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London-based DJ, producer, singer, and Fine Human Records owner Dino Lenny returns to vinyl releases on his own label.

Two fast-paced tracks that meander through waves of dark electronica and diabolical synths.

These tracks were created to capture the inner workings of Lenny's mind, transforming them into hypnotic works.

With releases on R&S, Diynamic, Innervisions, Rekids, Crosstown Rebels, Strictly Rhythm, Cocoon, and his own Fine Human Records label,

has remixed and collaborated with Underworld, Missy Elliott, Wu-Tang Clan, and Madonna,

Lenny has long held a firm foothold in both the underground and mainstream electronic music scene.

Consistently supported by Laurent Garnier, Carl Cox, Sven Vath, he maintains a presence that spans multiple scenes without being defined by just one.

Since 2021, he has hosted Tomorrowland's CORE radio show, featuring artists such as Nina Kraviz, Ellen Allien, Ame and Sven Vath

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

Filmmaking and music-making share a common element of worldbuilding. Whole cloth, environments are raised in which a perspective can be placed; the viewer, the listener, is taken on a ride into the unknown for a time. Movie, the newest album by DMV-based duo Lifted, is like a film shot with microphones rather than cameras, using the pacing, spatialization, and semiotics of cinematic sound design to lead us through a surreal soundworld that draws as much from Foley artistry as dub, jazz, and electronic music. Musical elements and field recordings shift in and out of focus, collaged in spontaneous improvisation sessions on CDJs by the core duo of Andrew Field-Pickering (Max D, Dolo Percussion, Beautiful Swimmers) and Matt Papich (Co La, Ecstatic Sunshine). We may not see where we are, but our ears give us all the information we need.

We open on a pedal steel, played by More Eaze, but it’s been warped and slowed, gradually pitching upward until it's met by drums and electronics. Imagine the THX logo emerging onscreen. Movie is bookended by two related themes, “The Ice Chewers (Opening Credits), ” and “Midnight Snack (End Credits), ” giving the spatial experiments at the heart of the record form and focus. If there’s a broader narrative to latch onto, it’s in the transition moments, the juxtaposition of various field recordings that indicate movement of characters through space and life happening at its own pace. Tracks are defined by other thematic elements: a wandering piano in "Repossessed, " the drone of Duncan Moore’s bagpipe on “Melts Very Nasty, ” the delicate dance of Dustin Wong’s guitar over Jeremy Hyman’s drums on “Midnight Snack. ” Even with such an expansive ensemble cast, the focus remains squarely on the flow from one scene to the next.

Robert Altman’s use of sonic perspective shifting, as well as Apichatpong Weerasethakul’s intricate construction of environmental ambience and aural representations of the unknown, were both inspirational for Lifted’s focus on sound as a way to establish set and setting in film. We hear Altman especially in the way dialogue emerges and recedes: as Papich puts in a sandwich order, as Field-Pickering browses the grocery store. These techniques have been a part of the duo’s arsenal in Lifted and their own projects for years, but here, without the mandate to make something overtly musical, they are foregrounded and placed in crisp focus. Here is another way to listen to the world, to understand how time, place, and personality are communicated through sound as Lifted closes the gap between artforms. What you can’t see only drives the imagination to more brilliantly invent.

The Dwarves return to their punk roots with a fun, energetic record. Standout tracks include: Damned If I Do, We Are The Scene, Psychosis Tripping. Jenkem finds The Dwarves returning to the raw, confrontational energy that defined their early work, delivering a fast, irreverent blast of punk rock that blends melody, aggression, and their trademark shock humor. Packed with short, high-impact tracks like "We Are The Scene," "Damned If I Do," and "Psychosis Tripping," the album balances tight songwriting with the band's chaotic, anything-goes attitude, moving effortlessly between hardcore punk bursts and hook-driven rock moments. Formed in the mid-1980s and long led by founding member Blag Dahlia, The Dwarves have built a reputation as one of punk's most provocative and unpredictable acts. Emerging from the underground with releases like Blood Guts & Pussy, they became notorious for their explicit artwork, confrontational lyrics, and myth-making persona that blurred fact and fiction. Over decades, the band has shifted fluidly between garage rock, hardcore punk, and pop-inflected punk, while maintaining a consistent identity rooted in speed, satire, and rebellion. Their ever-changing lineup has included notable musicians such as HeWhoCannotBeNamed and members connected to acts like The Queers and Zeke, reinforcing their deep ties within the punk scene. With Jenkem, The Dwarves reaffirm their core strengths--brevity, intensity, and attitude--while delivering a record that feels both nostalgic and immediate. The songs hit quickly and leave an impression, driven by sharp riffs, pounding rhythms, and Dahlia's biting vocal delivery. As a continuation of their long-standing ethos, the album stands as a reminder of the band's enduring ability to provoke, entertain, and channel punk's most unfiltered spirit.

