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"One of Britain's most beloved alt-rock acts returns. Twilight is the eighth studio album from Jesus Jones, and their most anticipated release in years, their first new record in eight years.
Since forming in 1988, Jesus Jones have sold over two million albums worldwide, scored eight UK Top 40 singles, and delivered one of the defining anthems of a generation. ""Right Here, Right Now"" topped the US charts in 1991 and remains a global radio staple to this day.
Twilight finds the five-piece, led by singer-songwriter Mike Edwards, venturing boldly beyond their comfort zone, while honouring the restless spirit that has always defined them: the collision of rock dynamics with the experimental freedom of dance music.
It's the sound of a band who know exactly who they are, and are thrilled to prove it all over again."

Formed in New York City in 1993 around singer, guitarist and songwriter Chris Leo, the band emerged from the same fertile underground scene that gave rise to many of the most influential post-hardcore, indie rock and emo acts of the decade. Yet while many of their contemporaries went on to achieve wider recognition, The Van Pelt chose a different path: one built on artistic independence, restless experimentation and a stubborn refusal to fit comfortably into any scene or trend.
Across two landmark albums — Stealing From Our Favorite Thieves (1996) and Sultans Of Sentiment (1997) — The Van Pelt developed a singular language that combined intricate guitar interplay, spoken-word intensity, literary lyrics and emotional depth. Their music occupied a unique space between post-hardcore urgency, indie rock invention and the introspective sensibility that would later become associated with emo, influencing generations of musicians while remaining largely outside the spotlight.
After disbanding in 1997, the band's reputation continued to grow. What began as a well-kept secret among underground music fans gradually became a touchstone for listeners searching beyond the obvious narratives of 1990s alternative rock. Reunions in 2009 and 2014, the release of the long-lost Imaginary Third, and a series of acclaimed live performances introduced their music to a new audience while reaffirming their enduring relevance.
In 2023, The Van Pelt returned with Artisans & Merchants, their first collection of new material in more than twenty-five years. Rather than revisiting old formulas, the album expanded the band's sonic vocabulary while preserving the qualities that made them unique: curiosity, intelligence, vulnerability and an unwavering commitment to following their own instincts.
Now, more than three decades after their formation, The Van Pelt are set to return in 2026 with Remain Obscure, their fifth studio album. Continuing their tradition of defying expectations, the record pushes beyond the familiar boundaries of the band's sound while embracing the same spirit that has defined them from the beginning. A band whose influence has consistently exceeded its visibility, The Van Pelt remain one of independent music's most enduring and rewarding secrets.

When Pouya dropped The South Got Something To Say in the summer of 2019, it wasn’t just a title—it was a definitive statement of growth. Nodding to André 3000’s iconic 1995 Source Awards declaration, the Miami pioneer used his third studio album to prove that his raw, independent formula had mutated into something deeper, more mature, and entirely unmatched in the underground rap landscape. Now, for the first time since its digital release, this pivotal moment in Florida hip-hop history is finally available on wax, offering listeners something tangible they have been anticipating for years.

The South Got Something To Say captures Pouya at a lyrical and sonic turning point. While maintaining the blistering flows, heavy bass, and visceral Florida energy that initially put him on the map, the album opens the door to intense themes of mortality, legacy, and the heavy toll of independent success. It bridges the gap between the frantic energy of the SoundCloud era and a mastery of songwriting, offering fans a remarkably transparent look into the mind of an artist surviving the very chaos that birthed him. Standouts like "Cruisin' in the MIA" and "Florida Thang" showcase his signature rapid-fire delivery, perfectly balancing the record's darker, more introspective moments.

The sonic diversity of the project is anchored by a stellar lineup of collaborators who push Pouya into new creative territory. He enlists Three 6 Mafia royalty Juicy J alongside heavy-hitting underground peers like Ghostemane and City Morgue, while seamlessly pivoting into the melodic, hazy soundscapes of indie-pop artist Cuco and longtime producer Rocci on tracks like "Talk to Me Before I Die" and "Mood Swing Misery." This striking balance of aggressive phonk and melodic vulnerability solidifies the album as a cohesive, genre-bending journey rather than a mere collection of singles.

