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Manatane strikes back with his new EP including Remixes from
Stephan Strube (Rage & Error MusicMiditonal, Fanatix) Umbertron
(Jackstar, Ghetto Division) and Kaptain Cadillac (Database, Booty Call).

was für ein fettes ding, da geht was!! endlich ist der repress da!

DATENZAUBER ist elektronische Tanzmusik auf den Spuren von Krautrock-Elektronik. DATENZAUBER kreuzt Achtelbassrockbeat- und Schaffel-Romantik mit minimalistischem Diskogefühl. DATENZAUBER bringt die analogen Klangwelten von Kraftwerk und Klaus Schulze über die digitale Autobahn zurück auf die Tanzfläche.

The highly respected Swiss producer Deetron steps up to Defected’s acclaimed House Masters series. Known for his deep, groove-driven approach to house and techno, his output has graced the likes of Rekids, Nu Groove, Running Back , Classic and Clone amongst others, earning acclaim for both his original productions and remixes.

This 2LP collection from Defected collates some of his finest productions and remixes to date showcasing his signature deep house sound. From his peak time club focused releases ’Starblazer’, ‘Runnin’ and his remix of Gerd’s ‘Palm Leaves’ to his remixes of Fred Everything, Wallflower and his own ‘I Cling’ highlighting his soulful and vocal-driven depth.

Featuring his most recent collaboration with Seth Troxler and remix of Todd Terje also on the compilation, House Masters Deetron underlines Deetron’s status as one of the scenes most prolific and finest producers.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

"LA Punks Memo PST return with another modern punk classic Eternal Actors, their new album out this May on In The Red. These 12 tracks capture the fury of late '70s rough and raw punk rock, with Orville Neeley crafting hit after hit of god-tier punk bangers. Vocalist Chris Shaw is also at his most versatile to date, with his lyrical capabilities and patented punk sneers dripping across every song. "Simply put, Eternal Actors finds two lords of the punk genre at their very best. There are classic punk bashers like “Dog Groomer Stylist,” and “Doomed to Repeat” but also primitive, bare-bones rock rippers like “Chrome Bubble” and Worship Me.” The band also delivers some of their most hardcore songs to date with “Concrete Club” and “Blown Away.” "With the San Clemente wrecking crew of Jackson Todd (drums) and Emmanuel Koulouris (bass) back again to round out the four piece band, this is truly a powerhouse presentation of punk music in 2026. If the band proved they were a punk force with their long sold out, self titled album, Eternal Actors may solidify their place at the top of the punk pile. "Recorded in late 2025 by longtime collaborator Mike Kriebel at Tropico Beauty Supply in Los Angeles, Eternal Actors is Memo PST's second album for In The Red." – Johnny Dogface

Seaford's Chewy Rubs heads up his own Bandolier Records and has impressed with collaborations with Fingerman before now. Here he lands on Wax Digits with an EP designed to join familiar moments of the past with fresh club energy. 'Another' has old school stabs and 90s vocals that get heart and body going, 'Freestyle' is a body-popping rhythm with vocoder vocals offering an 80s flex and 'Mobbed' is a suspenseful tech house groove before 'Underground' cuts loose on more big breaks and percussive flair. Useful, hard to date and harder to predict tools.

Parris returns to his and Call Super’s can you feel the sun imprint with Drippin’. A four-track love letter to the amber-lit glow of communal field maneuvers in the dusk on his most house-focused and personal release yet.

Continuing the themes explored on 2024’s Passionfruit EP, Parris embarks further down his unparalleled sound path on Drippin’. His latest solo outing draws inspiration from vivid memories of yesteryear, particularly experiences at Watching Trees Festival and various trips to Amsterdam, and subsequently constructed with friends in mind to play out. The resulting four tracks encompasses some of his most intimate material to date.

The title track bursts with measured fervour and a raptor-like throb, percussive configurations in tight pistons which induce rave friction hysterics across the dancefloor melee. Got Me Feelin’ dramatically switches tact, a sentimental roller entangled in swooning pads and R’n’B vocals while swigging lovingly from the ecky spring. True Vargo stomps further with acute hedonism, a sun-descending swooner that flows effortlessly in melodic serenity. Closer Crooning In The Trees leans most wayward, an evolving scene architected by Parris’ uncanny samples and disassociated groove that purrs with wide-eyed wonder. Another stand-out release from one of UK club’s most unique voices.

Nonesuch Records releases Let X=X, by Laurie Anderson with Sexmob. This triple-LP/double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob – Steven Bernstein and Briggan Krauss on brass, Kenny Wollesen on percussion, Douglas Wieselman on winds and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favourites from throughout Anderson’s career, performed in new arrangements – plus one by Lou Reed and Metallica, ‘Junior Dad’. Anderson and Sexmob play more US and international dates this spring and summer (details below).

