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I Bet on Sky is the third Dinosaur Jr. album since the original trio – J Mascis, Lou Barlow and Murph – reformed in 2005. And, crazily, it marks the band’s 10th studio album since their debut on Homestead Records in 1985. Back in the ‘80s, if anyone has suggested that these guys would be performing and recording at such a high level 27 years later, they would have been laughed out of the tree fort.

The trio has taken everything they’ve learned from the various projects they tackled over the years, and poured it directly into their current mix. J’s guitar approaches some of its most unhinged playing here, but there’s a sense of instrumental control that matches the sweet murk of his vocals (not that he always remembers to exercise control on stage, but that’s another milieu). This is head-bobbing riff-romance at the apex. Lou’s basswork shows a lot more melodicism now as well, although his two songs on I Bet on Sky retain the jagged rhythmic edge that has so often marked his work. And Murph…well, he still pounds the drums as hard and as strong as a pro wrestler, with deceptively simple structures that manage to interweave themselves perfectly with his bandmates’ melodic explosions.


After submerging myself in I Bet on Sky, it’s clear that the album is a true and worthy addition to the Dinosaur Jr. discography. It hews close enough to rock formalism to please the squares. Yet it is brilliantly imprinted with the trio’s magical equation, which is a gift to the rest of us. For a combo that began as anomalous fusion of hardcore punk and pop influences, Dinosaur Jr. have proven themselves to be unlikely masters of the long game.

There is something to be said about being both popular and prolific enough to be anthologized—it’s a space that soul music stalwart Kelly Finnigan and his latest release, B-Sides, Singles & Forgotten Gems, occupies with intent and fire. Serving as a mile marker pacing the 15 year collaboration between Finnigan and Colemine Records, B-Sides, Singles & Forgotten Gems is an easter egg moment for new and long-time fans to collect rare takes and flip sides in one spot, while unearthing Finnigan’s evolution as an artist, producer, and vocalist.


From his earliest explorations to one of the first tracks cut at his new studio in Ohio, this travelogue in sound both brings the listener forward to the present while laying out Kelly Finnigan’s road ahead.


“Colemine has grown so much, I've grown so much… I think this collection is a chance to take a little look back and share that with the people, the fans, the music lovers, the Colemine lovers,” says Finnigan.

Purple Vinyl, limited to 200 copies. A Life Less Plagued, originally released in 2001, is a seminal release in modern hardcore by the California straight-edge band Carry On. Recorded at Godcity Studios by Converge's Kurt Ballou and clocking in at just under 20 minutes across 12 tracks, the album delivers unrelenting intensity, frantic tempos, and cathartic vocals. The album not only became a blueprint for the 2000s "West Coast Hardcore" movement, but was also the first proper full-length album put out by Bridge Nine Records. Carry On didn't live on much longer after their full-length album debut, but it became a definitive release for the label (and California hardcore) as each member went on to form the next wave of West Coast hardcore bands (such as Terror, Piece By Piece, Betrayed, Internal Affairs, and many more). Long out of print by the album's 10th anniversary, its legacy was further set in stone with a 2011 re-issue. Now Carry On is back playing a handful of shows over the 2026 summer and we've got another re-issue on deck. This is a record frequently cited by hardcore veterans and modern musicians as the absolute mold for 2000s American hardcore, so be sure to grab it if you don't have one in your collection yet.

Roy Montgomery, a key figure in the experimental underground rock scene, lives in Christchurch, New Zealand, just a short drive from the sea. Avant-garde vocalist and songwriter Martha Skye Murphy is based in London. Though geographically worlds apart, the pair inhabit an intimate and almost tactile shared sonic world. Their collaboration feels transformative, like the gradual shifting spell from night to day.

What draws them together is the emotional force of each other’s music. Montgomery’s cyclical, decaying compositions are shaped through intricate guitar and piano work, blending post-rock, folk, and drone. Murphy, meanwhile, possesses a rare gift for transformation, from the intimate cracked whispers of 'At Dawn' to the hypnotic drift of 'The Play of Dark and Light'. On the latter, she evokes old maritime folk tales of fishermen lured into the darkness by the sea’s siren call. The song both seduces and warns, finding something magical and frightening in the temptation of drowning. Though her vocals often resemble fragments of words, consonants, or vowels, they frequently function as pure sound, drawing on glossolalia and prioritising feeling over any ‘learnt’ language.

Emotion and intuition are the driving forces behind Nebular, an album that oscillates between the intimate with the unknown. This spirit is reflected in its artwork. Murphy shared a painting by Irish artist Simon English depicting a solitary house bathed in dusky blue light, and the pair quickly settled on it as the cover image. Both were captivated by its atmosphere. Montgomery related it to the isolated, seemingly uninhabited houses he encounters while travelling through rural New Zealand—places that inspire a desire to knock on the door and discover what lies beyond. “Terra incognita springs to mind. A search into the unknown,” Murphy agrees.

