions. Anxious, anthemic, mathy, propulsive, they were beloved by Frankie Cosmos, Girlpool, Horse Jumper of Love, and countless others. Personal lives took priority and brought the project to an official close, save for two reunion shows and a 2020 album under the name Knot, but that's retroactively a Krill album, “because it's easier that way.”

The project was revived “on a whim” as Furman puts it: “Theo from Ovlov asked if Krill wanted to open a Chicago show. Then I started writing new stuff.” He recruited Krill’s longtime drummer Ian Becker who, too, had just moved back to town. Both had known guitarist Andrew Clinkman (also of Spirits Having Fun and Moontype) during their collective years in Boston and growing up in Chicagoland, and soon he joined the fold. On Secret Language, the trio tap into their reclaimed city’s famed music community, drawing inspiration from current locals the same way Krill were inspired by their Boston contemporaries like Pile and Speedy Ortiz instead of Pixies or Mission of Burma.

On Secret Language, home can be anything: a place, a person, a feeling. But Krill is “very much” a Chicago band now; a new beginning where it all began.

The wait is over, Return To The 37th Chamber is El Michels Affair's highly anticipated follow up to 2009's underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA's signature sound is stronger & sharper than ever. This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it's own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, John Carpenter' synths, heavy metal guitars, triumpha0nt horns, and traditional Chinese instruments that make up for the lack of the Wu's superlative vocals. From start to finish it's a dark trip that walks the line between RZA's timeless hip-hop aesthetic and the cinematic soul EMA has become known for. El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard's Snakes, Raekwon's Verbal Intercourse, and Shaolin Brew, Wu-Tang's contribution to the St. Ide's Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man's hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the rug that ties the room together,' giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers. From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, sounding out the city' that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it's own right.

Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.

This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.

London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.

Mr Bongo proudly presents a first-time worldwide vinyl and CD issue of Rubel’s debut album Pearl. Self-released on YouTube in 2013, the album quietly became a huge hit in Brazil with the lead single and accompanying video for ‘Quando Bate Aquela Saudade’ amassing over 85 million views to date. Pearl laid the foundations for Rubel’s path to greatness - a first glimpse into the brilliance of a modern-day troubadour and ever-evolving Brazilian artist who deftly mixes classic and contemporary influences. Fusing MPB, folk, pop, and indie, it charts Rubel at his purest and most personal.

The journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.

Antivenom is the fourth album from Portland melancholic dark alternative trio Darkswoon, refining their blend of darkwave, post-punk, and shoegaze into a focused and emotionally charged statement.

Built on a hardware-driven electronic foundation, the album pairs cold mechanical textures with an intimate human core, carrying Jana Cushman’s ethereally soaring vocals as they con-front themes of loss, anxiety, fear, and inequality with unflinching honesty. Norah Lynn’s melodic, gritty bass lines weave through Rachel Ellis’ propulsive rhythms, while Cushman’s guitar creates a dense sonic web that occasionally drifts into more expansive shoegaze territory.

Cohesive yet urgent, Antivenom unfolds as an atmospheric whole filled with cautionary messages and the weight of words left unsaid, capturing a band confident in its evo-lution and singular voice within the dark alternative landscape

Planet Trip Records presents Sydney underground heroes Hugh B & Setwun’s first album, 2020’s Yeah Definitely, and its long-awaited follow-up, 2026’s Nah Maybe, as a deluxe vinyl LP package. Underpinned by the low-end heft of dub and soundsystem culture, their albums draw deeply from an expansive array of sensibilities: tones, textures and patterns shaped by post-punk and ambient music dovetail with abstract, sampledelic hip-hop drum loops. Meanwhile, Setwun’s mysterious neo-soul/modern R&B vocals glide on the beat. Punctuated by dialogue snippets, these songs feel like exploring the multiverse with an interdimensional boombox.

Yeah Definitely began as a batch of instrumentals. Having previously worked with an MPC, drum machines, instruments and Logic Audio, Hugh used a borrowed PC and Renoise, a tracker DAW associated with 21st-century jungle/drum & bass production. Afterwards, he sent them over to Setwun, who sketched vocals on top with ease.