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) ‘wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.’

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but... that doesn’t begin to describe what she creates... It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.’

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a re-mastered edition of Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, ‘O Superman’, which also is featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.

Much like the duo’s music, the story of Rural France is both mundane and magical. Tom Brown (also of transatlantic janglepunks Teenage Tom Petties) and Rob Fawkes moved to London in their mid-twenties. Despite living under the same roof, they never picked up a guitar – except for one drunken, failed attempt at writing a Spoon song (“Big Chops” …don’t ask). It was only after both separately relocating to Wiltshire and starting families that they began assembling songs as a way of meeting up. Tom had amassed a pile of sprightly slacker jams that were calling out for Fawkes’ messily melodic guitar lines. Rural France was born.

After a debut album on their hero, ex-Lemonhead Nic Dalton’s Half-a-Cow Records, they retreated to a garage to record their next two albums: RF (2021) and Exacamondo! (2024), both released on much-respected jangle label Meritorio Records. Despite being lo-fi in the truest GbV sense, both records were warmly received by the DIY indie blogosphere, with their short, scrappy, but supremely melodic songs landing on numerous AOTY lists. RF even won Album of the Year at Janglepop Hub.

Raven Sings The Blues probably summed up the sound best: “With drunken visions of Beach Boys harmonies playing in the back of their heads and hooks that consume Teenage Fanclub cheeriness with the same beautiful brevity that drives Tony Molina, the pair have knocked out eleven rumpled classics.” Album four, SLOTHS, arrives via Meritorio Records and Safe Suburban Home Records on 08/05, and is a slightly different beast. For one, it’s been mixed by a professional – Rob Slater (Westside Cowboy, Yard Act, Thank) – giving the guitars and drums room to breathe. It’s easily their most high-fidelity record to date. It’s also their jangliest, most baroque and thoughtful album yet. But alongside added organ, horns and mellotron – and drums from Tom’s Teenage Tom Petties bandmate Jeff Hamm – it still retains the buzzes, hums and little freak-outs that stick to the duo’s original “Pavement playing Teenage Fanclub” mission statement. “Rob and I both wanted to do something a little slower and a little more melancholy,” says Tom. “We resisted our usual urge to hit the distortion pedal and made something that fitted where we are now and celebrates how we still listen to Meatloaf when we get drunk.”

SLOTHS is also the most thematically consistent Rural France record to date. While it wouldn’t be right to call it grown-up, it definitely has homeowners’ insurance. From the Silver Jews-esque Americana of “Slab” and mid-life rallying cry of “Thirty Seven Forever”, to the horn-embossed loser anthem “Lonely Heart Pyramid Scheme,” the songs celebrate (and rail against) the absurdities of getting older, forming a band in your thirties, and the strange phenomenon of time passing. Because no matter how slow you move, everything else goes fast. SLOTHS.

With 'Tangkoa II', Belgian producer and multi-instrumentalist Dijf Sanders invites listeners into a vibrant and immersive sonic world shaped by travel, collaboration and instinct. Released via Unday Records, the album grew out of field recordings captured during a journey through Vietnam, later transformed into rhythmic, colourful compositions that feel both intimate and expansive.

Rather than building tracks piece by piece on a screen, Sanders approaches music as something alive and unfolding. Sounds are performed and reshaped in real time, giving the album a spontaneous energy, as if the music is discovering itself while you listen. Together with drummer and producer Simon Segers, he creates a fluid dialogue between electronic sounds and human rhythm, balancing precision with freedom.

Improvisation lies at the heart of 'Tangkoa II'. Contributions from Vitja Pauwels (guitar), Viktor Perdieus (saxophone) and Louise van den Heuvel (bass) bring a subtle jazz sensibility to the music, pushing it toward hypnotic grooves and unexpected turns.

The result is an album that feels warm, physical and constantly in motion. Electronic music that breathes, pulses and draws you fully into its atmosphere.

In this, the return of the one and only XI to the last standing first wave US Dubstep label LoDubs, which brought him out onto the scene over a decade and a half ago with the Jazz-step a’la Silkie preceding anthem “G-Funk 3000”, XI once again shows he has an indelible gift for making choons that are system rocking and cerebral all at once.

Heavy support from a slew of sound system stretchers. Currently being heavily featured by Distinct Motive on his tour spots, of which XI is joining the DM on selected dates.