For years, vinyl collectors and die-hard fans have begged for this underground masterpiece to be immortalized on wax. This first-ever vinyl pressing delivers the booming low-ends and intricate, therapeutic bars exactly how they were meant to be experienced. From the opening nostalgic chords to the final fading beats, this release stands as an essential artifact of the modern underground rap movement, finally giving a landmark Southern album the premium physical presentation it deserves.

After nearly two years, Okonski returns with Entrance Music — an album that finds the trio at the height of their improvisational prowess and celebrating the spontaneous and meditative. On the heels of 2023’s debut Magnolia, pianist and leader Steve Okonski has reconvened long-time musical collaborators (Durand Jones and the Indications bandmate Aaron Frazer on drums and bassist Michael Isvara “Ish” Montgomery) for another session in the spirit of artists like the Bad Plus, Gerald Clayton, and The Breathing Effect. Ultimately Entrance Music serves as an invitation to early hours, where songs linger in the doorway, announcing their presence before returning to the air, in a meticulous drift into the next.
Recorded over a five day session, Entrance Music was one of the first albums committed to tape at Portage Lounge, Terry Cole’s studio in Loveland, OH. “It was a new setup, but with Terry behind the dials it was very familiar,” says Okonski. “I can’t emphasize enough how much Terry feels like a fourth member of the band because of the space he’s curating, the energy he is bringing, and the production ideas.” The energy and sound created with the Colemine labelhead at the helm makes for a listening experience equally at home with ECM or Stones Throw catalogs.
From the rippling notes of the pastoral opener, “October,” Entrance Music is lush with anticipation, both band and listener feeling the tension in the tranquility — where the interplay of jazz improvisation and boom bap beats never shortchanges the musicianship but the talent is ever in service of the song.
While the band does not play together as often as they would like, not much time is needed for the three to lock in. Montgomery’s bass opening to “Passing Through” bends and moves with a singular meditative grace before piano and percussion joins the daylight filling a room with breath and light. If Magnolia resonated with last calls and late nights, Entrance Music counters with early mornings and first cups of coffee.
Whereas much of the debut resonates with his time in New York, Entrance Music “feels a little less ‘on the streets at 2 A.M.’ and a little more nature-based…a little more ethereal,” says Okonski. “It’s definitely age, environment, and family — all of that does come through in the music.”

Issued on Crystal Clear vinyl is Max Richter’s emotive and minimal score to Damon Lindelof’s TV series about a post-apocalyptic global event where 2%

of the world’s population disappears without explanation. Richter’s approach explores the feelings of the protagonist’s family, the Garveys, through intimate,

small scale music. He tackles this psychological landscape by bringing a ritual quality to the score, while themes of departure and loss are represented by

a sense of sonic decay, relying on the instrumentation of a few sustained tones on pianos, harps and celesta.

Max Richter is a classically trained composer that defies boundaries. Trained at the Royal Academy of Music and finishing his studies under the tutelage

of avant-garde composer Luciano Berio in Florence, Richter’s career has followed many paths. His musical output ranges from ballets

(Wayne MacGregor’s Infra), reinventions of classical works (Vivaldi’s Four Seasons), collaborations with The Future Sound Of London, Roni Size and

Vashti Bunyan to writing scores for film and TV (Waltz With Bashir, Lost and Found, Last Days on Mars) and solo work.

Geoff Kirkwood (Man Power)

I’dgained some notoriety as a music producer and DJ but I hit a horrible case of writers block around 2018.

The problem I was finding was that I was trying to shoe horn every smart arsed clever dick musical reference I had into the music I was making, but the function of dance music is to make people dance, not to show people who broad your musical references are, so I was making pretty shitty music that landed in the middle and didn’t achieve either aim.

To tackle this I ended up committing to just trying to make the most expressive and wanky experimental stuff I could. I was immersed in club culture at the time so the whole enterprise started as a joke, hence the name “Bed Wetter”. However when I fully submitted to just naked exploration the really unexpected thing that happened was that I found myself unavoidably having to deal with a lot of my own bullshit. That bullshit turned into the “Billy Mill is Dead” album, which was essentially the sound of me excavating my own life and looking at how I felt about where I was from, where I was headed, my family, my history, my region and all of the things i have conflicting feelings about.

It was partially catharsis and also a bit of deprogramming around being able to call myself an artist after being raised to believe that wasn’t an option for me.