Shooting Daggers are a band that never seems to stop. Sal, Bea and Raquel are one of the hardest working outfits out there, constantly playing shows and lending their support to myriad causes all around the U.K. and Europe. So, it’s always an exciting prospect when the band takes some time out from the maelstrom to write and record new material. And 2 years on from the release of their acclaimed debut album ‘Love & Rage’ the band have been in Bear Bites Horse Studio with Wayne Adams (Big Lad, Green Lung) at the controls to come up with the goods once again. ‘The Real Life Thing’ is the latest hardcore sonic missive from one of London’s must-see bands, and it absolutely does not disappoint. Shooting Daggers are the real deal; the best, and most exciting and adventurous hardcore-inspired band in the country. A ‘mini album‘. 7 songs and 20 minutes of driving rocket fuelled punk meets melody picking up from their debut to go further into their own space. A selection of songs that are marked by a fierce energy, variety and cool musical nous, but always with a message firmly at its core. The band says … ‘It's a crucial time to focus on what really matters. Be present, be aware of real things happening in the world, with integrity and love we can make a difference as a community. There is hope out there, and if we all start treating nature, people and animals with respect and empathy we will be able to become better humans and coexist. In this mini album, we express the full range of our emotions through various sounds and genres. From cheerfulness to anger and hopefulness.

From hardcore punk, to shoegaze, to post hardcore and riot grrrl. We embrace our authentic self, with sensitivity in response to injustice, we act out, and all the while savouring every moment, being unapologetically yourself, empowering ourselves and each other’. With the help of some very special guests in the form of ‘The Menstrual Cramps' and Dennis Lyxzén from Refused, that message is driven home ‘big time’. ‘Adrenaline’ is as full on and heavy as Daggers have ever been, all buzzsaw riffs and rousing vocals, it’s a smart and catchy punch in the face to kick off proceedings. ‘My Oh My’ sweetens the vibe if only a bit with its layered post shoegaze guitars and anthemic vocals, exquisitely arranged we may add. It really shows how Daggers have taken the 90’s elements from Love & Rage and expanded it into something all their own. ‘T.R.L.T.’ back to ‘in yer face’ Daggers trademark off kilter punk, chants, fast bit, slow bits all straight into your head. ‘We just Wanna Play’ is, as Daggers put it ... ‘Empowering playground song for girls and queers to sing and play’. The perfect intro to … ‘Loud Mouths’ the first track to feature bestie guesties ‘The Menstrual Cramps’. A riotous call to arms. We are united with our sisters and queer folks in punk and hardcore, queercore is strong and more alive than ever. Together we will denounce problematic behaviours unapologetically, we won't shut up. Things must change and it’s happening when problems are pointed out and sorted. The scene is for everybody, and we are making it happen’. ‘Le Soleil’ is another step forward … a left field, almost dubby vibe with a dreamy melodic swirling vocal performance from Sal.

When Daggers decide to step outside the box, they do it seductively in style. ‘Glow’ is the second collaboration; this one featuring Dennis Lyxzén from Refused on dual vocal duties. A no brainer it seems … ‘Refused has been a band that never wanted to fit in with a specific sound, they are pioneers of experimental punk while still being rooted in hardcore. They believe in what we believe in, antifascism, veganism, social justice and Dennis on stage is anything but a generic hardcore singer’. It’s a celebration. It’s fuzzy, it's hooky and it’s heavy with, dare we say it, a bit of My Bloody Valentine in there too, generic hardcore it is not. And that pretty much sums up ‘The Real Life Thing’. This album and this band are anything but ‘generic’. They never stand still and continue to push the boundaries of what is ‘hardcore’ or ‘punk’ or whatever people think they are. T.R.L.T. is a delight and a surprise from start to finish, refreshing, abrasive, melodic and with a true beating heart. Embrace it.

A transcendental journey through the shadows of consciousness - remastered and expanded for the deepest listening experience yet With Metamorphyses , Swedish dark ambient pioneer Peter Andersson (RAISON D'ETRE) invites us into a labyrinth of sound and soul, where drone, ritualism, and neoclassical minimalism converge into something vast, immersive, and transformative. Originally released in the mid-2000s, this defining work now returns in a gloriously expanded edition - and for the first time ever, pressed onto double vinyl.

This 2025 edition, meticulously remastered to K14- level standards by Andersson himself, features not only the core studio album (Disc I, recorded winter 2005-2006), but also two full discs of evocative live performances from across Europe, including Gent, Sofia, Salzburg, Alkmaar, Budapest, and a stunning set recorded in the Sophienkirche of Wuppertal during the Phobos II Dark Ambient Festival (2010) - a performance that plays like a liturgy for forgotten gods. The sound is monumental yet subtle: subterranean drones coil beneath spectral chants, decaying harmonics ripple through ancient cathedrals of reverb, and slowshifting textures create a space where the listener floats between the sacred and the surreal. There are echoes here of Lustmord's somber gravity, Thomas Koner 's icy isolationism, and the ritualistic depth of Inade or Desiderii Marginis, but it's RAISON D'ETRE's singular spiritual voice that rises from the abyss. The artwork by Kati Astraeir perfectly captures the album's meditative darkness - fluid forms, organic decay, and transcendent abstraction - while the layout, also designed by Andersson, reinforces the ritualistic purity of the listening experience.

A transcendental journey through the shadows of consciousness - remastered and expanded for the deepest listening experience yet With Metamorphyses , Swedish dark ambient pioneer Peter Andersson (RAISON D'ETRE) invites us into a labyrinth of sound and soul, where drone, ritualism, and neoclassical minimalism converge into something vast, immersive, and transformative. Originally released in the mid-2000s, this defining work now returns in a gloriously expanded edition - and for the first time ever, pressed onto double vinyl.

