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Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.

Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap

After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.

Over the last two decades, Ste Roberts has quietly established himself as one of the UK's more distinctive underground electronic producers. Drawing equally from house, techno, electro, IDM and experimental electronic music, his productions blur the line between dancefloor functionality and sonic exploration. His debut release for Cyphon Recordings continues that trajectory. Four transmissions exploring machine rhythms, synthetic environments, and fractured dancefloor architecture, where melody emerges through corrosion and groove survives mutation.

Composer and multi-instrumentalist Koen Holtkamp has spent more than two decades shaping a body of work at the intersection of ambient, experimental, and electroacoustic music. Known for his role in the influential duo Mountains, as well as a solo catalog defined by texture and spatial awareness, Holtkamp has long explored how sound interacts with environment and perception. With Nightlife, he enters a new phase of that inquiry, one shaped as much by physical relocation as artistic evolution.

After leaving Brooklyn for the relatively rural setting of New York’s Hudson Valley, Holtkamp found himself immersed in nature and embracing a slower way of life, a shift that directly informed the album’s creation. Rather than rushing into a new project, he allowed the space itself to guide him, focusing on experimentation and play instead of a fixed outcome. Over time, a new instrument emerged from his modular system, built around physical modeling techniques that emulate plucked string sounds. Drawing on a deep affinity for acoustic traditions, from guitar soli to the kora and other chordophones, he began translating those influences into an electronic language, creating music that feels tangible, effusive, and even intimate, despite its synthetic nature. As the pieces took shape, Holtkamp expanded the project into a kind of imagined ensemble. Composed with specific collaborators in mind, the album features extensive contributions from drummer Greg Fox and saxophonist and flutist Matt Bauder, whose performances subtly reshape the material and draw it toward more fluid, song-like forms, alongside a guest appearance from Ben Vida on synth bass. Yet even as Nightlife occasionally resembles a band in motion, its construction resists traditional cohesion. Acoustic and electronic sources coexist to create a hyper-dimensional sense of space, with each element deliberately placed in its own distinct environment, yielding a complex yet inviting setting that feels both otherworldly and completely natural.

Much of the album was created during late-night sessions, which became a kind of personal ritual and ultimately inspired its title. Nightlife unfolds as a series of finely detailed environments, where stillness, texture, and subtle interplay take precedence over momentum. Each piece invites close listening while remaining open and unforced, reflecting both a change in pace and a deepening of focus. The result extends Holtkamp’s ongoing interest in how sound can shape, and be shaped by, the spaces we inhabit.

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Two decades have passed in the land of Gnod, yet the psychic travelogue only becomes more enthralling as it goes on. And whilst this band has flourished via dauntless conviction, hive-mind magic and a fierce and uncompromising spirit, one ingredient has served as a crucial fuel for the fire – the monolithic singularity of the riff. 



This second chapter of Gnod’s sort-of-anniversary trilogy also originates in the same six day sessions as the first, at Hellfire Studios near Dublin with producer Spud Murphy (Lankum, Black Midi etc). Yet the focus this time is on the transcendental heaviness and repetition that the band have often used as a primary fulcrum of their approach. This volume captures the sound of strings flayed, throats shredded, skins punished by the organic chemistry of this formidably powerful band in a room.


The results are amongst the most fearsome and kinetic material that Gnod have summoned to date. As has often been the case for a band heavily driven by serendipity and intuition, the best plan is no plan at all. “We find quite regularly that spontaneity and the no thought approach works better than over analysis and detailed planning” clarifies the band's Chris Haslam


Maximal yet minimal, claustrophobic yet expansive, free in approach yet mercilessly disciplined in their intensity – Gnod like every truly great band are a mass of contradictions. On Chronicles Of Gnowt (Vol 2), this thunderous paradox has never sounded fiercer. To paraphrase Nietzsche: “Is man merely a mistake of Gnod's? Or Gnod merely a mistake of man?”

Moulded By Industry is William D Drake's six album, his first for ten years and a return to the richly layered sonic texture and epic production of his majestic Briny Hooves. He is joined by long time collaborators James Larcombe, Dean Gaisburgh-Watkyn and Steve Jackson, with the addition of a new crew member, singer Treana Morris. Moving on from his nine years of pianistic and compositional duties in Cardiacs, Drake's solo work has been known for its synthesis of Mellotron-driven grandeur with a surreal playfulness.

