Colorize presents Echoes, the highly anticipated debut album from Massachusetts songwriter, producer and musician Jack Willard, a richly melodic body of work.
Jack Willard blends organic songwriting with modern electronic production, cinematic storytelling and immersive sound design, an emotionally driven style that has earned support from Above & Beyond, Tritonal, Yotto, Nora En Pure and Bob Moses since debut single Celsius, alongside airplay on SiriusXM Chill and BBC Radio 1 and millions of streams worldwide. The Massachusetts native made his Colorize debut in 2023 with Big Sky, an instrumental favourite still in regular SiriusXM Chill rotation, before expanding his sound on the Patterns EP with his first larger scale vocal collaborations, including fan favourites Everything All At Once and Wanna Know. Following performances across both U.S. coasts, Echoes arrives as Willard’s most ambitious project to date.
After establishing their identity with their debut EP, Alma de Baile, Geneva-based duo Roshâni unveil Planet R, their first album, set for release on October 15, 2026, via Stonepixels and distributed by The Orchard.
More than just a record, Planet R is a world of its own: a planet shaped like a disco ball, where languages blend, synthesizers intertwine with organic grooves, and dancing becomes a form of futuristic therapy. Sung in Farsi, Spanish, French, and English, the album moves freely between futuristic disco, alternative pop, experimental electronic music, and contemplative ballads, never seeking to belong to a single scene or territory.
Cal & Al, Lucho, Kye & Brennan each contribute a track bringing their own taste and style offering a tune for various moments throughout the day / night while still sitting comfortably under the umbrella of the YumYum sound.
Norman Gervais and Charles Bals return after last year’s Transcoastal compilation with their first project for the Italian label Periodica Records and its newly founded imprint, Periodica International.
The concept behind SiRENE 89 is quite particular and took six years to develop. It is presented as the live recording of one long evening, with different bands taking the stage one after another on the terrace of a Mediterranean holiday resort in 1989, inspired by the places Charles and Norm remember from their summer holidays around that time.
The songs were recorded between 1982 and 1993 and gathered from small-time artists, beach-club vagabonds, local micro-labels, library records and privately released tapes. The music moves lightly between mystical ballads, digital samba and loose, sunburnt dance songs, carried by drum machines, not-quite-tuned guitars and college-band voices.
The audience on the terrace remains quietly present throughout, joining the tracks into one continuous, partly improvised set. By the end, it feels less like a compilation and more like a place where you have spent the night, proving that charm can carry further than perfection.
Another Day on Earth (2005) was Brian Eno’s first song-based album since Nerve Net in1992, and remains one of his most acclaimed solo records. It featured a young Jon Hopkins alongside long-standing collaborators Nell Catchpole, J. Peter Schwalm and Leo Abrahams, with lyrics co-written by Michel Faber and Danny Hillis. The album was launched with a public conversation between Eno and the writer Michael Bracewell at the Marble Palace in St Petersburg and its cover photograph was taken by Eno himself in Beijing, during his first Chinese audio installation in the city’s Ritan Park. Following Warner Bros’ purchase of Hannibal Records in 2006, the licence for Another Day on Earth lapsed in 2008 and the album has been unavailable outside Japan ever since.
“Grand, sweeping choruses ... that insinuate themselves deep into the memory, but also moments of whispering intimacy - a wistful, haunting record that runs warm with understated emotion. ★★★★★” - Matthew Collin, The Observer (2005)
Drawn From Life, originally released on Virgin Records in 2001, was a full collaboration between Brian Eno and J. Peter Schwalm, the two having met through Eno’s longtime friend Rolf Engel. It will carry that joint billing for the first time. The album featured Holger Czukay, Laurie Anderson, Nell Catchpole and Leo Abrahams, and was supported by a tour taking in Porto and Lanzarote before a headline appearance at Japan’s Fuji Rock Festival. The rights to Drawn From Life reverted to Opal when Citigroup acquired EMI and the album has not been available since. The 2026 reissue will be available across all formats and includes the bonus track ‘Bloom (Instrumental)’.
Multi-Platinum-certified singer-songwriter Ashe will release her highly anticipated fourth studio album, The Girl Of Your Dreams, October 16, 2026, marking her Atlantic Records debut. The album features the hit single “Stop The Wedding!” and follows her acclaimed trilogy of albums — Ashlyn, Rae, and Willson — as well as her recent collaboration with FINNEAS on “The Favors.