I self released Billy Mill is Dead in the months before the pandemic and it found it’s fair share of love in the places I hoped would connect with it, and just the right amount of being ignored by people who I’m pleased didn’t feel it. This all lead to me being emboldened enough to apply for an artist in residence position at a big regional opera house months later in the middle of lockdown.

My feeling was that if my DJ career was potentially over for the remainder of my lifetime then there was no harm in exploring this alternative method of expression to see where it could take me.

I submitted a ridiculously ambitious plan for what I would like to do as a project, and to my absolute shock I was selected for the position.

I was 40 years old and from a scarcity background so I had a potentially unique response to that kind of validation for the first time and what followed next was a process of me just coming back with bigger and more ridiculous ideas just to find out at whatstage they’d tell me to stop.

The thing is, nobody did. I got as far as suggesting writing a full symphony to be performed by an orchestra before my own nerve gave out and I decided that was probably as far as I should push things.

The problem with people giving you permission to do things is that you then need to go out and figure out how to do those things.

The biggest issue for me, beyond raising the money to pay for everything, was how does a person actually write a symphony?

I was introduced to Fiona Brice, a multi instrumentalist and orchestral arranger. She’s also a recording artist who releases on Bella Union. On top of that she’s a violinist who used to be part of the band Placebo and who used to appear regularly playing for other bands on things like Top of the Pops.

Not only was Fiona uniquely placed to not look down on the strange provenance of someone from an Acid House background wanting to write a symphony, but more to the point we really hit it off from day one.

Fiona coached me in the essentials of writing for an Orchestra, and then I went off and wrote the 8 movements.

I’d love to say I laboured for years over this bit, but it took about 2 weeks in total. I’d also love to say what I wrote was a complete symphony, but the version of this which is solely me feels like looking at something without your glasses on. The shape,feel and borders were all there, but the definition was absent. Fiona taught me the broad language of a symphony, but without her it would have lacked all intonation, nuance and detail. Where I had shaped ideas with a hammer, she brought out my meaning with precision using a scalpel.

I think the prodigiously quick turnaround for the music is as much proof of how conceptually and musically aligned Fiona and I are. I know we’re both incredibly proud of what we’ve created.

It took nearly 2 more years to stage the debut performance in what was potentially the most traumatic period of my life which saw me embroiled in an international crisis with my own family and the death of my father, all with the backdrop of COVID.

The work itself is inspired by the working class experience, but it’s also a comment on how we get to decide what we are and how we’re defined, and we get to choose what we do to prove these things.

The original recording was contractually impossible to ever share again, so we re-recorded it in a working men’s club with jobbing (albeit world class) players. In many ways it’s a record that feels like it shouldn’t exist, which is why we’re all so happy that it does.

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

With Random Constraint Satisfaction Problems, the ever elusive and shape-shifting Thomas Bush offers up a new album of category scrambling song craft. Since earlier solo efforts like Old And Red (2018), Preludes (2022) and The Next 60 Years (2024), Bush—currently based in Malmö—has traced a digressive path that has proven him capable of everything from murky wobbling dirges to uptight head-bopping laments to crystalline synth chords that hang precariously in the air over your new favourite bass line. Like its title, the album's songs/tunes/opportunities for pleasure offer the listener further evidence of a sensibility that is equal parts ambiguity and clarity.

In addition to his solo work, Bush has worked with a range of collaborators in one-off configurations and longer term projects like RAP (with Guy Gormley) and cATHOLIC CHURGH (with Jon Auman). Critical responses to Bush's output have often focused on his predilection for certain folk-ish impulses and instrumentation, but, judging from releases like 2026's guld, his definition of "folk music" seems to have as much to do with A Guy Called Gerald as it does with Shirley Collins or John Martyn.

For all of its diversity, what unites Bush's ever-expanding body of work is its dual commitment to experimentation and a job well done.

“Random Constraint Satisfaction Problems was recorded at Vista Studio 1, Malmö between 2022 and 2025. After creating an account at academia.edu for the purpose of reading a text now forgotten, I began to get emails asking me questions such as ‘Thomas Bush, did you write “Brucellosis and Sacroiliitis: A Common Presentation of an Uncommon Pathogen”?’ or ‘Are you the Thomas Bush who wrote “ATR-dependent phosphorylation of FANCA on serine 1449 after DNA damage is important for FA pathway function”?’, which began to make me wonder if I was, or if not, perhaps I should.