The nocturnal and remote nature of the artwork mirrors the process of making Nebular. With Montgomery in New Zealand and Murphy in London, the album was created entirely through remote correspondence, with stems exchanged via email. Their messages were often written and read at different times of day, and, because of the time difference and the demands of daily life, replies usually were sent late at night and the music too often composed at nocturnal hours. Their exchanges took on the quality of pen pals sending letters across great distances. This suspended sense of time is echoed in Nebular’s sound, with its feeling of temporal drift and timelessness.

On Nebular, Montgomery and Murphy have harnessed raw emotion and launched it into a time capsule bound for the stars. It allows you to drift, to be present, and to feel; creating something timeless.

TRACKLISTING

27 years later Me First and The Gimme Gimmes are still a drag, now a neon green (vinyl) one, and the sleeve is foiled! CD still available too. Though it doesn't sound like a brilliant idea, Me First & the Gimme Gimmes, an all-star cover band dedicated to regurgitating punk rock-style the most frothy music in their parents' record collections, are actually extraordinarily entertaining and can make the likes of John Denver and Barry Manilow sound not so bad. The lineup here includes Fat Mike of NOFX, the guitarist from the Foo Fighters, a couple of the guys from Lagwagon, and Spike Slawson, the Gimmes' sweet-voiced singer, who also plays bass for the Swingin' Utters. On their second record, Are a Drag, the Gimmes tackle all of their parents' favorite showtunes, claiming homage rather than satire. Most of their choices are songs that anybody even remotely into musicals knows by heart. Their cover of "Don't Cry for Me Argentina" has more choruses than the original, rocks pretty damn hard, and is certainly worthy of a swirling slam pit. Though it's not as wild as John Coltrane's version, the Gimmes' "My Favorite Things" is raging enough to send Julie Andrews swan diving off the stage into a sea of sweaty punkers. They mess with the jazz standard "Summertime" by Gershwin, adding some fine surfy leads to a song that's been played a million times over. Also, there's their furious rendition of Andrew Lloyd Webber's "Phantom of the Opera." On Are a Drag, the Gimmes succeed at playing showtunes that punk kids can dig, no small feat.

Me First and the Gimme Gimmes show that they have truly matured as song-thieves on this album! Running at 45 RPM, the 25th anniversary pressing comes with silver foil and silver 25th anniversary labels. But if you like you can buy the original CD still too. Punk pranksters, Me First and the Gimme Gimmes, came forth with their third full length album, Blow In The Wind. That time around the band pays tribute to the tunes of the late 50s and 60s. Once again Me First and the Gimme Gimmes have woven their punk rock magic into the threads of the classics from the likes of The Beach Boys, The Beatles, Del Shannon, and Cat Stevens, just to name a few. On Blow In The Wind, Me First and the Gimme Gimmes don't simply cover 13 songs whose future was dependent upon the AM dial, they breathe the breath of new life into songs that were on the verge of being forgotten! Me First and the Gimme Gimmes is comprised of the following punk rockers: Spike Slawson (Swingin' Utters), Joey Cape (Lagwagon), Fat Mike (NOFX), Chris Shiflett (ex No Use For A Name, present Foo Fighters), and Dave Raun (Lagwagon)

Classic Me First And The Gimme Gimmes reissued: The Gimmes roll into town for a 12-song shootout with Country & Western. These Blue-State bandits are gonna show Kenny Chesney how it's really done. But now the demanding bunch are back, and this time, it's country that gets a kicking. More C&W-styled numbers are easy targets, be it the ever popular "(Ghost) Riders in the Sky," which here gallops straight into hardcore, "Desperado," which will never escape this incendiary melodic punk rock arrangement, and "On the Road Again," which is delivered up in a similar sizzling style. "Jolene," having already suffered the indignities of a goth make-over, is now manhandled by the Gimmes, who storm Dollyland with utter abandon and a barrage of guitars and battering drums, all the better to keep their man -- hmm, shades of Brokeback Mountain. "Annie's Song" is dragged off of John Denver's country roads, and dumped center stage in the middle of a rock concert, which is just where it belongs. Hank Williams' "I'm So Lonesome I Could Cry" gets even more inspired treatment, including a bagpipe! Even a seemingly straightforward punk do-over like "Goodbye Earl" provides some scintillating moments, from the Rancid meets the Clash styling to the bright harmonies and soaring lead guitar licks. The musicianship really shines through on this set, the guitars blaze, the bass becomes assaultive, and the rolling drums sound like the thunder of mortar in the distance, while the production is equally notable. But hey, the Gimmes can play country, too -- well almost -- the first half of "Much Too Young (To Feel This Damn Old)" boasts some fine fingerpickin' guitar, although the country styling keeps sliding into surf: hey, your roots are showing, guys. Now this is country music everyone can enjoy, gimme more! The 20th anniversary edition comes in a yellowish, more brown Mustard colored vinyl.