This 2025 edition, meticulously remastered to K14- level standards by Andersson himself, features not only the core studio album (Disc I, recorded winter 2005-2006), but also two full discs of evocative live performances from across Europe, including Gent, Sofia, Salzburg, Alkmaar, Budapest, and a stunning set recorded in the Sophienkirche of Wuppertal during the Phobos II Dark Ambient Festival (2010) - a performance that plays like a liturgy for forgotten gods. The sound is monumental yet subtle: subterranean drones coil beneath spectral chants, decaying harmonics ripple through ancient cathedrals of reverb, and slowshifting textures create a space where the listener floats between the sacred and the surreal. There are echoes here of Lustmord's somber gravity, Thomas Koner 's icy isolationism, and the ritualistic depth of Inade or Desiderii Marginis, but it's RAISON D'ETRE's singular spiritual voice that rises from the abyss. The artwork by Kati Astraeir perfectly captures the album's meditative darkness - fluid forms, organic decay, and transcendent abstraction - while the layout, also designed by Andersson, reinforces the ritualistic purity of the listening experience.

"It's about being really ambitious, and seeing enhanced beauty in the world, and knowing that seeing things in that way isn't unrealistic," she continues. "It's about striving for that ultimate freedom." Recorded in a joyful stay at Wales' residential StudiOwz, 'Tell Me It's A Dream' rings with the audible fizz of friends hanging out and having fun. Though many of its lyrics began during a complicated time for Walton, the record itself is a testament to choosing life and pleasure and the people that make it all worthwhile. "A lot of the record is about stretching outwards and acknowledging how far love can take you; about expressing how I feel about the people I love through music in ways that words can't," she says. "It was important to capture that lightness from the recording, because that spirit is in a lot of the songs." Frequently euphoric and brightly emotional, the songs themselves aim heavenwards. 'Heart To Heartbreak' cracks through the clouds of a break up, taking influence from emotionally-rich bands like The Cure and Prefab Sprout to translate the feeling at its core. "This is a song about feeling like everything in your life has shattered but realising that relationship was holding you back and the world is opening up," she says. "I wanted this song to feel really visual, like things are starting to sparkle and look colourful again.

With Superstring, one of the greatest trance classics returns to vinyl. Originally released by Cygnus X, the track became a landmark in trance history and remains instantly recognisable decades later. Its hypnotic melody and emotional drive helped shape the sound of the genre and continue to resonate with fans and DJs.

This special edition includes an exclusive, never-before-released remix by Oliver Lieb as well as the iconic versions by Rank 1: the celebrated Rank 1 Remix and the Deep Dub Remix. Each interpretation brings a different perspective to the timeless core of Superstring, showing why it remains one of trance's defining records.

Pressed on vinyl for collectors, DJs and trance enthusiasts, this release celebrates the enduring legacy of a classic that still feels relevant today. It represents trance's ability to connect generations through melody and emotion.

2026 Repress

Thirteen years after their landmark debut, Italian duo Voices From The Lake (Donato Dozzy & Neel) return with their much-anticipated second album, 'II' (two) on their own Spazio Disponibile.The record marks a new chapter in one of electronic music's most revered projects. Born from a friendship and a singular musical vision, Voices From The Lake first emerged as a one-off live performance in the Japanese Alps, later distilled into their self-titled 2012 album. That record has since become a touchstone in ambient techno, reshaping the global landscape of hypnotic and atmospheric electronic music. In the years since, the duo have performed worldwide, released a handful of EPs, worked on installations, and founded record labels, all while continuing to refine the project's unique identity. Yet the core of Voices From The Lake has always been its deep, aqueous approach to sound, a sensibility that returns in full force on II. "The project was never meant to become what it did," the duo reflect. "At one point, we even paused it. Only to later embrace it in all its forms. II is both a continuation and a reinvention." True to that spirit, Voices From The Lake have explored extremes in recent years, from high-tempo live sets to seated listening concerts, while remaining anchored in the meditative pulse of ambient techno. II extends this lineage, carrying forward the immersive sound design and boundary-pushing vision that has defined their work from the beginning.

妖精の通る道 (The Path Where Fairies Pass) is the debut vinyl release by Reimaki, the duo of Rei Yokoyama (Triggers Flowers, Stakaidan, Lapiz Trio, 新井薬師自警団, and Fujio, Chiko Hige and Rei), and Maki Miura (Tsubamegami, Les Rallizes Dénudés, Shizuka, Fushitsusha, Ohkami No Jikan and Katsurei). The duo has been an understated presence in Tokyo, playing occasional under-the-radar shows and self- releasing a few CD-Rs, but they’ve recently started to break cover, with a recent cassette on UFO Creations, released in support of a late 2024 tour of China. It’s also a welcome reappearance on the scene for both musicians; Miura’s musical history, in particular, is being reevaluated thanks to a recent string of welcome Shizuka reissues.