Mighty Theodore and The Custodian Of Records have crafted the quintessential soundtrack for the bleakest of snow days with their new collaborative album, "The Colder It Gets". Bookended by the sound of howling winds, the project offers a hypnotic listening experience where the temperature seems to drop with every track. While the production is immersive, the only warmth to be found radiates from the crackle of Custodian’s vinyl samples. Theodore matches this atmosphere with layered lyricism that explores deep isolation and the struggle to trust that things can improve, though a faint sense of hope remains buried beneath the metaphorical drifts.
Releasing via URBNET this winter, the album invites listeners to bundle up and embrace the chill. The project is bolstered by an impressive lineup of guest features, including Lee Scott, Fat Ray, Thirstin' Howl The 3rd, and Farma G. Additionally, the release includes a thematic bonus track titled "Christmas Missed Us" featuring Von Pea. As the winter solstice arrives, prepare to get lost in a hip-hop experience that proves the music only gets better The Colder It Gets.

A wild animal with a kraut pop instinct, Chaton Laveur prowls the depths of minimalism in search of light, intoxicating melodies to make his prey. Raw and authentic, the duo always opts for the shortest route, lined with repetitive rhythms, analogue sounds and soft voices in French, which also reveal a darker side. After more than 70 dates in France, Germany, Benelux, and the UK, Chaton Laveur returns in early 2026 with a second album, Labyrinthe, a record for fans of kraut/pop sounds and intense emotions.

A wild animal with a kraut pop instinct, Chaton Laveur prowls the depths of minimalism in search of light, intoxicating melodies to make his prey. Raw and authentic, the duo always opts for the shortest route, lined with repetitive rhythms, analogue sounds and soft voices in French, which also reveal a darker side. After more than 70 dates in France, Germany, Benelux, and the UK, Chaton Laveur returns in early 2026 with a second album, Labyrinthe, a record for fans of kraut/pop sounds and intense emotions.

**LIMITED 500 UK COPIES ON BLACK VINYL** VINYL ONLY RELEASE for RSD: Rival Consoles, UK producer Ryan Lee West, shares his original score for MindsEye, the highly anticipated narrative-driven game from Build A Rocket Boy, the studio led by visionary game director Leslie Benzies. The industrial techno score doesn’t just accompany the game, it’s embedded in the code of the world they have created together. The full score sees its debut on vinyl for the first time as a limited-edition Record Store Day 2026 release.

Set in Redrock, a sprawling desert metropolis ruled by surveillance and automation, MindsEye follows Jacob Diaz, an ex-soldier haunted by fractured memories. As his personal mission escalates, he’s forced to navigate a world shaped by rogue AI, militarized tech, and a fragile grip on control, all while confronting the truth about his past. "In MindsEye, sound is a critical storytelling layer, from ambient detail to emotional drive, every element is designed to shape how players feel inside the world," said Craig Conner, audio director at Build A Rocket Boy. "Rival Consoles’ tracks brought something truly special to that vision. Ryan’s music adds a distinct emotional charge and texture that elevates key moments. It doesn’t just accompany the game, it sharpens its edge, deepens its atmosphere, and perfectly complements the world we’ve built." The score was produced over the span of three years in his London studio, and contains some of West’s most ambitious and heaviest compositions to date.

To coincide with today’s release of the game, the 10-track score is now available to stream in its entirety. MindsEye follows West’s previous scoring work, including bespoke music for 2019’s Black Mirror episode Striking Vipers, featuring ‘I Love This, I Love You’, 2022’s Netflix feature doc El Caso Figo about the legendary football player Luís Figo, and Alexander Whitley’s contemporary dance production Overflow, which was released as a studio album with the same name in 2021. The most recent Rival Consoles album, Landscape from Memory, was released in July 2025 to critical and fan acclaim. A world tour continues into mid-2026.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

Mystic Arts brings you two essential cuts from Gary Irwin (The Vendetta Suite / Hell YeahRecordings). Dating back to 1994 and 1995 respectively, both tracks were originally released on David Holmes' Exploding Plastic Inevitable label.

Waveforms In Wonderland is a bubbling, acidic brain-melter - inspired, as Gary recalls,by Richie Hawtin, Conemelt and falling out with a friend at a Primal Scream gig. Diary of aMicrochip moves further off-grid: an unplaceable hybrid where Detroit techno, electro, funk and ambient house intersect. Thirty years on, both tracks remain remarkably intact. Timeless.

While brothers Simon and Robin Lee have kept themselves busy, both with EPs as Faze Action and numerous offshoot and solo projects, it's been almost 12 years since we last heard a fresh, full-length excursion from the long-serving duo - at least under their most famous moniker. Predictably, Distant Dreams was worth the wait, with the Lee siblings continuing their richly organic approach - think live bass, guitars, strings, keys, flute and percussion alongside synth sounds and drum machine beats. Musically, it draws on their now well-known influences - warming disco, jazz-funk and Balearica with nods to other musical cultures - and delivers eight impeccable tracks that undoubtedly sit amongst their classiest work to date. It's good to have them back.