This album is about the feeling of wanting something more than anything else in life. That looks different for everyone, but for me, it looks like wanting a life that truly feels like it belongs to me. Not an occupation, not money, not a social status. I love making music and being in rooms where that’s celebrated, and if I want to use the life I didn’t ask for to do that, I should be able to. This record is about what it feels like to do that, putting everything else second and the dream first. I think we were able to express all of that in these songs. Musically, this record includes everything we love about rock music. Big guitars, catchy leads, intense vocals, and honest lyric writing. This is the most collaborative Chico release to date

Great Television unfolds as a loose, emotionally driven narrative about navigating love, identity, and self-destruction against a backdrop of memory, movement, and Southern imagery. It begins with “Sunset Promenade,” where a deep, possibly lifelong bond offers comfort amid internal turmoil, establishing a desire for connection strong enough to withstand a restless mind. This sense of identity expands in “Girls of Atomic City,” where independence and womanhood are celebrated, though tinged with performance and uncertainty.

As the story progresses, songs like “Okeechobee Mud” introduce instability and intensity, portraying relationships that are passionate but corrosive, where love becomes inseparable from pain. “Thiokol Tripwire” honors the lives lost in the 1971 Thiokol Chemical Explosion and those affected in the south Georgia community of Woodbine. “Razorwire Wall” reinforces this devotion to chaotic love, suggesting loyalty even in destructive circumstances. A turning point arrives with “The Easy Kind,” where Cook reflects on attempts at self-repair, acknowledging her contradictions and rejecting simplicity in favor of a more fractured self-understanding. This awareness deepens in “Caldonia and The Love Convoy” and “In Your Veins,” where freedom blurs into recklessness and love takes on addictive qualities, revealing her complicity in cycles of harm. “19th Nervous Breakdown” provides crucial context, tracing her instability back to a turbulent upbringing marked by neglect and emotional disorder. “Feverfew,” leaves the narrative unresolved, as she recognizes her repeated attraction to destructive paths yet continues to follow them. In contrast, the closing track “Lightly” offers a rare glimpse of pure, protective sisterly love. Altogether, the album portrays a cyclical journey of longing, damage, and partial self-awareness, where clarity emerges but transformation remains uncertain.

Original Jazz Classics celebrates Miles Davis’ centennial with the release of Cookin' with the Miles Davis Quintet. Originally released on Prestige in 1957 and one of four albums recorded during sessions at Van Gelder studios, Cookin’ features Davis alongside John Coltrane, Paul Chambers, Red Garland and Philly Joe Jones. This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Original Jazz Classics celebrates John Coltrane’s centennial with this release of the mono edition of Coltrane. Originally released on Prestige in 1957 the album features Coltrane alongside Johnnie Splawn, Sahib Shihab, Red Garland, Mal Waldron, Paul Chambers, and Albert “Tootie” Heath. This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco. Drummer/vocalist Chris Reifert had gained initial recognition with Floridian genre pioneers Death & his participation on the classic debut, ‘Scream Bloody Gore’ before this new morbid creation was birthed. Autopsy released 4 albums on Peaceville Records in the early part of their career - beginning with the legendary debut, ‘Severed Survival’, in 1989 - before disbanding in 1995, with members going on to become the stalwarts of sickodelia in Abscess.

Autopsy triumphantly & officially returned from the grave after a 15 year hiatus with the 2010 EP, ‘The Tomb Within’. This was followed by the release of the band’s fifth studio album, ‘Macabre Eternal’ in 2011, as the group celebrated a new era of popularity & creativity. This reverence continues to this day as Autopsy itself nears its 40th anniversary, & still features the longstanding core trio of Chris Reifert, Eric Cutler, & Danny Coralles.

‘Mental Funeral’ was Autopsy’s second studio album, originally released back in 1991, & is rightly hailed as one of the greatest death metal albums of all time with its unhinged & uncompromising collection of odes to brutality & depravity, wrapped up in its highly distinctive raw, organic production.

‘Mental Funeral’ was recorded at Different Fur Studios in late 1990, with engineering work conducted by Ron Rigler. The iconic artwork appeared courtesy of Kev Walker, who had already provided the (at the time) controversial cover for Autopsy’s debut, ‘Severed Survival’.