The resulting work is an attempt to find meaning in this, and other chaotic and ambiguous situations through analysis using materials and equipment available to hand. Being sensitive to signs and following them with enthusiasm. Both the source material and evaluation is presented.”

Kaiso Power is a collection of rare jazz, calypso and percussive gems from Trinidad and Tobago from the revolutionary generation of the 1970s, bringing radical new political vision and reclaiming ancient spiritual consciousness through music. At the dawn of the 70s a shift was taking place all around the world. The streets of Port of Spain thronged with Black Power marches, trade union demonstrations and Carnival protest bands - one epicentre in a growing global exchange of ideologies and strategies among Pan Africanist circles in Jamaica, Guyana, London, New York, Montreal, Lagos, Accra and beyond. And when the meetings were over, the revolution moved to the cramped secret dance halls, the Carnival fetes, the steelband yards. The music always had a sharp edge. Searing commentary has always been part of the various types of music in Trinidad, and in the absence of lyrics, the defiant use of the drum maintains the resistance, as well as the re-framing of the playing of European instruments to the needs of the message. Lancelot Layne, Delano Abdul Malik De Coteau, Andre Tanker, Clive Zanda, Mansa Musa were more than artists, they were teachers, community workers and advocates for justice. These recordings are as raw as an all-night Carnival jam, the horns loud, the percussion ringing out, the bass dripping with joy and rebellion. Under the modern influences is a solid rhythm, an unbroken connection to Africa, the songs and keys and cadences brought across the middle passage. These songs are a peep into the untapped treasures of a revolutionary generation, looking at the world with fresh eyes and believing that music was a central part of the mission to build consciousness and regain confidence.

Prague-based talent atch22 makes his debut on Harmony with Equal Transients, an EP shaped by a winter spent locked away in a Neukölln studio while temperatures outside dropped to nearly –14°C. Running on all gas and no brakes, the record fuses classic progressive influences with atch22’s contemporary perspective. High-velocity rhythms, driving basslines, and explosive breakdowns define a release built for late-night dancefloors and long open-air mornings.






d B2: Equal Transients Kohra’s Spirit of Goa Remix




[d] B2: Equal Transients [Kohra’s Spirit of Goa Remix]




[d] B2 | Equal Transients [Kohra’s Spirit of Goa Remix]

Originally released in 2012, 1999 is the definitive debut mixtape from Brooklyn MC Joey Bada$$ that helped reshape the modern underground rap landscape. Leaning heavily into the golden era sound, a 17-year-old Joey earned instant critical acclaim by paying flawless homage to the 90s. Beyond timeless standout tracks like “Waves,” “Survival Tactics,” and “Snakes,” the 15-track mixtape boasts production from icons like Chuck Strangers, Lord Finesse, MF DOOM, and J Dilla. It remains a crucial time capsule for the Pro Era collective, featuring memorable verses from Kirk Knight, CJ Fly, Nyck Caution, Rokamouth, Dessy Hinds, Dyemond Lewis, T’nah Apex, and the late Capital STEEZ. A classic that still sounds as fresh today as it did a decade ago. Pro Era Forever.

With Foreverglades, Miami’s independent rap cornerstone Pouya delivers a cohesive, highly anticipated body of work that serves as a gritty love letter to the Sunshine State. Moving away from the claustrophobic trap beats that defined the early SoundCloud era, Pouya steps fully into his veteran status by embracing a distinctly rich and organic Southern sonic palette. The album's title plays heavily on the Florida Everglades, signaling a destination that is both a permanent state of mind and a humid, unforgiving landscape where only the strongest survive. Over the course of 12 tracks, the project balances hazy nostalgia with modern underground rap execution, highlighting Pouya's sharp technical growth and deep roots in his hometown culture.

The production on Foreverglades is remarkably cohesive, leaning into thick basslines, melting instrumentation, and classic Southern rap influences that give the tracks a heavy, atmospheric depth. Behind the boards, the album leans on a talented collective of underground producers—including Alexis Martin, Boohmii, Esthetic Gloom, and Oleg—who construct a soundscape that is both menacingly smooth and psychedelic. Rather than relying on the frantic tempos of his early catalog, the backdrops here allow Pouya to showcase his immense vocal versatility. He flows effortlessly, seamlessly shifting from his signature rapid-fire, triplet-flow delivery to a more grounded, melodic cadence that mirrors the thick humidity of the Florida landscape.