If Yeah Definitely came together quickly, Nah Maybe was a longer process. Still inspired, Hugh B knocked out a second folder of beats with neon-lit city-pop references, slow-jam grooves, and elegant guitar figures. This time, however, something wasn’t clicking for Setwun. The only cure here would be the passage of time.

Over the next six years, Hugh and Setwun continued to collaborate while pursuing solo projects. Hugh released jungle, ambient house, dub and post-punk records through Planet Trip Records, Not Not Fun, and his OTIS Records label, while performing live, DJ, and leading the Modern Pop Ensemble. Similarly, Setwun, also a multi-instrumentalist, producer, and DJ, released a series of records that explore jazz, soul, house, and broken-beat electronica, forming a loose constellation for Mandarin Dreams and Extra Soul Perception. Alongside these efforts, he played shows and began performing with his backing band, The Soulstranauts.

Early in 2026, something clicked, and Setwun drafted vocals for the second batch of beats over an evening. Not long after, he invited Hugh to mix Nah Maybe, every bit as special as Yeah Definitely. By waiting for the right moment and putting themselves outside of their comfort zone, Hugh B and Setwun have bottled lightning twice. We’re very pleased to be able to share Yeah Definitely and Nah Maybe with you.

LIMITED RELEASE Originally released in 1991 on the seminal ZoeMagik Records, San Francisco is one of the defining documents of the early Bay Area rave underground. Tasti Box -- the duo of Kelix Williams and Mouse -- brought together house, techno, breakbeat and psychedelic rave music into a sound that was unmistakably their own. Born from the free-party culture of early '90s San Francisco, their music found its way onto legendary sound systems and dancefloors around the city, helping shape the distinctive West Coast sound of the era. More than three decades later, we're bringing this elusive classic back to vinyl.

Atlantic Records and Rockstar Games announce Grand Theft Auto VI: The Album, the upcoming official soundtrack album from the biggest, most immersive evolution of the groundbreaking Grand Theft Auto series yet; Grand Theft Auto VI.

Launching alongside the hotly anticipated game, Grand Theft Auto VI: The Album features 34 original tracks that capture the electric energy of GTA 6’s world of Vice City and Leonida, with a genre-defying roster of the most exciting and preeminent artists in the world.

With 34 original tracks that capture the electric energy of Grand Theft Auto VI’s world of Vice City and Leonida, Grand Theft Auto VI: The Album features a genre-defying roster of the most exciting artists in the world.

Yung Lean - That's It (feat. Future & Metro Boomin)
Travis Scott - RHYNO (prod. by Guy-Manuel de Homem-Christo)
CA7RIEL & Paco Amoroso, PinkPantheress,
Fred again.., & Etienne de Crécy - Sexy Magic
Morgan Wallen - Last Thing You Need
Rauw Alejandro - Macacoa 2000
Keith Richards - Bright Lights, Big City

The Lockheed F-117 Nighthawk was an American single-seat, subsonic, twin-engined attack aircraft and is a fitting name for this EP, which is equally low-key, menacing and devastating from RAN. Influences from Loefah, Youngsta and Boddika abound in these stark and dark dub soundscapes, which drip with dank warehouse vibes, ride on booming low ends that melt into an inky night and come with precision-engineered percussion. 'GBU-10 (External Guidance)' is a late-night search across a deserted city, 'JDAM (Signal Without Light)' has a more sub-aquatic feel and rolls more fluidly, while 'GBU-27 (BLU-109 Core)' is ominous, with ghosts of dubstep and broken beat lurking round every corner. Fantastically immersive and meticulously executed, not least because the EP was mastered by the great Transition Studios in South East London (early support from Carrier).