This special 35th anniversary pressing of ‘Mental Funeral’ is presented on a limited red/green ink spot vinyl, featuring newly remastered audio courtesy of current Autopsy bassist Greg Wilkinson at his Earhammer Studios.

15 pop songs about animals by 15 of the best indiepop bands in the world: Pets Sounds is as simple as that. Ranging from the playful (Sassyhiya, Gay Skeleton Club) to the heartbreaking (Caleb Nichols, Jetstream Pony) to the enigmatic (Railcard, Oh Hippo) to the satiric (The Magnetic Fields, Brian Bilston and The Catenary Wires), there's more diversity on this album than you can shake a stick at. Or throw a bone at. The LP comes with a full colour insert and the CD comes with a booklet featuring artwork by Elodie Ginsbourg. Musicians spend a lot of time working at home, with their pets for company. The pets sit around, happy in their own worlds, sublimely indifferent to their humans' endeavours. As familiar as family members, but as unknowable as aliens, pets are the perfect muse. They can be treated as objects of adoration - `Rufus' by Tugboat Captain is an expression of pure joy - or they can be treated as metaphors. More reliable than lovers but less dangerous than heroin, pets are a great vehicle for singing obliquely about something else. Swansea Sound's `I Don't Like Men In Uniform' is about an ageing, irascible terrier, but it's also about men striving to maintain their potency as territorial aggressors. The Magnetic Fields' `Fido, Your Leash Is too Long' is a libidinous and unreliable partner, as well as a dog that likes sniffing other dogs' private parts. For the most part, animals come off better than humans on this album. In `Kings Of The Animal Kingdom', The Burning Hell dramatise our indulgent love of pets in order to expose our cruelty to other human beings. In `Bo's New Haircut', The Cords express the injustice and unfairness of an innocent animal having to submit to human demands. In `Crayon Potato' by Sassyhiya, the magnificent Crayon contemptuously rejects the gifts offered by her besotted human owners. In `Lola', the opening track, Lande Hekt tries to put this enigmatic human-animal relationship into words. And concludes that however much we love our animals, and no matter how much we manage to communicate with them, we can never really know them. A melancholy conclusion maybe, but the music - as with all the songs on this album - is expressive of the wonderment and the joy that comes from sharing your life with a member of another species. The tracks by Brian Bilston and The Catenary Wires, Jetstream Pony and Railcard are previously unreleased. These three bands are also playing a launch show at The Water Rats, London, on 9th July 2026.

2026 Sakura Pink coloured vinyl, 2022 Abbey Road remaster, cut-out artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune. 300 ww copies only!

Lunatic are a fuzzed out band from Melbourne, Australia Loud bangers. The answer to all things: No! Recorded at Cellar Sessions Studio, Melbourne, Vic, Australia in November 2025, engineered and Recorded by Max Ducker. Mixed and Mastered by David Forcier. Cover Art by Matthew Clarke BAND: Drums Ando Varone / Bass Liam Keneally / Guitars Dick Straight / Guitars & Vocals Pugs Lyngcoln

2026 Repress
Moving Pressure marks its fifth release, and the first one to stretch across a double vinyl with full sleeve artwork. It isn't framed as an album, yet its sequencing carries a narrative weight that lingers between immediacy and introspection.
MP05 welcomes on board Australian producer Connor Wall, whose work fuses tightly wound rhythm and immersive atmosphere, balancing precision with a sense of openness. His sound is rooted in the physical pull of the dancefloor, yet drawn toward zones of suspension and elusion. And Moving Pressure 05 captures that duality very clearly. Momentum sets the tone from the outset - taut drum programming, metallic accents, and structures that build energy in decisive bursts. There's a sense of propulsion that feels engineered for peak hours, exuding a tightening grip on the floor. Gradually, tension loosens up, stretching patterns into spirals, layering vaporous pads and resonant low-end that opens a more interior space.
Together, the two arcs trace Wall's range with clarity: body and mind, force and dissolve. Rather than presenting opposites, they reveal different angles of the same language. An exploration of density, atmosphere, and the subtle thresholds between the two.

Dance your dance. From the first beat to the last, slow or fast, house music is a home for everyone.

This release symbolises a moment in time. A blueprint for dance music before the world knew what it was. Formally referred to as Garage, House or Loft music in the 80s, Frankie Knuckles and Larry Levan shaped the sound from its roots. Larry, resident DJ at Paradise Garage, New York, Frankie at The Warehouse in Chicago, both prolific remixers and some of the first career DJs. Two close friends. Countless genres. One feeling.