But the deep heart of Drake's work is in its powerful evocation of the landscape of the countryside and its connection with love, longing and loss. To this end, his own enigmatic lyrics have rubbed shoulders with poetry drawn from across the centuries. From obscure sources such as Samuel Spree to the poetry of Thomas Hardy and Rupert Brooke, his settings make old words shimmer with human emotion. The texture of his music also reflects an inspirational lack of concern for distances of time. The earthy breath of his harmonium is interwoven with tones teased from archaic instruments by James Larcombe – hurdy-gurdy, dulcitone and melodeon.

But Drake's sound-world is no museum. Here, ancient words and the timbres of ancient instruments become one with the rush of a moment's emotion. Moulded By Industry brings this approach a new sonic depth, intoxicatingly shaded by Treana's lush vocal harmonies and underpinned by Steve's rhythm. Dean's evocative guitar textures give an oceanic sense, tinged with Americana, recalling his work with Drake in their alt country band Nervous. These many layers of sound are drawn together into vivid soundscapes by the painterly mixing of producer Ott. Renowned for his work in electronica and dub, Ott's two decades of experience working with artists such as Sinéad O'Connor, the Orb and Brian Eno bring an organic touch here, more akin to the elemental forces of land and sky than grid electricity. More than any of Drake's previous albums, Moulded By Industry reignites the emotional urgency of old texts. The gorgeous single The Flickering Shade, haunted by glimmers of lost possibilities, is set from words by Thomas Ashe. Turtledove's heady evocation of the blissful madness of love sets the words of an anonymous 17th century ballad. above all, the album is a testament to Drake's love of John Clare, 'The Northamptonshire Peasant Poet'. Clare wrote as the centuries old process of enclosure, in which wild and common land was appropriated commercially, was accelerating.

His works, rather than representing simple sentimentality, are passionate love poems to the landscape and cries from a soul reeling from the creeping unfamiliarity devouring it. This sense of the tension between passion and ill-ease has its most potent expression in Green Shadows. The brooding, slow-tempo energy of Steve's drums drive a horizon-wide lament, alternately lulled by Treana's vocal textures and made restless by James' plaintive hurdy-gurdy and the emotive pull of Dean's slide guitar. The present moment is also a time of enclosure, both metaphorically, as our lives, memories and emotions are drawn into the commercial space of social media, and literally as land and water are swallowed by vast data centre developments. Moulded By Industry celebrates a regained sense of being in the moment in the landscape, in life and in love. The album closes with the utterly delightful single Love In The Universe. The kind of song that could make a cynic use the word 'joyous' without irony, this Harry Nilsson-esque romp reassures us, with a wink, that 'in an infinite universe everything has its place ... even the human race'.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic.

Lead single and album opener “Low Times” sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of “After All”, the haunting ambience and buried heartbeat throb of “Soft Collapse”, and the noirish atmospherics of “Blackout Dust”, which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on “Bombed Suburbs”, where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove.

Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track “Almost a Structure”, obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. Following Fiedler’s recent work scoring Sound of Falling, recognised at Cannes in 2025, Oblique finds Ghost Dubs shedding his influences and making it clear he has arrived at a sound entirely his own — essential deep listening and a bewitching dose of future shock.

Ten years ago, Horse Jumper of Love released their self-titled debut, one that not only launched their career but also inspired a generation of shoegaze artists to come.


Recorded in a mill space studio by future longtime collaborator Bradford Krieger and first released in 2016 (before a re-issue by Run For Cover in 2017), Horse Jumper of Love introduced listeners to the band’s unique strain of expertly crafted minimalism and haunting lyricism. Tracks like “Orange Peeler” and “Ugly Brunette” capture a gritty melancholy and existentialism that is both youthful and timeless, angst-ridden and sincere. Now, a decade later, Horse Jumper of Love remains a beloved cult classic and a touchstone of the band’s continually developing brand of glacial, grungy indie rock.
This 10 Year Anniversary Deluxe Edition LP features new tri-fold packaging with collaged ephemera from singer and songwriter Dimitri Giannopoulos’ years in Boston while writing the record, a 20-page sewn-in booklet featuring never before seen photos and drawings, and handwritten tablature for the record’s original 9 songs. Disc one includes the original album fully re-mastered, and the brand new second disc features 13 bonus tracks recorded between the years of 2013-2015, mostly by Dimitri at home on a Tascam Portastudio, including single “Heathers (2013)” which was an early version of what would later become “i love you very much forever” and other never before heard demos, b-sides, and alternate versions of the original songs.
The record will also be released for the first time on CD, packaged in a 2-disc swing tray jewel case with a fold out poster.