J NOIREs Debüt-EP „Prometheus“ entfacht ein Feuer, ganz wie der Titan, nach dem sie benannt ist. Sechs Songs voller Härte, Melodie, Groove und Emotion entführen den Hörer in eine gotische Höllenlandschaft, die Noire selbst erschaffen hat. „Prometheus“ verbindet die Atmosphäre von BAD OMENS und SLEEP TOKEN mit der industriellen Dunkelheit von NINE INCH NAILS und RAMMSTEIN und schafft so einen Ausgleich zwischen erdrückender Wucht und eindringlicher Melodie. Die EP gipfelt in einer Neuinterpretation von COLDPLAYs „Fix You“, die den bekannten Hit in etwas Dunkleres, Schwereres und unverkennbar J NOIRE-Typisches verwandelt.
Mutant präsentiert in Zusammenarbeit mit WaterTower Music und DC Studios stolz die erste physische Veröffentlichung von Claudia Sarne’s Original-Soundtrack zu „Supergirl“. Die Komponistin Claudia Sarne sagte über die Entstehung der Musik für „Supergirl“: „Die Vertonung von ‚Supergirl‘ war wie ein wilder Fiebertraum. Ich habe mich besonders mit der Unordnung und Komplexität ihrer Figur identifiziert und liebte die Bandbreite, die der Film erforderte. Die Möglichkeit, von dreckigen Synth-Basslinien und -Sequenzen zu großen thematischen Orchesterstücken und traurigen Solo-Klavierpassagen zu wechseln, war eine unglaubliche Reise. Craig wünschte sich Musik, die das Gefühlsleben der Figuren zum Ausdruck bringt – von Ruthyes Herzschmerz und Idealismus über Karas Verzweiflung und Rebellion bis hin zu Lobos Nihilismus und Krem’s Schrecken; all das verbunden durch die Liebesgeschichte zwischen Kara und Krypto.“ Mit einem Cover-Artwork von Bilquis Evely, gepresst auf 2x 140 gm Farbvinyl, mit einer im Siebdruckverfahren bedruckten D-Seite.
Das Aufeinandertreffen zweier Pop-Ikonen: Madonna und Kylie Minogue veröffentlichen mit "Love Sensation" eine gemeinsame Nu-Disco-Hymne. Die Kollaboration erscheint als limitierte 7"-Single auf Coloured Vinyl und kombiniert pulsierende Synth-Basslines mit glamourösen Vocals. Neben der Main Version auf der A-Seite enthält das Release einen Extended Club Mix auf der B-Seite und kommt in einem veredelten Sleeve mit exklusivem Artwork auf den Markt.
Familiar. Usually reserved for things we think we know. A face, a place, a feeling, a record perhaps. Until, of course, they aren’t quite the same anymore. Or maybe you aren’t.
Jennifer’s debut album lives somewhere around there.
It’s a record about time, which is already a fairly ambitious subject considering nobody seems to have figured that one out yet. More specifically, it’s about what
time does to a person. The old versions, the new versions, and all the ones in between that you only notice when something suddenly brings them back. Someone you
haven’t seen in years. A room you used to know. A certain way the light falls. That sort of thing.
There’s a bit of a doppelgänger situation going on, too. Finding something completely new and somehow recognising it. Meeting yourself again without immediately realising who you’re talking to.
Which can be nice. Or strange. Usually both. The songs on Familiar sit comfortably with that contradiction. Looking backwards without wanting to go back. Missing things without necessarily wanting them
returned. Realising that people who once occupied most of your waking hours can become people whose address you don’t know. Meanwhile, some tiny, seemingly irrelevant detail from fifteen years ago remains perfectly intact.
Memory has its own filing system. Not a particularly sensible one.
Jennifer wrote a series of poems alongside the album. In them, familiarity appears in melting snow, rough coastlines, a kitchen already warm in the morning, somebody’s hands fitting into yours. Elsewhere she wonders about someone she
once knew everything about and now knows nothing about. They could live around the corner. They could live on another continent. They could, technically, be dead. Probably not. But that’s time for you.
Maybe Familiar is less about remembering who you were than realising you never entirely stopped being them. Things get added. Things disappear. Things come back looking slightly different.
And somehow, you recognise them.
Mink & Shoes' is a gooey drip of murky low slung slinky disco, falling somewhere in between smokey retro-futurism and hazy desolation.
It's a seductively squiggling romp through the outer reaches of the cosmos — sky-crawlingly atmospheric, slow-motion dance floor abstraction for acid heads and space cadets. With Navid Izadi's intoxicating vocals it's quite something, and comes in three flavours: dub, radio and original.