RE:VERSAL are excited to present our third compilation, a strictly limited one-time pressing on high-quality 12" 180g heavyweight vinyl - FULL 12” VERSIONS

Available for the first time since its original release in 1980, this is compelling, funky, exploratory jazz from Melbourne, Australia.
The album opens with the floating Song For Bobby, a downtempo gem with the heartbeat aura of Herbie Hancock’s Butterfly; Orchestral Excerpts (From The Symphony Of Life), In The Basement and City Of Stone are high-grade fusion jams with one eye on Weather Report and Return to Forever, the other on the organic Australian sound of Alan Lee and John Sangster. The album closes out with the completely improvised Universal Suite, a 17-minute excursion which begins with a cinematic opening reminiscent of electric Miles at his most introspective before taking flight on passages of hard-driving Latin percussion, shimmering fusion and gritty funk. Slick, cultured and in close dialogue with the most advanced sounds of the era, Pyramid documents one of Australia’s great fusion bands at the height of their powers.

This is terrific.
Brimming with saudade, an atmospheric, engrossing, organic blend of the gorgeous folk music of northern Ecuador’s indigenous communities, and tentative, crafted, soulful electronica.
‘Mala Fama is a Kichwa sound-artist from Ibarra, Ecuador, inhabiting — and creating — multiple worlds at once, while being rooted in Indigenous pride and power. Jichushka is a Kichwa word meaning lonely, or abandoned. Here, grief is re-cast as a pathway to liberation.
‘The album was recorded between 2016-2022. Home studio sessions facilitated close collaboration with a network of artists drawn from Andean musical lineages such as marimba, vallenato, and cumbia — including Afro-Ecuadorian group Duo Anjoa, vocalist Catalina Ortiz from coastal Esmeraldas, Ibarra-based multi-instrumentalist Luis Lema, and Quixosis. The album builds on peaceful ambient compositions as much as heavy sequencing, inviting melancholic remembrances of times and spaces that no longer exist.’
Warmly recommended. Like nothing else. Check it out!

'Devotional music and its devotees all do a bit of "buying in"; that while one's on the ground reality may appear anything but celestial, through this music, one can reach ecstatic space, ecstatic peace. However, devotional music is not solely concerned with a skyward glance - what does it look like to raise up the rust, look upon fractured branches, gaze at the density of a low fog across a field? Instead of us looking up at the land, what if the land was looking back at us? Old Saw brings together a brigade of New England silt sifters to raise up the land not as excavators, but as preparators. Tending and caring for the simple mess that our world discards. Throughout Country Tropics four pieces, the crew stretches and bends chords to their resting place before setting forth towards a new one. Fiddle drone, wistful tape loops of pedal steel, pipe organ hums, and clattering bells call us to scenes of observation, a water tower, a mechanical bull rental agency, a back porch, a taxidermy shop, a local church choir, a garden with singing vines, voltage hum of the electric fence on Pulp mill bridge road.
'The funny thing about devotion is the absence of sight, of source. We place trust in the guide or guides to bring us to a place of seeing, feeling, and hearing. The music on Country Tropics calls out to those in search of such places, but also doesn't demand we conjure some fantastical, celestial vision of understanding. Rather, Old Saw points our gaze downward towards the terrafirma unconsidered, and guides our hands into the dirt.'

Yassokiiba returns with two tracks of heavyweight modular dub pressure recorded in his Tokyo apartment! Fresh from last year's sell out drop, here we are treated to a progression in the unique blend of electronix + classic dub flavours. DUB 11 kicks off with upbeat chubby chords rubbing up against heavyweight bassline + FX! On the flip, DUB 15 goes a little deeper - beatless shards of metallic echoes float above rolling baselines and subtle glitch FX - the sound of MODULAR DUB NOW!

Through a collaboration with Cincy label Chiefdom Records comes a fresh 45 on Colemine from Doctor Bionic. Both cuts from this 45 feel Colemine-core: funky, dirty drums, jazz keys and guitar, and a groove that just won't quit. Put "Expert Witness" on during your next DJ set and watch the floor fill up. Ohio's take on much of the funky west coast jazzy funk over the last couple of decades. Doctor Bionic is nothing short of prolific, having released over 10 albums in the last five years. Keep your eyes on this up and comer on the scene. And don't forget to flip it over for the nightcap. "Mistake" is a mellow guitar driven tune to close out the night in a melancholy way. Sparkling Rhodes, sparse guitar, and driving drums are the order of the day.

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.

Drone returns for his fourth release on his Evil Sky imprint with Normal Ways, a 4-track EP that further pushes the boundaries of bass-heavy music. The EP blends 2-step, breaks, and dubstep, showcasing Drone’s ever-evolving sound while staying true to his distinctive style.

Opening with Ralph’s Theme, a euphoric breaks-driven track, Drone explores a more melodic and emotional side of his production with soaring synths and vocal chops.

Blurred Vision follows, a bass-heavy 2-step anthem with powerful low-end and driving drums that capture Drone’s signature intensity.