Next up on Voyager, we have someone who needs no introduction to techno. Jeroen Search lands on Voyager under his sci-fi "Echelon" alias with a stunningly deep 8 track album, available as always on Vinyl and Digital. Jeroen has been at the pinnacle of Techno music for a number of decades and has released on countless major techno labels, As Echelon, he has released on Jeff Mills' Axis Records and also on Srie Records Argentina. On Voyager, the remit was to go experimental with nothing off limits, and it shows within this stunning album.

Music On Vinyl celebrate their 100th 12" release by releasing a classic!

Greece 2000 is a classic international house tune by Dutch progressive trance duo Three Drives. It peaked at number 12 in the United Kingdom and number one on the UK Dance chart.

The original 1997 extended mix defined an era with its hypnotic melody, warm groove, and Balearic vibes.

Vintage Culture deliver a deep, melodic, and emotionally charged club weapon. The Max Styler rework elevates the original theme into a 2026 peak‑time banger. KREAM brings their signature big room future‑progressive sound. The Sebastian Davidson & Melosense remix is a warm, organic, and melodic downtempo mix.

This release celebrates nearly three decades of dance music history.

Repress 2026
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.

Chase & Status announce their forthcoming album Generic Everything, out 9th October 2026, alongside new single “Gone Too Far” featuring Debbie. The 10-track project brings together an expansive cast of collaborators including J Hus, Little Simz, Skrillex, Giggs, D Double E, Blanco, IRAH, Col3trane and more, continuing the duo’s long-standing ability to connect scenes, generations and sounds across British music.

Generic Everything follows a landmark period for Chase & Status, which has seen “Baddadan” spend over 15 weeks in the UK Top 10 and achieve Platinum status, while “BACKBONE” featuring Stormzy became their first ever UK Number One single. Alongside a BRIT Award for British Producer of the Year, a record-breaking sold-out UK arena tour and their Milton Keynes National Bowl takeover, the duo continue to operate at a career-defining level more than two decades in.

Built around the idea of resisting creative conformity in a world increasingly shaped by algorithms, endless content and more, Generic Everything sees Chase & Status once again refusing to be confined by genre.


Moving between rave, rap, soundsystem culture and electronic music, the album pairs their unmistakable production with some of the most distinctive voices in UK music and beyond, capturing a duo still driven by the instinct to keep evolving, collaborating and pushing their sound forward.

Ricky Force joins the Basics Records roster with ’MDrum’ a dark and hypnotic rolling track. Ricky is known for writing some of the deepest cuts over the last decade alongside running Pressin’ Hard Records.

On the flip side Friske (Requisite/Metalheadz) steps up with a sharp apache remix of MDrum which twists and turns. On B2 is Gremlinz (UVB-76/Metalheadz) with an absolute monster remix rolling out the amen’s, a masterclass in drum work. Watch your bass bins!!

Originally released in 2017, Zara McFarlane’s Arise represents a classic moment in Brownswood Recordings catalogue. Just before the global spotlight landed on London's new jazz generation, Zara McFarlane was already forging her own path - connecting jazz, soul, reggae and Afro-Caribbean traditions with a confidence and clarity that remains striking nearly a decade later. Arise captures an artist operating with singular vision, creating a body of work that sounds every bit as fresh and forward-thinking today as it did on release.
The album also stands as an early landmark in the career of Moses Boyd, who produced and co-composed the record while serving as Zara's longtime drummer and musical collaborator. Years before his Mercury Prize-nominated breakthrough, Boyd helped shape Arise into a deeply personal exploration of heritage. The credit list is remarkable: Moses Boyd, Binker Golding, Shabaka Hutchings, Nathaniel Cross, Peter Edwards and Shirley Tetteh all contribute to a record that now reads like a roll call of British jazz royalty. The iconic cover shot was taken by Adama Jalloh, around the corner from Brownswood’s North London HQ.