Nach ersten limitierten Singles veröffentlicht The Operator Sound INC. sein Debütalbum "Esoteric Audio For Space Age Witchcraft" innerhalb der "21st Century Library Music"-Reihe des englischen Labels Library Of The Occult. Die Aufnahmen erfolgten direkt auf Tonband unter Verwendung modularer Synthesizer, einer alten elektronischen Orgel und einfacher Rhythmusmaschinen und liefern den klassischen Space-Age-Lounge-Vibe der 1960/70er Jahre, jedoch auf eine düstere und okkulte Weise verfremdet, die aus einem Planetarium der 70er Jahre zu stammen scheint.
KYSH returns to wax with its third vinyl release — another milestone in the label’s steadily growing catalogue. More than a year and a half into the journey, KYSH feels more in its element than ever, bringing together five names that represent both the label’s own extended family and fresh acts joining the ranks. All well-established and highly respected figures in the modern techno landscape, they deliver a sharp selection of contemporary club weapons. Kashpitzky opens with “Blush”, a raw, boomy cut where rough-edged rhythmics meet crisp modern production, channeling the spirit of industrial techno at its best. “Tarmac” by Regent follows with a dense, restless groove, while Chontane’s “Gyuto” dives into hypnotic territory, layering rhythmic elements around subtle dissonant melodies. On the flipside, Temudo & Pierce join forces for the threatening, aggressively contemporary “Highest Clarity Grade”, balancing intricate sound design between rhythm and atmosphere. Closing comes GCOD with “Sleeper Agent” — dancing sub bass, a striking hook and a relentless hi-hat groove keeping the weight firmly down low. Another strong statement on wax, KYSH-003 confirms the label’s vinyl output as a mark of quality, with five floor-tested cuts drawing from a fresh, current take on the industrial influences that shaped techno a decade ago. A new lineup, a distinct direction, and five tracks ready to speak for themselves on a proper soundsystem.
For more than 20 years, every CASPIAN album has been driven by a desire to stretch boundaries — a relentless ambition that's resulted in one of post-rock's most revered catalogs and established the Massachusetts quintet as an enduring, global force in the genre's modern era. On CASPIAN, the band’s first album in six years and debut for Wax Bodega, the more unexpected way forward was to stop searching for what they hadn’t yet done and instead trust what had defined them from the beginning.
The six-song, 39-minute effort draws freely from the musical vocabulary the band have spent their career writing: evocative melodic themes, dense textures, swelling crescendos and crushing heaviness that rolls in like a slow-moving storm on the horizon. But they still find new possibilities within those familiar contours, allowing patient development and repetition to carry as much weight as surprise. The nine-minute “Remain” turns a recurring melody into a sweeping study in tension and release, while “No One Left to Tell” layers subtle shifts around a hypnotic tremolo figure and “A Great Fire” sends serpentine guitars crashing into buzzsaw riffs. Even the graceful 3/4-time closer “Waltz for the End,” completed in a half-hour burst of inspiration, reflects the quiet confidence of five musicians comfortable enough in their skin to resist tearing everything down for the sake of reinvention, even as the circumstances surrounding them change dramatically.
Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.
Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.
Marcos Valle is one of those artists you simply can't overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn't stop there. He has continued recording fabulous albums over the following decades, right up to the present day. Widely regarded as one of the finest recordings in Marcos Valle's catalog, Vento Sul (1972) represents a pivotal moment in his artistic evolution, revealing a composer unafraid to reinvent himself and push the boundaries of Brazilian popular music. From the hypnotic title track to highlights such as "Democústico," "Revolução Orgânica," "Paisagem de Mariana," and "Pista O2," the album remains a breathtaking achievement whose influence continues to resonate more than five decades later. This reissue shines a well-deserved spotlight on a landmark recording -- an essential chapter in Brazilian music and an indispensable addition to any collection of psychedelic, progressive, jazz, or MPB classics. Pressed on 180g vinyl.