Green Tee Latte & Cappucchino Variant. Shall we add a little milk? Black Screen Records and Toge Productions have once again teamed for the vinyl repress of Andrew Jeremy's soothing, relaxing and jazzy lo-fi soundtrack to the coffee brewing and heart-to-heart talking simulator Coffee Talk on limited edition vinyl. For the first time, the soundtrack will be available on Green Tea Latte & Cappuccino Ink Spot double vinyl and comes in a beautiful gatefold sleeve with stunning original artwork by Natto (@vulpetrope) and liner notes by the Coffee Talk developer team. "Jazzy chords, hip-hop beats, vinyl crackles, a chilled mind and heart, and a prayer, that's all you need to make music for Coffee Talk. It's soothing, relaxing, and most importantly, keeping the warmth of your heart." - Andrew Jeremy, Game Producer / Music Composer

Daybreakers reaches a milestone with DBR010, and it felt right to mark the occasion with something truly special.

Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential records on Lazy Days and beyond, the Montreal based producer has quietly become one of the most respected names in deep house. A producer's producer, a DJ's DJ, and someone whose records seem to reveal a little more with every listen.

The story behind this release starts in Hackney. A few beers at the BBE Store, a conversation about old DAT tapes and eventually enough persuasion to get Fred digging through his archives. What came back was pure gold: three previously unheard tracks recorded between 1998 and 2004, sitting untouched for over twenty years.

There's something special about hearing these recordings now. Made during a period that saw Fred establish himself as one of deep house's leading voices, they capture that unmistakable blend of musicality, groove and craftsmanship that made his records stand out in the first place. This isn't nostalgia or a history lesson. These tracks still sound fresh, still sound relevant, and most importantly, still sound like they belong on a dancefloor.

Three lost gems, finally seeing the light of day.

Deeper than deep house.

Buy or cry.

Very Limited Edition

Vocalisations like ‘Hooo’ and ‘Huhuh’ form the wordplay on Use Knife’s upcoming release as these sounds are meant to summon strength, overcome fear and unleash unwavering sonic assault. Set for November 20, the EP ‘Hooo Huhuh’, on the band’s own Hooo Huhuh record label, is Use Knife’s first release since its acclaimed 2nd album ‘État Coupable’ on VIERNULVIER records in 2025.

The journey of Use Knife began in 2020 during a music residency in art centre VIERNULVIER (Gent, be) when Iraqi percussionist Saif Al-Qaissy, Stef Heeren and Kwinten Mordijck, as well as the multidisciplinary artist and scenographer Youniss Ahamad, came together to form Use Knife, later joined by Jerusalem In My Heart’s Radwan Ghazi Moumneh as mixer and guest musician. The project quickly gained the attention of prestigious platforms like The Wire, The Quietus, BBC6's New Music Fix, KEXP, NTS, Inverted Audio, METAL Magazine, Ma3azef, A Closer Listen, and others documenting the universal resonance of Use Knife's message.

Since releasing its debut album ‘The Shedding of Skin’ on VIERNULVIER, a remix EP ‘Peace Carnival’ on Morphine records, and follow-up album ‘État Coupable’, Use Knife has played its visceral audio-visual liveshows at many prestigious festivals like Le Guess Who?, Tremor, Colours of Ostrava, Les Trans Musicales, Rewire, Sonic City, Resonator, Roadburn, Donau, Fusion, Rage Sacrée, Micro, Clandestino, E-fest and many more.

Praised by The Quietus and The Wire for its vibrant and wholehearted performances, Use Knife has been described as an electrifying live act that fully engages its members and audience alike. Their sound, dubbed 'industrial Iraqi EBM', is celebrated for its ability to immerse the audience in a hypnotic state, erasing global borders through real-life connection and dazzling visuals on gigantic projection fabrics, resulting in exhilarating sensory experiences.

Further extending Use Knife's influence, Radio alHara in Palestine has hosted Use Knife's 'Feeding the Gentry' show since 2023, where the band aims to build a community by opening their platform to other guests like Saint Abdullah & Eomac, Monstera Occulta, Cinna Peyghami, Bader, Anthony Sahyoun, ... thus broadening the band's international reach and impact.

Earlier this year, Use Knife collaborated with Rabih Beaini from Morphine Records to re-remix the band’s track ‘To Feed the Gentry’ (feat. Radwan Ghazi Moumneh), blending in the beautiful track ‘Kunna’ by Rully Shabara. The resulting track was included in Beacon Sound’s compilation ‘Gaza is the Moral Compass’ to help support Palestinian-led mutual-aid groups on the ground in Gaza.