But the music Reimaki make together is a different thing entirely, much as it shares some psychological and aesthetic interests with both Miura’s and Nokoyama’s other projects. Their sound is split between two main interests – an extension of glacial, deoxygenating psychedelic improvisations, and a deep interest in medieval European music. They’ve also been known to cover compositions by English prog/improv musician Fred Frith. These various elements of the Reimaki aesthetic are all present through 妖精の通る道, from the fragility of the opening “Novel Amor” through to the smeared, hazy textures of the three extended pieces that comprise the album’s flipside.

There’s a beautiful sympathy in these performances, and a generous simplicity, too; you can sense that this music is informed by decades of finding just the right way to say the right thing in the clearest manner possible. Yokoyama and Miura never overstate things; make the statement, play the song, let it hang in the air for a while, and then move on to the next essential expression. The music is unburdened by self- consciousness. Their take on medieval music cuts to the core of melody and melancholy; their psych- improv side is blurred and drifting without ever lapsing into rote generic gestures.

There’s some shared space with other artists who suspend the timeless within the kaleidoscopic possibilities of the psychedelic – Kendra Smith & The Guild of Temporal Adventurers; Emmanuelle Parrenin; Rosina de Peira – and a tangled folksiness that might put listeners in mind of Jan Dukes De Grey, Comus, Current 93, and Tower Recordings. Accompanied by beautiful photography from street photographer Takehiko Nakafuji, who was also personally chosen by Mizutani to document Les Rallizes Dénudés, 妖精の通る道 is a most unique and necessary trip.

There is a particular kind of strangeness that arrives on long drives across Europe. Flat light, service stations and fields stretching endlessly past the window. It might look mundane at first glance, but becomes faintly surreal when the tiredness of touring blurs the edges of everything.

That feeling became the quiet engine behind Driving Through Belgium, the debut solo album from Anton Pearson, best known as one of the guitarists in respected post-punk outfit Squid. The title grew from a track that felt like the record’s centrepiece, which itself came from the recurring image of extensive periods on the road across the continent. It is a record shaped in the margins of touring, and finessed in the in-between hours.

Across six pieces, Pearson leans into atmosphere, texture and space. It is ambient in spirit, adjacent to contemporary classical in feeling, but composed less with notes in mind than with sound itself. The compositions rarely began with harmony or melody, with Pearson instead responding to his environment and sounds in real time, placing trust in his instinct.

Although initial inspiration came from the road, the album was recorded in a studio he shares in Brighton, and marks his first fully solo project made in that setting. It gave him access to not only new tools and techniques, but a hitherto un-experienced freedom. Much of the process began experimentally, feeding instruments into unfamiliar chains, pitching loops into unexpected registers and playing with previously unused synthesizers simply to see what they might reveal. Many of the sounds were created out of pure curiosity, wanting to understand a piece of equipment or technology, and then following wherever it led.

The album was built with this experimentation at its core, as Pearson would layer then extract, processing stacks of sound until things blur and confuse. Guitars dissolve into drones, a Pianet Clavinet dances against muddier textures whilst a Korg PS-1000 occasionally cuts through with its glittering top end. On ‘Driving Past the Muscular Cows in Belgium’, a flat, still drone is pushed through valve amps until it growls and tightens with tension, before receding again. Even the trumpet, which Pearson freely admits he is not technically proficient at, is embraced in its naivety, its squeaks left intact rather than corrected. The twin ‘Tintinnabulation’ pieces frame the record with looping, pitched bell like tones, accidental discoveries that became structural anchors. Meanwhile, ‘Teeth to Cut the Grass’ deliberately introduces abrasion, some of the harshest textures on the record, a refusal to become passive background music.


That embrace of imperfection is central. In contrast to the hyper-analytical precision of his band, Pearson was keen to honour first takes. If something felt good, it would stay. The end result is an album that favours looseness, instinct and the energy of creation itself. If Squid thrives on propulsion and tension, Anton Pearson finds his energy in suspension on Driving Through Belgium. It is curious rather than declarative, creating a space where experimentation feels playful again.

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

Having already toured the UK/EU supporting the likes of Gregory Porter, Jools Holland and The Teskey Brothers, alongside selling out multiple headline shows in the UK and EU (Ronnie Scotts in London, Unterfhart Jazz Club in Munich and Jassmine in Warsaw among others), she's also co-written with the likes of Caro Emerald, Ruby Turner and Roberta Campos, and broken through to new territories via national radio play-listing in The Netherlands, Germany, Belgium, France and Italy, as well as having strong radio support from BBC Radio 2, 6 and Jazz FM. Kat's third album 'What Happens Now' is a collection of timeless yet contemporary beautifully crafted songs with lyrics that cut to the core. Inspired by artists such as Emily King, Lake Street Dive and Raye, alongside legends Stevie Wonder, Aretha Franklin and Carole King that Kat grew up listening to, 'What Happens Now' is an amalgamation of her influences underpinned by her inimitable tone.

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

The borderless, tropical band “of Tropique,” whose core sound blends funk and rock-infused exotica, releases a 12-track full-length album on vinyl LP!!
This work maximizes their core lineup as a guitar-less trio, featuring a diverse array of 14 guest musicians to construct a rich sonic landscape.
This landmark release in the history of domestic exotica and tropical music features Mutsumi Kobayashi of the Minyo Crusaders, Rockin' Enocky of Jackie
& The Cedrics, to global talents like Joshua Camp of CHICHA LIBRE and MIRAMAR, the standard-bearer of US new wave Latin bands, and more!
It's a masterpiece that delivers the full thrill, excitement, and pleasure of encountering unknown music.