Upon release, Arise was met with widespread critical acclaim. The Guardian praised “A Class Act" and celebrated its exploration of African-Caribbean musical lineage, while Clash Magazine described it as “enchanting and intriguing”. All About Jazz called the album's fusion of jazz and Jamaican rhythms "spellbinding".
As Brownswood celebrates its 20th birthday, we're proud to return one of the label's defining releases to vinyl, with the original copies being highly sought after. Pressed on limited edition gold vinyl, this special anniversary reissue is both a celebration of Zara McFarlane's artistry and a reminder of a record that was both ahead of its time, and whose influence resonantes today.

Originally released in 2003, Gravel Muncha became one of the biggest and most recognisable records of the Bassline Breaks era and remains one of DJ Quest’s defining productions.
More than two decades later, this breakbeat classic returns on Cyberfunk as CFUNK 040, pairing a brand-new remix from Datafunk with a fully remastered 2026 version of the original.
Built around everything that made the early Quest sound so distinctive - huge rolling basslines, tough breakbeats, twisted synth work and relentless dancefloor pressure - Gravel Muncha is a record that has never really disappeared. The original continued to surface in DJ sets, mixes and collections around the world, earning genuine classic status within the breakbeat scene.
For 2026, Datafunk takes the track into new territory while respecting the character and attitude of the original, giving one of breaks’ most enduring records a fresh weapon for modern dancefloors.
A piece of breakbeat history, rebuilt and reloaded for a new generation.

At its heart, this is truly a classic love story...

Musician, songwriter, and entertainer George Butts has always worked in the spirit of independence and love.

Beginning his musical journey on the East Coast, George spent his formative years playing in bands before eventually making his way to Southern California, ready to step out and pursue his own musical vision.

It was here that music and fate would meet, leading him to something equally important: Kathie, the woman who would become his lifelong partner- personally, professionally, and creatively.

Together, they embraced that same independent spirit and began building something of their own. In the mid-1980s, they established K-Star Productions, a label that became the home for George’s music and marked the beginning of a new chapter in their lives.

In 1986, that journey produced “I Love You So Much,” a song title that feels especially fitting once you learn the story behind it. Written as a dedication to their newly formed relationship, the song carries a sense of warmth that somehow feels familiar to us all. Built around the distinctive sound of a Linn drum machine, layered with lush synths and George’s unmistakable horn melodies, the record radiates heartfelt affirmations of love, capturing not only the spirit of independent ’80s Modern Soul, but the energy of two young hearts coming together and dancing in rhythm.

The record would soon become a dancefloor favorite among local DJs and clubgoers alike. But what began in Southern California would carry George much farther than they could have imagined. The success of the music helped establish him as a respected musician and entertainer, leading to performances and residencies throughout the 1980s and ’90s, from lounges along California’s golden coast to stages as far away as Japan.

Nearly four decades later, these recordings have been lovingly remastered from the original source material by Ron Leeper, the original recording engineer, allowing the warmth and spirit of the music to shine once again.

But this is more than the reissue of a rare independent record.
These classic songs evoke feelings of love and unity, filled with warm melodies, soulful grooves, and an undeniable sense of joy, all brought to life through the partnership of George and Kathie.

Together, they created their own label, followed their dreams, and lived life on their own terms- proving just how far a shared vision can take you.

Today, the music carries that same spirit: heartfelt, uplifting, and alive with the optimism of two people creating something they truly believed in. What they started with K-Star Productions helped launch a musical legacy that would take them around the world and back, a journey that continues today with George still performing live.

Anyone who has had the sheer pleasure of seeing and hearing Leroy Burgess perform in concert will know just how amazing the live renditions of his iconic compositions of Disco Boogie hits and classics sound with a full band and a fully fueled audience. Accompanied by the ten piece French band and long time Leroy Burgess collaborative outfit Saving Coco, BBE Music is releasing live versions of two of those classics Let’s Do It and Big Time. Recorded and released by Rick James in 1980 Big Time is an absolute killer of a track that sounds so fresh decades later in this crowd energising performance. Famously released by Convertion Let’s Do It was a huge club hit in the early 1980s and is the perfect track to accompany Big Time on this release. Leroy Burgess is a certifiably genuine legend of Black music; his compositions have moved dancefloors across the world since the early 1970s as a member of Black Ivory, then Convertion, Paradise Garage favourites LOGG, Kleer and electro outfit Aleem. His collaborations with Patrick Adams, Inner Life, Dazzle and solo artists such as Eddie Kendricks, Rick James and Fonda Rae have cemented Leroy Burgess’ place in the annals of Black Music History. As a founder-member of the Universal Robot Band he co-wrote the massive perennial favourite Barely Breaking Even. Leroy Burgess feat. Saving Coco-Big Time/Let’s Do It is released as a 12″ vinyl and digital download and definitely belongs in the ‘make sure you get this’ category. Mixed by Marc Mac and mastered at the Grammy-nominated Carvery Studio by Frank Merritt. Available as 12″ vinyl and digital download. Release date September 25th, 2026