From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra
From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra
,BETHLEHEM" ist eine Zusammenarbeit, die über Grenzen hinweg entstanden ist, die nicht überschritten werden konnten. Das Stück vereint die Stimme von Lawrence Sammour - der seit mehr als fünf Jahrzehnten den Chor der Geburtskirche leitet - mit der elektroakustischen Sprache der Beiruter Komponisten Sary Moussa und Abed Kobeissy. Entstanden als Reaktion auf die Entscheidung der Geburtskirche, die Weihnachtsfeierlichkeiten während des Völkermords in Gaza auszusetzen, verwandelt das Werk traditionelle liturgische Hymnen in eine weitläufige und tief bewegende Komposition, in der Stimme, Elektronik, Buzuq und Atmosphäre ohne Hierarchie nebeneinander existieren. Weder Neuinterpretation noch Bewahrung - ,BETHLEHEM" ist ein Akt des Zuhörens über Entfernungen hinweg: ein Werk der Trauer, das auf der fortbestehenden Präsenz von kulturellem Gedächtnis, Hingabe und menschlicher Verbundenheit besteht.
The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.
The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.
A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.
– INCOGNITO
There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.
The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.
Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.
Kito Jempere has spent more than two decades building a universe of his own, with releases on Mule Musiq, DFA and other influential labels, alongside remixes from Ewan Pearson and others. With Other People’s Aesthetics, that universe finally opens outward. After years of protecting his own musical language, Kito lets the outside world in—embracing the sounds, artists and scenes that have shaped him, from house and techno to Aphex Twin, Warp, Ninja Tune and Omar-S. The result is a personal universe merging with the world beyond it. The album opens with “Change For Now,” a collaboration with longtime friend Lipelis (L.I.E.S., Public Possession, Running Back), marking a friendship that has grown over the past decade. “Teaser,” originally released on Mule Musiq, returns in a new album “Dub” version, with fewer vocals and a stronger garage-house feel—a direct statement of love for David Lynch. “OPA” looks back to Kito’s original half-jazz, half-drum’n’bass sound and the Uniquetunes era of the early 2000s, alongside the music he absorbed from CDs by Amon Tobin, Squarepusher, Skalpel and The Cinematic Orchestra. “Listens To Selected Ambient Works Once” is a direct homage to Aphex Twin, given a Warehouse-style treatment for bigger dancefloors. “I’m Not A Doctor, Either,” featuring mishinuki—previously heard on Green Monster in its Moloko homage—builds towards an epic, euphoric string finale. “Kobayashi Porcelain” closes the record by combining memories of Usual Suspects with Moby-like atmosphere and an Omar-S-type beat. The release of Other People’s Aesthetics will be followed by a Japan tour in December 2026 and Kito Jempere’s ongoing residency at Honeycomb Hi-Fi in Dubai. Early support from: Ata, Reznik, Horse Meat Disco, Vladimir Ivkovic, Tim Sweeney, Max Pask, Rich Thair of Red Snapper, Ame, Ellen Allien, Benji B, John Tejada, The Blessed Madonna, Hard Ton
A landmark in Detroit deep house, Forevernevermore is Moodymann’s second full-length album on Peacefrog Records. This 2000 release sees Kenny Dixon Jr. at his most soulful and experimental, blending dusty samples, live instrumentation, and hypnotic grooves into a deeply personal sonic collage. Drawing from his earlier KDJ releases, the album reimagines rare cuts into a cohesive, emotionally rich journey through love, loss, and the spirit of the Motor City. Essential for fans of deep, narrative-driven house music.
Smokey 2LP with limited edition Obi Stip to celebrate the 35-year anniversary
Originally released by Umor Rex on cassette in 2018, Rafael Anton Irisarri’s Sirimiri is now available on vinyl for the first time, newly remastered for this edition. This LP marks the fourth and final installment in a series of four reissues released throughout 2026 to celebrate the 20th anniversary of Umor Rex.
It is a fitting way to close such a special anniversary year. Rafael is not only an artist who has released three albums on Umor Rex, but someone who has been part of the label’s history for more than a decade. His sensibility and way of listening have complemented and nourished the label throughout the years, while his mastering work has helped shape the sound of many of our releases. A close friend, and an essential part of what Umor Rex is today.
Sirimiri roughly translates as “drizzle” in Basque, and we can’t think of a better word to describe its content. The album consists of four long-form pieces, each shaped through different processes and with its own distinct identity, in which Irisarri seeks to blend subjective time with the listening experience through loops, repetition, and subsequence-based sound. Following Eno, nothing happens in quite the same way twice: perception is constantly shifting, and nothing stays in one place for long. The desolation and despair—in a strangely positive way—that we heard in The Shameless Years (Umor Rex, 2017) and later in FAÇADISMS (Black Knoll, 2024) are present here, but the impression is more concrete, unfolding through rawer, less rhetorical landscapes. If The Shameless Years existed somewhere between beauty and active tragedy, this record travels through the beauty and melancholy of an observing eye—a quiet, rebellious insurrection.