The forthcoming 'Hooo Huhuh' EP, releasing on November 20, advocates for the resilience and determination of the people, their collectives and communities, with energetic vocalizations, distorted percussion and throbbing saxophones. The title track, originally mixed by Radwan Ghazi Moumneh and mastered by Heba Kadry during the ‘État Coupable’ sessions, has been surgically reworked into the clubby rant that is ‘Ho Hahaa Huh’ and the drone-like mantra ‘Nobody Can Separate Us محد يكدر يفركنا’.

The limited vinyl edition comes with a 3-color risoprinted sleeve designed by Lebanese artist and graphic designer Farah Fayyad.

Following the release of Electric Rescue's new album, "Different Horizons", Laurent Garnier's COD3 QR returns to its signature various artists format for a new vinyl-only release featuring six new tracks, by WheelUP, Rapson & Kathy Brown, Mirko Loko, Costello, Jules Wells, Rod20 and James Warburton.

WheelUP is West London producer and DJ Danny Wheeler who's released music on CoOperation Records, Jamz Supernova’s Future Bounce and his long-time home Tru Thoughts. After appearing on COD3 QR in July with a track alongside Blu James, he now teams up with regular collaborator, music producer, DJ and keys player, Rapson, alongside acclaimed US vocalist Kathy Brown for the intensely soulful "Music".

Mirko Loko is a prominent Swiss talent, known for his work as resident DJ at Couleur 3 and Loft Electroclub, artistic director of Polaris festival and releases on Planet E, Border Community, Cocoon and Visionquest returns once again to COD3 QR with the Detroit-influenced "Silent Failure".

French electronic DJ and music producer, Costello returns for his sixth track on COD3 QR, having also released on Solomun's Diynamic, Chloé's Lumière Noire and most recently Maceo Plex's Ellum Audio. His bright Techno groover, "Cocotte" closes the A-side.

Another COD3 QR regular, Jules Wells opens the B-side. Influenced by the Motor City, Jules has released on labels like Electrofunk, Submerge, Twilight 76, KMS, Planet E, Brique Rouge and Logos. Here, he takes the EP into atmospheric territory with "The Rooster".

Benny Rodrigues has previously delivered tracks for COD3 QR as The Lost Souldancer. But now he reprises his Rod20 alias with "Stars Of Bethlehem". Rod20 is the dedicated hardware-only techno project he began in 2020, which prior to its standalone vinyl imprint, launched with a self-released compilation, followed by a dual-part album on Jeff Mills' legendary Axis Records.

To close the EP is the experimental ambient work of "You Are Carried On Waves Of Endless Love" by James Warburton. James is a composer and multi-instrumentalist whose work has appeared on TV and film including Netflix’s "Squid Games", HBO’s "Succession", the title music for Channel 4’s "Manhunt" and the original score for Endemolshine/Banijay’s hit TV series "Murdertown" and NBC Universal’s "Faceless" podcast.

The Deviants (formerly The Social Deviants) were a British psychedelic rock band originally active from late 1966 to 1969. The bandname was later used as a vehicle for the musical work of writer Mick Farren until his death in 2013.

Musically, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things.
Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Mick Farren said that they were influenced by The Who, Charles Mingus, The Velvet Underground and Frank Zappa.

The Deviants is their 3rd album and is now available as a numbered limited edition of 1000 copies on yellow vinyl and it contains a replica of the original mini booklet.

Gluten People return with their third vinyl only release, continuing to refine their stripped back club sound. Four cuts built around hypnotic grooves, solid low end and subtle movement. Made for the dancefloor, for those who appreciate depth, groove and tracks that keep revealing new details over time.

Early support from: Adam Collins, Alec Falconer, Archie Hamilton, Baby Rollén, Bartolomeo, Belaria Enzo Siragusa, , Luke Alessi, Marlie, Maruwa, Massimiliano Pagliara, ODF, Okain, Ploy (Rinse FM), Robert Dietz, Roza Terenzi,, Timo Maas and many more