It’s not just since James Bond and the introduction of World Overshoot Day that we’ve known: The world isn’t enough. We need an Extrawelt! Arne Schaffhausen and Wayan Raabe have been tinkering with this celestial body for over two decades, and it seems to be slowly nearing completion. You certainly can’t accuse Extrawelt of lacking ideas. They are, so to speak, the legitimate descendants of the legendary planet designer Slartibartfast from Douglas Adams’ “The Hitchhiker’s Guide to the Galaxy”. No doubt, the downright insanely creative bossa nova-techno bastard “Honey Hunter” will be mentioned in the same breath as Slartibartfast’s award-winning Norwegian coastlines by future civilizations. The other three tracks aren’t half bad either. Take our word for it.
Nicht erst seit James Bond und der Einführung des world overshoot days wissen wir: Die Welt ist nicht genug. Wir brauchen eine Extrawelt! Die Herren Arne Schaffhausen und Wayan Raabe werkeln seit über zwei Jahrzehnten an diesem Himmelskörper und er scheint so langsam bezugsfertig zu sein. Man kann Extrawelt nun wahrlich keine Ideenarmut vorwerfen. Sie sind quasi die legitimen Nachkommen des legendären Planetendesigners Slartibartfast aus Douglas Adam’s “Per Anhalter durch die Galaxis”. Der geradezu irrwitzig kreative Bossanovatechno-Bastard “Honey Hunter” wird von künftigen Zivilisationen in einem Atemzug mit Slartibartfast’s preisgekönten norwegischen Küstenlinien genannt werden. Auch die anderen drei Tracks sind nicht von schlechten Eltern. Glaubt’s und werdet selig.
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South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.

Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.

One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.

The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.

With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.

Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.

Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.

Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.

His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.

A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.

Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.

‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.

KYSH returns to wax with its third vinyl release — another milestone in the label’s steadily growing catalogue. More than a year and a half into the journey, KYSH feels more in its element than ever, bringing together five names that represent both the label’s own extended family and fresh acts joining the ranks. All well-established and highly respected figures in the modern techno landscape, they deliver a sharp selection of contemporary club weapons. Kashpitzky opens with “Blush”, a raw, boomy cut where rough-edged rhythmics meet crisp modern production, channeling the spirit of industrial techno at its best. “Tarmac” by Regent follows with a dense, restless groove, while Chontane’s “Gyuto” dives into hypnotic territory, layering rhythmic elements around subtle dissonant melodies. On the flipside, Temudo & Pierce join forces for the threatening, aggressively contemporary “Highest Clarity Grade”, balancing intricate sound design between rhythm and atmosphere. Closing comes GCOD with “Sleeper Agent” — dancing sub bass, a striking hook and a relentless hi-hat groove keeping the weight firmly down low. Another strong statement on wax, KYSH-003 confirms the label’s vinyl output as a mark of quality, with five floor-tested cuts drawing from a fresh, current take on the industrial influences that shaped techno a decade ago. A new lineup, a distinct direction, and five tracks ready to speak for themselves on a proper soundsystem.

Between the late 1960s and the mid-1980s, an informal community of musicians across the Dutch Caribbean islands of Aruba, Curaçao, and Sint Maarten created music that crossed stylistic boundaries. For nearly three decades, they shared stages and ideas across islands, forming a close-knit network shaped by common histories and identities, while rarely receiving wider recognition. Their recordings were released locally, often in small runs, and many were never properly archived. As a result, much of this music, and the stories it carries, faded from view. Antiyano Progresivo is dedicated to these artists, many of whom were well known locally, but whose more unconventional music remained largely unheard.

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

DPRTNDRP make a long-awaited return to Infernal Sounds with 'Byrnei', a release that's been quietly building anticipation across the 140 scene. Following their acclaimed 'What Ya Mean' EP in 2020, the duo are back with five heavyweight cuts that showcase exactly why they've remained one of dubstep's most respected production outfits for well over a decade.