Atom Bomb is a dubstep weapon, a club-focused track loaded with hard-hitting bass and all the weight you expect from Drone’s productions.

Closing out the EP is the title track, Normal Ways — a stripped-back, weighty cut with a deep sub, vocal chops, and grooving percussion, marking a return to a more minimalistic yet dynamic sound. Normal Ways sees Drone push forward into new sonic territories while maintaining his signature style, making this EP another standout release on Evil Sky.

Mit Zuckerzeit veröffentlichen Cluster 1974 ein Schlüsselwerk der elektronischen Musik - ein Album, das bis heute als Meilenstein des sogenannten "Krautrock" gilt. Im Gegensatz zu ihren früheren, experimentelleren Arbeiten setzt das Duo hier auf klarere Strukturen, kürzere Stücke und erstmals verstärkt auf Rhythmusmaschinen. Herausgekommen ist eine Sammlung faszinierender elektronischer Miniaturen: verspielt, präzise und überraschend zugänglich. Entstanden in ländlicher Abgeschiedenheit und unter Mitwirkung von Michael Rother (NEU!, Harmonia), markiert das Album einen kreativen Wendepunkt hin zu mehr Leichtigkeit und melodischer Klarheit. Diese Wiederveröffentlichung macht ein zentrales Werk der elektronischen Avantgarde wieder breit verfügbar

OK EG, AKA Lauren Squire and Matthew Wilson, take intrepid recce’s on a Kalahari debut of fathoms-deep techno minimalism and opiated braindance styles.

With release titles like ‘Intertidal zone', 'Anther' and 'Prismatic Spring’, their ambition to evoke natural worlds is evident. But these tracks aren’t of this planet. Navigating truly alien terrain, ‘Rivulets’ finds the duo imagining uncharted environments into existence through the medium of analogue hardware.

This is very much an album of two halves; the first on heads-down tip aimed straight at the dancefloor, with a second plate that veers further into abstraction. That said, they’re all the kind of far-reaching explorations where close listening yields great rewards.

Between ‘Oxygen Channel’’s cavernous throb and the dub techno-leaning ‘Circular Arc’, the Antipodean duo set their stall out with a widescreen sense of space. Then, ’Rivulets’ comes in strong with the spiralling, trance-inducing gear. Stripped-back, no fuss; proper live improv techno for the most inquisitive souls.

Sending signals into the endless expanse, the second half is a demonstration of OK EG’s versatility. Where ‘Surface System’ and ‘Matched Grip’ further indulge dubby tendencies, ‘Flow Regime’ and closing gambit ‘Endless River’ traverse dreamlike dimensions through breaks and flow state IDM.

Heisenberg continues its vinyl series with HSBRGV015, a four-track VA bringing together some of the labels all-time favorite artists. Romania s Nu Zau and Direkt set the tone with their signature hypnotic grooves and unmistakable swing. From Latvia, D I N adds a deeper, driving touch, while label head Saktu closes the record with a stripped, groovy, and trippy cut true to the Heisenberg sound.
HSBRGV015 is a pure reflection of the label’s identity, carefully selected, deeply underground, and made for those who truly understand. Vinyl only.

Ready for the summer!!!!!
This highly anticipated double EP by Skatman is yet another weapon from the Time Passages arsenal.
Aziz Haddad, better known as Skatman, is one of the most promising figures in the contemporary electronic music scene. Known for his genre-fluid approach and distinctive artistic vision, he continues to blur the lines between house, techno, and deeper cinematic influences. His ability to craft immersive sonic journeys has earned him a respected place within the international underground circuit, making each new release a testament to his evolving creativity and unmistakable sound.
Featuring eight tracks, this double EP showcases the full spectrum of Skatman’s sonic universe. Some of the cuts may already sound familiar to attentive dancefloors, having been championed by Binh at several of last summer’s most celebrated festivals and events. Balancing hypnotic grooves, intricate rhythms, and atmospheric depth, the record is built to leave a lasting mark on both intimate club settings and open-air dancefloors alike.

Boisterous stuff out of Uruguay, courtesy of Kalahari debutant Michelle.

An early Nicolas Lutz protégé and live set demolition expert offering hard-edged techno and electro drama, with occasional pitstops into tech house turf. Lean, mean and utterly relentless with it. Pervaded by cranky, unruly dancefloor spectres and haywire cybernetics – all deftly constructed but administered with brute force and controlled ferocity.

Bearing heart and soul at the controls of her 303, it isn’t all full-frontal assault. A fierce feminine energy pervades every nook and cranny, brooding and angsty, totally rooted in that Montevideo warehouse sound. Straddles the beautiful and terrifying with ease.