Wer sich Drunks Debütalbum ,A Derby Spiritual" aus dem Jahr 1996 noch einmal anhört, wird feststellen, dass es charmanter, sanfter und - wenn ich das so sagen darf - farbenfroher ist, als es sein stoischer Slow-Core-Ruf aus den 90ern vermuten lässt. Und man könnte sogar bemerken, dass Rick Alversons Stimme einen bisher ungeahnten, von Niederlagen gezeichneten Tom-Petty-Singsang aufweist. Der Sound der Band aus Richmond ist zweifellos zurückhaltend, knarrend und karg. Doch die Jahrzehnte haben diesem alten, traurigen Kerl einen wärmenden bernsteinfarbenen Schimmer verliehen. Das Black-Hole-Radio-Stück am Ende des atemberaubenden Openers ,Collarbone" scheint das Kommen von ,Yankee Hotel Foxtrot" vorherzusagen. Und hier in der seltsamen Gegenwart könnten Stücke wie ,Germany Skies", ,Gideon's Trumpet" und ,Gizmo" nahtlos in den heutigen Indie-Country-Boom eingefügt werden. Der seltsame Walzer aus Akkordeon und Geige in Stücken wie ,Indeliberate Matrimony" und ,Coming Home" klingt - wage ich es noch einmal zu sagen - wie Mellencamp aus der ,The Lonesome Jubilee"-Ära am Boden eines Fasses Schnaps. Alversons Lyrik schwankt zwischen dem hoffnungsvollen Nihilismus seines zeitgenössischen Songwriter- und Dichterkollegen aus Virginia, David Berman, und dem tiefgründigen Post-Beat-Minimalismus von Robert Creeley. Ich schwöre, wenn er in dem hoch-und-einsamen, von der Mundharmonika getragenen ,Window Sill" seufzt: ,I feel willy-nill/I pissed upon your window sill", klingt das im Lenderman'schen Sinne des Wortes verdammt romantisch. Im Rahmen des 30-jährigen Jubiläums von Jagjaguwar wird ,A Derby Spiritual", Jags zweite Veröffentlichung überhaupt, zum ersten Mal auf Vinyl gepresst. Ein drei Jahrzehnte langes Unrecht wird endlich wiedergutgemacht. Tatsächlich erscheinen im Rahmen der Feierlichkeiten zum 30-jährigen Jubiläum des Labels eine Handvoll dieser frühen Veröffentlichungen aus der Charlottesville-Ära von Jagjaguwar auf Vinyl.

Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.

In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.

Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.

Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.

Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.

TGP & LDG on their third collaborative release, a four-track statement that moves between raw live energy and deep, hypnotic exploration. The A side captures the essence of the dancefloor with two cuts from Tobias. & Kuniyuki’s live set at EDEN, Japan. Spontaneous, textured, and driven by the moment. A direct transmission from the booth.
B side shifts perspective: Yuta / O-MA strip things down to the core with a minimal techno approach, precise, reduced, and functional. Ness closes the record with a downtempo, hypnotic journey, immersive, subtle, and introspective.A release built on contrast and cohesion, bridging live improvisation and studio precision. Third chapter. Same vision. Expanded language.

Constructive is pleased to announce, 'Utopia or Oblivion', a new compilation featuring ten artists inspired by the pioneering work of R. Buckminster Fuller, with each track inspired and in response to Fuller's work specifically Utopia or Oblivion', first published in 1963.

From the irregular glitch pop scintillation of 'How Would I Be? What Would I Do' by German artist & founding member of To Rococo Rot, Robert Lippok, to the heartfelt ambient and seraphic voices of 'Afterimage' by Japanese artist Tujiko Noriko (Editions Mego, PAN, Room40), through to the tensile, eruptive, dub-contoured emittances of 'Tensegrity Rhythms' by Peruvian experimental composer Ale Hop (Karlrecords).

Elsewhere, there are appearances from the Bafta-nominated composer Adam Janota Bjowski (Saint Maud OST), musician & Constructive co-founder Adrian Corker, London-based experimentalist No Home, Italian artist & NTS Radio resident Silvia Kastel (Blackest Ever Black, Palto Flats, Youth), British sound artist David Prior, and a unique collaboration between the British DIY experimental musician Richard Skelton & Corey Fuller, a descendant of R. Buckminster Fuller.

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

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

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

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

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

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

Holy Sun Opera House at its core is soprano and drummer Krissy Barker with composer dl Salo. Along with a revolving cast of collaborators, singers and performers, they create emotionally engaging and haunting symphonic music embellished by electronics, heavy drums and synthesizers. The group has been described as “Opera Cult” and as one who would play at the Roadhouse in Twin Peaks. They draw influence from early Dead Can Dance, Fever Ray and Klaus Nomi.