Opening with the title track, 'Byrnei' wastes no time setting the tone. Rolling with DPRTNDRP's unmistakable swing, weight and groove, it's a certified soundsystem weapon - built to lock dancers into its hypnotic rhythm while delivering devastating low-end pressure.

Next up, 'Jiaozi' shifts into overdrive. A relentless barrage of razor-sharp percussion, cavernous basslines and seismic energy, it's an uncompromising slice of peak-time dubstep designed to hit with maximum impact from the first drop to the last.

'Fury' explores a deeper side of the duo's sound, drawing influence from their dub-focused alias, D-Operation Drop. Rich in space, texture and heavyweight sonics, it perfectly blurs the line between traditional dub and modern 140, combining meditative atmospherics with chest-rattling low-end.

Adding another dimension to the EP, Causa steps in to rework 'Fury', twisting the original into a hypnotic, distorted roller. Layered with his unmistakable wobble-heavy aesthetic, the remix pushes the track into darker territory, delivering an immersive journey of oppressive bass weight and razor-sharp sound design.

Bringing the release to a thunderous close, 'Backfire' is pure, uncompromising pressure. Stripped back, direct and devastatingly effective, it's arguably the heaviest moment on the EP; a no-nonsense soundsystem destroyer that leaves a lasting impression.

From start to finish, 'Byrnei' is a statement of intent. It's a masterclass in weight, groove and precision, reinforcing DPRTNDRP's status as true innovators within the 140 landscape. With five expertly crafted cuts destined for dancefloors and soundsystems worldwide, this is another landmark release from two producers operating firmly at the top of their game.




[d] B2. Fury [Causa Remix]

Meet Matas Petrikas, a music producer, DJ, and book author with a passion for electronic music. Born in Lithuania during the time when it was still a part of the Soviet Union, Matas began experimenting with electronic sounds during his teenage years using self-built instruments and recording equipment. In 1991, Matas took a trip to Berlin that would change his life forever. There, he encountered the early years of techno culture, which led him to co-found EXEM, one of the first house and techno bands in the former Soviet space. With EXEM, Matas was one of the pioneers of electronic dance music in Lithuania, and by the end of the decade, they had charted numerous hits. They performed live shows ranging from intimate clubs to massive arenas, sewing the seeds of the local electronic music scene. Since then he relocated to Berlin and has forged a musical solo career focused on live-sets, experimentation, and authoring the book 'The Joy of Electronic Music'. The Unknown is Matas’ first release on his newly formed imprint Dangė Records, focused on supporting electronic music from Lithuania and the Baltics. The 6 track EP forges his love for texture heavy hypnotic techno with industrial and warehouse leaning low end and percussion. Although mainly an EP rooted in driving a groove, the use of earworm worthy basslines, rave breaky drums, and squelchy lead synths is where Matas’ long career foray into many genres of electronic music shines through. Dangė Records releases electronic music from Lithuania and the Baltics—sounds that emerge from underwater, carried by artists who inherited the weight of transformation.

The first Af Ursin album in a decade, this release features extraordinary Belgian vocalist and performer Bénédicte Davin. »Ad Fontes« is a personal response to the fractured reality of our time. Created in the wake of visible social decay, manipulation, and institutional control, the album serves as a sonic mirror to an era defined by corruption and systemic failure. Instead of preaching political manifestos or claiming to have answers, this work is an intimate personal statement – a silent call to embrace spiritual values as the vital, untainted source of human nature.

New full-length from MINIATURa, following Geometria Prohibida (Keroxen, 2020). Espectral was recorded inside the iconic Keroxen oil tank in Tenerife — a brutalist chamber whose metallic resonance seeps into every track.
Motorik tension, post-punk restraint, shoegaze and darkwave undertow surface and dissolve throughout, but this is no genre exercise. The album feels lived-in and physical: drums hanging in open air, guitars stretching into steel-lined decay, moments of synthetic clarity torn open by abrasion. Propulsion and erosion move side by side.
There’s a rawness here that isn’t aesthetic — it’s architectural. The tank becomes a silent collaborator, shaping space as much as sound.
Lyrically, Espectral unfolds through elliptical micro-poetry, tracing life, love, death and social fracture in fragments rather than declarations. Nothing is fixed; everything hovers.
One of the strongest independent statements to emerge from the Canary Islands in recent years, Espectral finds MINIATURa operating on its own frequency — austere, immersive, and built to linger.