Machine-powered and ruthless, the Slipknot-sampling closer is a fitting end.

2026 Repress.


There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.

After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:

‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.

If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.

Figure marks its latest chapter with X54, a gripping new EP from French production talent KUSS.

Known for his meticulous work with hypnotic rhythms and tactile textures, his debut release for the label thrives in the darker, more introspective corners of the club. X54 is a perfect example of tension-building-balancing forward-thinking sound design with the kind of dancefloor efficiency that Figure is known for.
While the EP is defined by the heavy, metallic undertones that K.U.S.S. has made his own, the record also features two collaborations with Clotur. These tracks bridge K.U.S.S.'s clinical percussion with Clotur's knack for expansive, cinematic atmosphere. Together, they create a sound that feels both surgically clean and sonically massive.
Built for the late-night hours and the depths of the club, X54 is an uncompromising addition to the Figure catalog.

Radio Slave reissues 2000 and One’s ‘Tropical Melons’ with remixes from Bart Skils and Mark Broom, Dylan Hermelijn, aka 2000 and One, also contributes a new mix of the 2007 hit

2000 and One’s noughties track ‘Tropical Melons’ lands on Rekids 31st July 2026, reissued with a new mix from the artist, Dylan Hermelijn, himself alongside fresh remixes from label debutant Bart Skils and Rekids regular Mark Broom. Originally released via Hermelijn’s 100% Pure in 2007 and championed by the likes of Sven Väth, ‘Tropical Melons’ remains a genre-blurring club cut that has lost none of its impact, now re-released and building on the reissue of 2000 and One’s ‘Wan Poku Moro’ on Rekids in 2024.

Opening the record, Bart Skils adds to the already heavily synth-laced original, sharpening its edges while preserving the lose-your-mind energy that made it such a standout. Mark Broom follows with his signature drum work: raw, muscular and driven by a jackin’ groove as the original’s dubbed-out melody washes over its rhythm. On the flip, Dylan Hermelijn revisits the track himself with a new 2026 mix, cleaned up and nudged forward with a subtle increase in pace, while keeping the irresistible pull of his original fully intact.

BBE Music’s celebrated J Jazz compilation series reaches its fifth and final volume in early 2026, culminating in a track list that maintains the exceptionally high standard first set with volume one back in 2018. This final volume features a selection of tracks that is as diverse as it is deep, reflecting the rich and varied Japanese jazz scene that spanned from the late 1960s to the late 1980s, a golden era of innovation and creativity. J Jazz volume 5 sees compilers Tony Higgins and Mike Peden dig ever deeper into their respective record collections to reveal tracks that encompass myriad styles including white hot jazz funk fusion from Toshiyuki Honda (Eastern Legacy) and Mikio Masuda (Sonic Barrier), super rare ethnic jazz crossover by Christal Zone - their one-off 45 promo release from 1971, Rai Rai, a deconstructed and abstract jazz classic by Yasuhiro Kohno with his solo piano rendition of My Favourite Things, and Mile and Half’s skin-tearing, shredding freak-out from their mega rare private press album.

A track that is so relentless, it leaves the listener in need of oxygen and a Valium. These hand-picked selections sit alongside other specially chosen numbers that embrace hard-driving samba (Seiichi Nakumura’s Judy’s Samba), epic head-nodding soul jazz (Masaru Imada’s World Line), psychedelic private press fusion (Aoyama Gakuin 101’s Fervor), angular post-bop tear-ups (Akira Miyazawa’s Nijimasu), intense and insistent fusion (Motohiko Hino’s Olive Step), serene cinematic pianism (Hideo Ichikawa’s On the Trade Wind) and tripped-out hallucinogenic tribal funky jazz (Masahiko Sato’s Garandoh’s Africa to Africa). Most of the tracks on this collection are being reissued for the first time, many of them only available previously on extremely limited and mega-rare private press or independent releases. J Jazz volume 5 is a fitting end to a compilation series that helped create a new audience and appreciation of Japanese jazz Some of the albums the tracks are drawn from are featured in the large format book J Jazz: Modern and Free Jazz from Japan 1954-1988, by Tony Higgins and Mike Peden, published by BBE Music in 2024. With almost 7000 words of extensive sleeve notes, J Jazz volume 5 comes in a triple 180g vinyl set inside a deluxe gatefold sleeve with obi strip, and comes with a 4-page insert, with photographs from the renowned Tokyo Jazz Joints project. It is also available as a double CD and digital download. Mastered at the Grammy-nominated Carvery Studio by Frank Merritt, this latest collection is a worthy successor to the preceding four volumes that set the bar so high. The J Jazz series is curated for BBE Music by Tony Higgins and Mike Peden.