Lyrically, Foreverglades is a self-reflective journey that finds Pouya confronting the psychological realities of a decade-long independent career. While his trademark dark humor and raw bravado remain intact, they are balanced by a vulnerable perspective on success, mortal anxieties, and the paranoia that comes with staying independent in a shifting industry. The tracklist is meticulously curated, anchored by atmospheric standouts like "Found You," "Florida Baby," "In My City," and the Rocci-assisted "Burnt Down." By anchoring the project with raw storytelling and a distinct sonic identity, Foreverglades stands as a defining moment in Pouya's discography—a project best experienced with the bass turned all the way up and the windows rolled down.

1xLP, pressed on Whirlpool colored vinyl, includes 12x12 double-sided insert.

Windy & Carl Meet Optigan Conservatory is a purposefully misleading title for the first collaborative work from four friends who met close to thirty years prior. All active participants in Michigan independent music circles since the early ’90s, Windy & Carl are well-known for their foundational contributions to drift and guitar-born ambient sounds, with songs characterized by deep connections to the natural world and a hard to pin down yet impossible to miss emotional vulnerability.

Optigan Conservatory is another duo, made up of Frank Rotondo (leader of Detroit area free music ensemble Laughing Gas) and Fred Thomas (songwriter and producer most often associated with his band Saturday Looks Good To Me), who have been making minimalistic and time-defiant electro-acoustic sounds since 2016. The album came together almost effortlessly in a very short timeframe, but the idea had been building steam for many a year.

In the last days of 2024, Windy & Carl and Optigan Conservatory got together, falling into a mode of sound creation that was almost hyper-natural. Without any discussion outside of the usual stream of jokes and chatter, the quartet set up and started communicating. Added to Windy & Carl’s hovering augmented chord voicings and vaporous guitar drones were electric piano and synth bedding from Frank & Fred. After the initial sessions, all involved parties took time to consider what they’d made, adding new layers and editing the pieces into more definitive articulations.

A beautiful and hermetic energy larger than the sum of its parts is captured in the process. There are echoes of the earliest releases from Windy & Carl as well as refractions of the same opacity that surfaced in the early kranky catalogue.

Originally released on the legendary Rat Records in 2000, Old Skool quickly established itself as one of the defining records of the emerging Bassline Breaks movement. Now, over 25 years later, it returns fully remastered on Cyberfunk Records, bringing this underground classic back to a new generation of DJs and listeners.
Produced by DJ Quest and Kalibre, Old Skool perfectly captures the raw energy of the era, combining infectious vocal hooks, rolling breakbeats and heavyweight basslines that still sound as fresh today as they did on its original release.
A landmark release that bridged the worlds of UK Garage and Breakbeat, Old Skool helped shape the Cyberfunk sound that would follow. This remastered edition preserves all the character and atmosphere of the original while delivering the power and clarity expected on modern sound systems.
Tracklisting
A. Old Skool (2001 Original Mix)
The original version that helped establish DJ Quest as one of the pioneers of the emerging Bassline Breaks sound. Fusing infectious old-school vocal samples, rolling breakbeats and heavyweight basslines, this timeless underground anthem perfectly captured the crossover between UK Garage and Breakbeat. More than two decades on, its unmistakable groove and dancefloor energy continue to make it a favourite with DJs and fans around the world.
AA. Old Skool (Paket Remix)
Spanish breakbeat heavyweight Paket delivers a fresh interpretation for today's dancefloors, retaining the iconic vocal hooks and recognisable feel of the original while introducing tighter drums, modern production and his trademark bass-driven energy. Respectful of the source material yet built for contemporary sound systems, Paket's remix gives this classic a powerful new lease of life.
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Almost Starlight is the extraordinary new album by Jem Finer (hurdy-gurdy) and John Matthias (violin). Produced by Jay Auborn and recorded in a Medieval Church, deep in the Devon countryside, in the Summer of 2025, the music is suffused with light, heat and the natural acoustics of the space.

The album defies categorisation; forced to pigeon hole it the nearest approximation would be ‘modern-classical’ but this ignores its myriad influences and explorations which encompass inspiration from Arvo Pärt through Terry Riley to Can via Delius, Alice Coltrane and a subtle reimagining of electronic music played purely with acoustic instruments, bending and shaping their possibilities in surprising and unexpected directions.