This is the reissue of original 1993 Rephlex double vinyl album, completely remastered from DATs by Beau Thomas, with the original artwork, and photography by Richard James. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.













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Tip-on Cover, Special Varnish

Available in the following Territories: Wordwide minus Japan & Korea

NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.

The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.

Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.

Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.


Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."

The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.

Concrete Noir, the project of composer, sound designer, and educator Piero Fragola, returns with Blades of Grass, a new EP released on Italian label Deset, following the acclaimed Romance Ruins.

The record develops Concrete Noir’s atmospheric and cinematic approach to electronic music, combining dense textures, sustained rhythmic tension, and immersive sound design. Side A features “Density,” “Pure,” and “Sleepless Eyes,” while Side B presents two reinterpretations: Legowelt’s electro-driven remix of “Rain On Me,” which emphasizes its synthetic and nocturnal qualities, and Caruan’s dance-floor reworking of “Sleepless Eyes,” preserving its atmospheric character.

Conceptually, Blades of Grass shifts from the themes of transformation and decay explored on Romance Ruins toward resilience—the ability to bend under pressure without losing identity or coherence. The EP reflects Fragola’s broader artistic language, shaped by more than two decades of experience in electronic music, audiovisual arts, sound research, and modular synthesis, including his work as a designer for Tiptop Audio and previous releases on international labels.

Back by popular demand, Shawn Ward's sought-after Forward Motions EP returns on vinyl, giving collectors and DJs another chance to secure a modern deep house favourite.

A respected figure in underground house for more than two decades, Ward has developed a distinctive sound built on warmth, musicality and understated sophistication. Forward Motions EP continues that tradition with four impeccably produced cuts that balance dancefloor energy with timeless listening appeal.

With original copies becoming increasingly difficult to find, this long-awaited repress makes an essential release available once again for a new generation of listeners, while giving longtime fans the opportunity to replace worn copies or finally complete the collection.

Since emerging from Italy's underground over a decade ago, Ninos Du Brasil (Nicolò Fortuni and contemporary artist Nico Vascellari) have developed a potent sound that blends live batucada percussion, electronics, punk energy, and visceral vocals sung in an imagined language. Along the way, they've built a reputation for incredibly intense and unpredictable live performances.

This fifth full-length follows Antro Pop, released on Codalunga / Hospital Productions in 2021 in the middle of covid lockdowns with a canceled world tour leaving the world in wait. Out of that imposed hiatus Orden Micelial began to take shape.

The trademark Ninos elements remain intact: frenetic drumming, ritualistic chants, and relentless percussive intensity, while exploring new sonic territory. Most notably on "Innaya Som," the duo embrace a full-blown guitar-driven rock assault, revealing the hardcore roots that have always underwritten their music.

Recorded and produced by longtime collaborator Rocco Rampino, the album achieves a veritable wall of sound—dense and overwhelming, yet retaining remarkable clarity and separation throughout.

Part carnival rave, part punk freak-out, Orden Micelial finds Ninos Du Brasil expanding their mythology without losing any of the wild energy that has made them one of contemporary underground music's most distinctive acts.

Following July's remastered reissue of Robert Hood's "Invincible", M-Plant's Perpetual Masters series continues with "The Metronome" set for a vinyl release in September, coming after the digital versions which dropped in the summer.

Robert Hood's "The Metronome" distils techno to its barest, most hypnotic pulse. Over the two tracks, Hood strips rhythm down to ticking hi-hats, lean kicks and looping motifs that feel mechanical yet human. The grooves are relentless but never cold, building tension through subtle shifts instead of excess. Originally released in 2002, it remains a masterclass in minimalism: precise, cerebral and intensely physical that still sounds futuristic more than two decades on.

Like other releases in the Perpetual Masters series "The Metronome" has been remastered by legendary German producer, Thomas Heckmann.

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

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

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

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

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

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

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

There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.

Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.

Best known as the longtime DJ for Sugar Ray, DJ Homicide brings decades of turntable experience to this pair of soul-soaked hip-hop instrumentals. 'You're No Good (Flip)' rides a classic boom-bap groove, layering warm samples and heavyweight drums into an effortlessly head-nodding cut, while 'Rich Kind Of Poverty (Flip)' digs even deeper with smoky brass, vintage soul textures and laid-back swing. Unfussy, authentic and built on faultless foundations, both sides underscore Homicide's knack for transforming familiar sounds into grooves that feel fresh.