Written, produced, mixed & mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Carl Hultgren: Guitars on “Sonder”, Taylor Jordan: Electric Piano on “Mountain Stream”. Design by Daniel Castrejón.
The threeway combo you never knew you needed. Sam Binga, Machinedrum and Cesco built the raw bones of these tunes across a single morning in LA, overlooking MacArthur Park, in an intense session that saw them throwing live Bingerian vocals, raw Brazilian shrimp-sellers and tweaked-out Acid lines into the melting pot.
Further sessions between Highland Park and Stokes Croft saw these bare bones jams get fleshed out into the four genre-bending tracks that make up the Niche Flex EP, all of which have been tested out in clubs and festivals across the world, and which land this September via Binga's Pineapple Records imprint, on both vinyl and digital formats.
While obviously handy in the studio, Team MACESGA (as nobody calls them) also can operate a DJ booth to a reasonably high standard, as witnessed at the raucous Pineapple Takeover at the Beatport HQ in LA, and are available to showcase their Transatlantic Threesome at a Quality Music Venue or Devious Fetish Spot near you.
Introducing the first unknown - untitled release to Kudos, a concept record label where the releases are previewed anonymously, with the artist info found in the record sleeve. quality of the music comes first.
Citric Dub EP is a collaborative release from Law and RUNDR, released via R-WHITES, Repertoire's jungle-focused sister label for releases from the core Repertoire crew.
Following the first five R-WHITES compilation volumes, Citric Dub EP marks the imprint's first dedicated artist EP, exploring the intersection of jungle, dub techno and ambient music.
Deep sub bass, tape-inspired textures and hypnotic, progressive arrangements combine with classic breakbeats to create a sound that is both immersive and firmly rooted in the foundations of jungle.
Music on heavy rotation while making the record included... Basic Channel, Deepchord, Terekke, Biosphere, Wax Doctor, Aphex Twin, Burial, Nala Sinephro, Scientist and Jah Shaka.
Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.
Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”
Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”
“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.
Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.
“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.
Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.
Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”
Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”
“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.
Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.
“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.
"Broken Home"tells the story of an escape that doesn"t really lead anywhere. The song depicts leaving a dysfunctional home hoping to find something better,only to end up in a worldthat feels just as chaotic and empty. The journey takes on a surreal tone, filled with striking, symbolic images: glittering but hollow figures, cheap messiahs, plastic saints-signs of a society that builds superficial, interchangeable idols. Surrounded by a hyperconnected crowd, there"s still a deep sense of isolation running through everything. The city itself feels saturated with excess, addiction, and illusion, where even moments of "cleanliness" or redemption seem fake, as if something as simple as rain could wash everything away. At its core, the song explores alienation and disillusionment, suggesting that escaping your past doesn"t mean much if the world you run into is just as broken.
Coke Bottle Clear Vinyl. Babe Haven ist eine queere Punkband, bekannt für ihre Riot-Grrrl-Attitüde und ihren Nu-Metal-Einschlag. Gegründet in Boone, North Carolina, von Lillie Della Penna und Naomi Poesel, kreiert die Band Hymnen über Selbstermächtigung und Widerstand, die vor roher Aggression nur so strotzen.Die Band hat sich schnell zu einem ikonischen Bestandteil der modernen Punkszene entwickelt, bringt Bühnen zum Brennen, spielt ausverkaufte Shows in den gesamten USA und stand bereits mit Acts wie Die Spitz, Mannequin Pussy, Soft Play und Pup auf der Bühne.Ihr zweites Album ,Nuisance" zeigt eine mutige Weiterentwicklung ihres Sounds - eine Mischung aus Nu Metal, Thrash und Punk, die sich zu einem intensiven, genreübergreifenden Statement verbindet und ihren Platz als eine der wichtigsten aufstrebenden Stimmen des Punk festigt.,Nuisance" erschien ursprünglich im Juni 2024 und wird nun im Oktober 2026 erstmals physisch über Hassle Records veröffentlicht.
"Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."
Gold Nugget Vinyl, limited to 400 copies. "Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."
Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.
,Beyond the Fleeting Gales" ist das Debütalbum der New Yorker Band Crying und verbindet eingängigen Indie-Rock mit elektronischen Elementen, Prog-Rock-Einflüssen und kraftvollen Gitarren. Die zehn Songs vereinen atmosphärische Synthesizer, starke Melodien und dynamisches Songwriting zu einem energiegeladenen und emotionalen Gesamtwerk.