The Holy Sun Opera House is the group's self-titled debut set for release in May 2026 on the label Hologram Opera. The self-produced album was conceptualized as a way to describe an obsessive mind with music and inspired by the recurring dreams of singer Krissy Barker. In it is a realm of shifting rooms, dilapidated houses and passages. These unsettled rooms and spaces pose a striking confrontation of fear and anxiety from deep within.

In its conception, The Holy Sun Opera House was written as a passage through these ethereal dreams and spaces. The song Latched On depicts the compulsive psyche as a draining physical entity attached. While Voice of Gob, Decrepit Mansion, and Room with the Rain observe and attempt to find acceptance in this conflict. The Passages I & II travel between the curtains to the unknown entity residing in The Attic, who looks inside the mind of the dreamer and determines she has no soul.

The album blends genres with electro, darkwave, and contemporary classical music. The ritualistic passages of the choir throughout the album are reminiscent of Wicker Man and 1970's mystic cults, praising the deities residing within the dream. The arrangement of synths, electronics, heavy drums and operatic singing lend itself to something uniquely memorable.

Coinciding with the band’s European tour in June 2026, High Roller Records re-releases “Rat God” (2021), “Fearsick” (2022), and the “Panic Prayer” EP (2023) by US death metal powerhouse Inhuman Condition.
Formed in late 2020, Inhuman Condition unites three seasoned veterans of the genre: Jeramie Kling (Overkill, ex-Venom Inc., ex-Massacre) on vocals and drums, guitarist Taylor Nordberg (Deicide, Umbilicus, ex-Massacre), and Terry Butler (Obituary, ex-Death, ex-Six Feet Under, ex-Massacre) on bass. With roots deeply embedded in the legacy of classic Florida death metal, the trio quickly established a reputation for delivering relentless, and unapologetically old-school extremity infused with modern precision and songwriting clarity.
The group’s debut full-length “Rat God” introduced their signature blend of crushing mid-tempo grooves, razor-edged riffing, and commanding vocal presence. Praised for its clear and powerful production, dynamic guitar work, and unmistakable homage to early 90s death metal, the album delivered headbanging anthems such as ‘Euphoriphobia’, ‘Crown of Mediocrity’, and ‘Planetary Paroxysm’, marking Inhuman Condition as a veritable force carrying the tradition forward.
With “Fearsick” (2022), the band sharpened their attack while staying true to their core identity. Featuring artwork by Dan Goldsworthy and produced by Jeramie Kling, the album expanded the sonic palette with atmospheric touches, crushing riff sequences, and memorable hooks, thus cementing the band’s status.
The “Panic Prayer” EP (2023) showcased three new tracks and a cover of Blue Öyster Cults ‘Godzilla’ alongside raw live recordings capturing the band’s ferocious stage energy.
High Roller Records’ 2026 re-issue campaign offers fans the chance to rediscover the early catalog in premium physical editions, celebrating the recordings that established Inhuman Condition as a modern standard-bearer of classic death metal intensity.

Fika Recordings are pleased to present Bring On The Apathy, the third solo record from Scottish songwriter Adam Ross. Adam Ross is an indie-folk songwriter based in north-east Scotland. He is a solo artist and has also led the cult indie band Randolph's Leap for over a decade, releasing music with legendary Fence Records and Lost Map as well as Olive Grove Records and Fika Recordings. He is known for his unique brand of articulate lyricism which blends humour, poignancy, wordplay and offbeat stories.. “Bring On The Apathy” was recorded onto tape, using traditional analogue techniques at Glasgow’s Green Door Studio with Samuel J. Smith. It showcases some of the most emotionally open, lyrically deft and characterful songwriting so far from one of Scotland’s most accomplished writers. The vintage recording approach brings a warmth and intimacy to a record which is in equal parts raw and organic while also beautifully arranged and performed as Adam is joined by a raft of excellent collaborators. The album itself is a reaction. Whether it be in the title, the lyrical content or the method in which the sounds were captured. “I was feeling fairly down and uninspired about the musical landscape” Adam explains. “The risk with digital recording where every instrument is overdubbed separately is that it can end up sounding metronomic, sterile and lacking personality.

I also started to get a bit freaked out by the topic of AI-generated music and the insidious, creeping impact it’s already having. I therefore decided that, as a bit of a protest, I wanted to make something that sounded extra-specially human and hand-crafted, where you could hopefully hear the interplay between musicians.” For this reason, Adam decided to record the majority of the album live, as a band, playing together in the same room without a click track. “I’d put a band together to tour my last album, Littoral Zone, and I really enjoyed the way we all worked together. Green Door Studio was chosen as the destination as it specialises in analogue sound production but it had an extra significance for Adam. “Green Door was the first studio I ever recorded in, back in 2009. This time around, the “unforgiving” nature of tape recording became an inspiration. “The musicians on the record are such great players that they rarely make mistakes, so there was a confidence there that we wouldn’t need to rely on copious amounts of editing or post-production, which isn’t always possible with tape anyway. The core band consisted of Owen Curtis-Williams on drums, Cameron Maxwell on bass, Pedro Cameron on violin, Gillian Fleetwood on harp and (long-time collaborator with Randolph’s Leap) Pete MacDonald on piano. Mercury Prize-nominated artist C Duncan was drafted in to write and perform backing vocal arrangements along with Amanda Nizich and Gillian Fleetwood. Adam says “I’d been listening to a lot of Bob Dylan, Karen Dalton and Bill Callahan records and I thought it might be interesting to apply those sorts of influences to my brand of Scottish quirk-pop”.