Jay Auborn plays cello on a number of the compositions and his production opens up and expands the music through a skilled and imaginative use of space, paying homage to the atmosphere of the church; ‘the sound evolved… chasing the imagined acoustics of that church in my mind; a place for worshipping light with sound.’

Almost Starlight will be released on the 4th September by Touch, available as CD, vinyl, cassette and on streaming platforms.

BIOS OF THE ARTISTS

Jem Finer

Since studying computer science in the 1970s, Jem Finer has worked in various fields, including photography, film, experimental and popular music, sound recording, sculpture and installation.

Much of his work relates to systems, extended processes and extremes of scale and includes Longplayer, a musical composition repeating once every 1000 years, and the Gurdy and Hurdy stones, ancient rocks set upright in fields in East Sussex and Gloucestershire with Jimmy Cauty. Their work together includes a band, The Standing Stones, whose most recent release is Twa Sisters, featuring Iona Zajac and Daragh Lynch.

He was a founder member of The Pogues, with whom he has played, written and recorded since 1981.

Recent music revolves around a fascination with the hurdy-gurdy and includes hrdy-grdy, a cassette released by Benedict Drew’s Thanet Tape Centre. His latest collaboration, with John Matthias, Almost Starlight, will be released by Touch in September 2026.

John Matthias

Since studying Theoretical Physics in the late 1980s and 1990s, John has created music and sound in many forms, including for installation, popular music, music for film, for dance and orchestra.

Much of John’s work plays with the physics of complex systems but he is also greatly influenced by stories and song. John has collaborated with Matthew Herbert, Stanley Donwood, Jay Auborn, Radiohead, Thom Yorke, Nick Ryan and many others to create music with a variety of textures and sonorities. He is particularly interested in simplicity and form and how context informs the way music sounds.

His latest collaboration, with Jem Finer, Almost Starlight, will be released by Touch in September 2026.

Mr Bongo proudly presents a first-time worldwide vinyl and CD issue of Rubel’s debut album Pearl. Self-released on YouTube in 2013, the album quietly became a huge hit in Brazil with the lead single and accompanying video for ‘Quando Bate Aquela Saudade’ amassing over 85 million views to date. Pearl laid the foundations for Rubel’s path to greatness - a first glimpse into the brilliance of a modern-day troubadour and ever-evolving Brazilian artist who deftly mixes classic and contemporary influences. Fusing MPB, folk, pop, and indie, it charts Rubel at his purest and most personal.

The journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.

With “La Fiesta Seria y Nuevas Formas de Tecnaco”, the fourth chapter in the ESTADO DE BIENESTAR series, the project continues to delve deeper into a singular sonic territory, situated at the fringes of experimental electronics and free from any aesthetic constraints, moving unapologetically between tribal dub, primitive electro, hypnotic ambient and even classical piano structures, articulating a musical discourse that is as disconcerting as it is coherent.

Most of this work emerges from the use of CV sequences which, with their distinctive human groove, trigger iconic synthesizers from different generations, giving rise to a new radical exploration of proto-electronics as an open and constantly evolving language.

Recorded almost entirely in analog, the album preserves a lo-fi aesthetic that has become one of the project’s defining characteristics.

Previously described by various international specialist media outlets as “a new genre because of its unclassifiable nature”, ESTADO DE BIENESTAR continues to develop a language of its own: one that follows no one and, in its own way, follows everyone. A sonic territory that, at Oráculo, we have chosen to call Transelectronica.

Tash, founding member of Tha Alkaholiks, returns with a new EP that brings his signature voice, charisma, and West Coast energy back to the forefront. Known for sharp lyricism, humor, and effortless flow, Tash delivers six tracks that connect his legacy to a fresh chapter.
The project's centerpiece is the "Attention is a Drug" remix, a stacked lineup featuring Sway Calloway, King Tee, Defari, Tha Liks, Xzibit, Will.i.am, and Q-Tip. The EP also includes a classic Wake Up Show remix, bringing in DJ Revolution, Sway and Tech, and the Likwit Crew.
Pressed on limited clear vinyl, this is a collector's release built for Tash's core audience: Tha Alkaholiks fans, 90s and underground hip-hop heads, and Fat Beats regulars who've been true fans since day one.