Collaborations have always been an aspect of music I enjoy a lot, it can bring out the best in both artists when done well. It's a privilege to return the favour for one of the most exciting producers around in my opinion and to put out some of our music on my label after I released 'Reflections' on his excellent Temple of Sound back in 2019.

Tom and I came up through similar circles of music, inevitably connecting. We started to chat online and send ideas back and forth, immediately finding a shared enthusiasm for production and music in general. With a similar ethos of DIY and letting the music speak for itself, this EP was formed from the track 20-25 aptly named due to the stems being bounced back in 2020 but it eventually came together in 2025. We exchanged a few ideas and quickly realized we had a pretty strong EP in the works combining the best of both our sounds.

The EP consists of 4 hypnotic & rolling bass music tracks around 130 BPM merging influences from broken & deep Techno styles, Breakbeat & House. Perfect for deep listening or wiggling air in the club.

20-25 is a crunchy broken beat roller with lush pad work, stabs and slinky grooves before dubbed out bongos crank the energy up a notch and solidify the groove. 5 years in the making, but definitely worth the wait!

Strings on the A2 leans heavier into repetition and hypnotic grooves with slinky synthetic percussion and cavernous atmospherics. The track gradually evolves with elements filtering in and out whilst the groove anchors the track before the breakbeat science and pitchy bass comes into play. It's low and slow, building the tension before weaving in the full power of the track with haunting dissonance and dark melodics.

The title track takes the EP in another direction with it's delicate melodies and vocal, ushering in thunderous kicks. Around 2 mins in, the full weight of the track is noticeable with the low sub bass and modulating percussion. The track slowly morphs into an insatiable groove with peaks and troughs before a full send on the 2nd drop with additional percussion, intensifying the energy and taking the track into more dancefloor territory.

Finally we have Depth Charge on the B2, eyes down, dubby with a wonkified groove. This one is a slow burner, coming in at over 8 mins long. The rhythmic prowess is on full display with counter balanced rhythms, an interesting bassline and dubby pads and stabs. The track has a noticeable energy shift around 3.30 with a key change, and the slow meshing of subtle elements culminate in an easeless hypnotism where 8 mins feels like a lot less, a perfect closer.

We hope you enjoy, keep it deep!

Brownswood Editions unearths another treasure from the catalogue, revisiting the Havana Cultura project. Initiated by DJ, broadcaster and curator Gilles Peterson in the late 2000s, Havana Cultura connected contemporary Cuban musicians with global audiences at a time when international perceptions of Cuban music were still largely rooted in the Buena Vista Social Club era.

Instead, the project spotlighted a new generation of Havana-based artists whose sound drew from contemporary diasporic influences - neo-soul, hip-hop and reggaeton - seen through a distinctly Afro-Cuban lens.

One of the project’s most explosive moments came with this Cuban reimagining of Fela Kuti’s classic Roforofo Fight, a track that quickly became a DJ favourite thanks to its live energy and deep rhythmic drive. The band features both Mayra Caridad Valdés (daughter of Chucho) - one of Cuba’s leading contemporary jazz and soul singers and internationally acclaimed pianist Roberto Fonseca.

This new 12" edition pairs the original version with a highly sought-after remix from house music legend Louie Vega, who brings his unmistakable New York Latin house touch, extending the groove for contemporary dancefloors while respecting the Afro-Cuban roots of the recording. The original remix pressing has since become highly sought after on discogs, making this long-awaited return to vinyl essential for DJs and collectors alike.

A meeting point of Afrobeat heritage, Cuban musicianship and club culture, the release reflects Brownswood’s long-standing mission to join the dots between scenes, sounds and generations.

Fresh from the critically embraced full-length LP/CD, Downward Staircase now arrives in a special remix release - answering the persistent calls from supporters of Joaquin "Joe" Claussell who have been demanding a 12" single. The wait is over.

Downward Staircase is an Afro-Jazz House composition crafted in a way only Joaquin himself can manifest. Layered with masterful percussion from a host of renowned players, the groove is both infectious and deeply rooted. The rhythm section drives with purpose, creating the perfect foundation for the stunning piano work of Joaquin's longtime production partner and favored pianist. The result is a powerful Afro-dance journey - spiritual, percussive, and built to ignite dance floors wherever it's played.

But that's not all.

Also featured on this EP is another Joaquin Joe Claussell remix titled Kwelo, featuring Afro-dance originator Mr. Jephte Guillaume. A collaboration rich in heritage and forward motion, it further expands the sonic landscape of this release.

This project has been over a year in the making - a true labor of dedication and persistence. We're incredibly excited for its release, and we know our loyal following shares that excitement. In many ways, it was your continued support that helped bring this record into existence.

Don't sleep.
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Enjoy the Journey