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Formed by vocalist and guitarist Andy Yorke, bassist Jason Moulster and drummer Nigel Powell, the band crafted an album that stood apart from the late-Britpop rush with a sound that was intimate, melodic and emotionally direct.Songs such as "Solved," "Higher Than Reason" and "Angel" showcase Yorke's plaintive vocal delivery and the band's gift for dynamic build-ups, moving from hushed reflection to soaring climaxes without losing their understated core. Critically noted for its cohesion and lyrical sincerity, Almost Here established Unbelievable Truth as a thoughtful counterpoint to the era's louder guitar bands. It remains a focused, atmospheric debut that rewards close listening and highlights a band confident in mood, melody and craft

PMF007 has landed

We are honoured to welcome veteran artist Dennis Walks to the Poor Man’s Friend label. Having cut his teeth with Duke Reid in the mid to late 1960s, Dennis Walks has been recording consistently for over 60 years.

Best known for his massive hits “Drifter,” “Heart Don’t Leap,” and “Margaret,” alongside the great The Mudies, Dennis brings a smooth yet powerful voice rooted in R&B and doo-wop influences. Combined with his intricate and thoughtful songwriting, he remains one of our favourite artists from the rocksteady and early reggae era.

“What A Pressure” is a vibrant, horn-led early roots reggae cut that captures the raw spirit and sonic identity of Jamaica’s foundational studio era. Driven by an upbeat tempo and undeniable energy, the track is elevated by rich, full-bodied backing vocals that perfectly frame Dennis Walks’s unmistakable voice. His delivery carries a weight of experience, bringing to life a set of beautifully constructed conscious lyrics that speak with both urgency and soul.

At its core, the production is propelled by a deep, rolling bassline that locks tightly with a heavily saturated rhythm section, creating a warm, analog feel reminiscent of classic recordings from Kingston’s golden age. The horns cut through with authority, adding brightness and drive, while the overall arrangement maintains a tight, authentic groove.

A hushed and intimate reimagining of a landmark indie classic, Grandaddy’s The Sophtware Slump… On a Wooden Piano—originally released in 2011—returns in a limited Eco-Mix “Tangelo” vinyl pressing. On this version, Jason Lytle transforms the album’s lush, synth-driven arrangements into stark piano meditations, highlighting the fragile humanity at the core of the songs.

Eight men pick up shiny brass instruments, lock into an unspoken groove and rotate genres like your favorite playlist shifting from jazz and R&B to hip-hop, pop and beyond with fire, focus and fluidity. New Orleans-bred staple The Soul Rebels expand musical boundaries with an unwavering commitment to originality. Far more than augmentation and accompaniment, the octet—Julian Gosin trumpet, MC, Marcus Hubbard [trumpet], Lumar LeBlanc III [snare drum], Derrick Moss [bass drum], Corey Peyton [trombone, MC], Erion Williams [saxophone], Paul Robertson [trombone] and Manuel Perkins Jr. [sousaphone]—pioneer the integration of their chosen instrumentation.

Featuring Special Guests: Sean Carey, Dee-1, Alfred Banks, Emeril Lagasse, Trombone Shorty, Kermit Ruffins, Mia X, DJ Jubilee, Cheeky Blakk, Tonya Boyd-Cannon, New Orleans Citywide Youth Choir, Jaelyn Langston, Wild Wayne, Kango Slim, PJ Morton, Big Freedia, Denisia, Branford Marsalis, Brandee Younger, KES, Kayla Jasmine, Matisyahu, Robert Glasper, Fabriq, Tarriona "Tank" Ball

With his self-titled new album—out May 8 on Candid Records—Grammy-winning guitarist, producer, and songwriter Matthew Stevens delivers a definitive midcareer mission statement. Long recognized as one of the most thrilling and thoughtful guitarists of his generation, Stevens has built an elite reputation in music, touring and recording with a "who’s who" of modern icons, including Esperanza Spalding, Christian Scott Atunde Adjuah, Harvey Mason, and Walter Smith III.

On this new release, Stevens steps fully into the spotlight, performing at the absolute peak of his powers. The music seamlessly melds acoustic and electric sonics through a mix of genre-blurring originals and deeply personal covers. The album features a multigenerational cast of musicians, including mentors like Terri Lyne Carrington, personal guitar heroes like Jeff Parker, and rising visionaries such as vibraphonist Joel Ross and vocalists Anna B Savage and Corey King. Co-produced by Stevens alongside Josh Johnson and Eric Doob, the record is the culmination of 20 years of craft. It reflects a period of profound personal and artistic change, ultimately bringing Stevens to "a place of optimism, excitement, and confidence" that signals a bold new chapter for one of jazz’s most essential voices.

It would be easy to pigeonhole Footballhead’s unapologetically-buttrock-inspired record Weight of The Truth as simple nostalgia bait. Why wouldn’t millennials lust for the days of Halo and energy drinks in carpeted basements they’re not convinced they’ll ever be able to afford for themselves? Beyond that, why would the zoomers that now intently follow not try and chase the high of hyperreality in a bygone world that looks, to them, downright utopian when compared to the present?

What sets Footballhead’s capital-R Rock sound apart from contemporaries is - in addition to just sounding better - a desire and an ability to thread the needle between paying homage to a quasi-idyllic past and pursuing an earnest future. Footballhead wears their 2000s-era influences on their waffle-knit longsleeves, with power chord drives and pummeling choruses, all sequenced together like the teeth of a skeleton key able to unlock core memories for people who’ve either been there or people who simply wonder what being there was like. Both the anthems and ballads on Weight of The Truth are waxed and polished to perfection like the lip of a favored skatepark ledge.

But underlying all that, even more impressively, is a grit and substance derived from years spent in the Chicago DIY scene, exposing themselves to different styles and influences equally out of necessity as out of interest. It bleeds through on every track. You can bullshit your way into a vibe but, as the band shows on any number of recent releases, including singles off their upcoming second LP: you can’t fake heart. With an ear to the past but an eye to the present, Footballhead invites you to remember what it meant to give a shit back when the world felt simpler - and what it might feel like to do so again.

It would be easy to pigeonhole Footballhead’s unapologetically-buttrock-inspired record Weight of The Truth as simple nostalgia bait. Why wouldn’t millennials lust for the days of Halo and energy drinks in carpeted basements they’re not convinced they’ll ever be able to afford for themselves? Beyond that, why would the zoomers that now intently follow not try and chase the high of hyperreality in a bygone world that looks, to them, downright utopian when compared to the present?

What sets Footballhead’s capital-R Rock sound apart from contemporaries is - in addition to just sounding better - a desire and an ability to thread the needle between paying homage to a quasi-idyllic past and pursuing an earnest future. Footballhead wears their 2000s-era influences on their waffle-knit longsleeves, with power chord drives and pummeling choruses, all sequenced together like the teeth of a skeleton key able to unlock core memories for people who’ve either been there or people who simply wonder what being there was like. Both the anthems and ballads on Weight of The Truth are waxed and polished to perfection like the lip of a favored skatepark ledge.

But underlying all that, even more impressively, is a grit and substance derived from years spent in the Chicago DIY scene, exposing themselves to different styles and influences equally out of necessity as out of interest. It bleeds through on every track. You can bullshit your way into a vibe but, as the band shows on any number of recent releases, including singles off their upcoming second LP: you can’t fake heart. With an ear to the past but an eye to the present, Footballhead invites you to remember what it meant to give a shit back when the world felt simpler - and what it might feel like to do so again.

Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point.



At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. "It also reflects how natural the collaboration was," says Barbieri, "a meeting at the source which was spontaneous, graceful and natural".



Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri’s work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. “The request came as a proof of aligned ideas”, says Giske.



Their new collaborative project then started during an artistic residency in Milan’s ICA in 2021, by invitation of swiss artist and curator Jan Vorisek, as the world was emerging from lockdown. This meeting, and the preceding closure of sites for cultural exchange, made their work together 'feel like springtime' says Barbieri. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform through a series of multi-artist curated shows with appearances of Lyra Pramuk, Nkisi, MFO, among other artists.



Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing. Explains Giske: "It forced me to go to the core of what I am and what I have to offer”. Barbieri says that it "explores the liminality between the machine and the human, and the vulnerability in this process".



At Source is testament to two divergent practices finding a whole cosmos in which to convene; music is crystalised and made utterly enveloping through the focused and critical work of two musicians working at their peak. The versions here are, temptingly, "just one of many versions" of this abundant source material Giske explains. Like the best collaborations, At Source is more than the sum of its parts – bringing more to the feast than the simple combination of two musicians, promising versions upon versions of the exquisite material captured here.

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

We are welcoming a fresh blood from the south of Italy: Delikwe

Words Create Vibrations is a solo EP recorded between 2023 and 2025, where techno and dub foundations merge seamlessly with ambient textures and breaky-step rhythms. Across five tracks, the record unfolds as a deeply atmospheric journey — hypnotic, spacious, and rhythmically dynamic. Sub-heavy frequencies meet shifting percussive structures, while layers of delay and texture generate a sense of depth that feels both physical and introspective. Each composition evolves patiently, acting as a meditation on resonance, movement, and the unseen architecture of vibration.

The A-side presents Delikwe’s original works in their purest form: immersive, restrained, and subtly transformative. Rooted in sound system culture yet open in structure, the tracks balance meditative stillness with rhythmic propulsion.

On the B-side, Australian producer Pugilist delivers a powerful reinterpretation. Known for his refined low-end pressure and deeply immersive productions, he reshapes the source material into a weightier, system-focused experience. His remix amplifies the sub frequencies and spatial depth while preserving the meditative core of the originals, creating a compelling dialogue between exploratory dub atmospheres and grounded sonic precision.

Words Create Vibrations stands as a sonic exploration where rhythm, space, and texture converge into a fully immersive listening experience — crafted for powerful sound systems, late-night sessions, and attentive minds alike.



c a3. Agna Street [Words Create Vibrations]
[d] b1. 6am [Ice Mix]
[e] b2. 6am [Pugilist Remix]