„Break or Breakthrough“ zeigt Zahna in Höchstform – mit kraftvollen Riffs, mitreißendem Gesang und der Durchbruch-Single „Defiler“ ft. Brian „Head“ Welch (Korn). Mit über 22 Millionen Streams und vier Wochen in den Top 40 der Active-Rock-Charts ist dies der erste Chart-Hit von XOVR Records. Das von Kellen McGregor (Memphis May Fire) produzierte Album liefert explosiven, cineastischen Hardrock.

Funky DL returns with Camden to Covent Garden, an eight-track instrumental journey through two of London’s most culturally influential locations. Camden’s history of independent music, fashion and creative expression meets Covent Garden’s legacy as a centre for performance and the birthplace of a defining era of UK Hip-Hop culture. Built through the foundations of hip-hop production after digging, sampling, chopping and rearranging, the album transforms fragments of sound into a cohesive musical journey. Featuring titles inspired by the spirit and character of these locations, including “Lock Keeper,” “Chalk Lines,” “Amy’s Dream,” “Connaught Jazz” and “Acres Long” A refined, atmospheric and deeply crafted jazz hip-hop instrumental vinyl release from one of the UK’s respected independent Hip-Hop producers.

Mighty Music is proud to announce the release of "Electrifyed", the brand-new studio album from NWOBHM pioneers TYGERS OF PAN TANG. The album finds the legendary British metal act returning to a heavier and more aggressive sound while retaining the melodic identity that has defined the band throughout its celebrated career. ""The heavier, the better" that was our mantra throughout the writing and recording of "Electrifyed"", singer Jack Meille comments about the writing process of the record. "We wanted to rediscover the pleasure of being driven by the powerful force of a heavy riff without losing that melodic touch all great Tygers songs have". Written with a clear artistic vision from the outset, "Electrifyed" draws inspiration from the raw energy of the band's early years, particularly their landmark debut album "Wild Cat", while showcasing the chemistry and creativity of the current line-up. The result is a collection of songs built around powerful riffs, memorable melodies and a renewed commitment to the heavy metal traditions the band helped establish. The album also introduces guitarist John Footitt on record for the first time. Joining founding member Robb Weir, Jack Meille, drummer Craig Ellis and bassist Huw Holding, Footitts guitar skills fit the album's muscular and contemporary sound. To achieve the sonic impact envisioned by the band, Tygers of Pan Tang worked closely with producer and musician Marco Angioni, a longtime friend and collaborator who helped translate the group's ambitions into a cohesive and powerful final product. The album artwork was once again entrusted to Andy Pilkington of Very Metal Art, whose striking cover concept perfectly captures the spirit and energy of "Electrifyed".

Transparent Orange w/ blue splatter vinyl. Mighty Music is proud to announce the release of "Electrifyed", the brand-new studio album from NWOBHM pioneers TYGERS OF PAN TANG. The album finds the legendary British metal act returning to a heavier and more aggressive sound while retaining the melodic identity that has defined the band throughout its celebrated career. ""The heavier, the better" that was our mantra throughout the writing and recording of "Electrifyed"", singer Jack Meille comments about the writing process of the record. "We wanted to rediscover the pleasure of being driven by the powerful force of a heavy riff without losing that melodic touch all great Tygers songs have". Written with a clear artistic vision from the outset, "Electrifyed" draws inspiration from the raw energy of the band's early years, particularly their landmark debut album "Wild Cat", while showcasing the chemistry and creativity of the current line-up. The result is a collection of songs built around powerful riffs, memorable melodies and a renewed commitment to the heavy metal traditions the band helped establish. The album also introduces guitarist John Footitt on record for the first time. Joining founding member Robb Weir, Jack Meille, drummer Craig Ellis and bassist Huw Holding, Footitts guitar skills fit the album's muscular and contemporary sound. To achieve the sonic impact envisioned by the band, Tygers of Pan Tang worked closely with producer and musician Marco Angioni, a longtime friend and collaborator who helped translate the group's ambitions into a cohesive and powerful final product. The album artwork was once again entrusted to Andy Pilkington of Very Metal Art, whose striking cover concept perfectly captures the spirit and energy of "Electrifyed".

Brian Fallon reunites with producer Butch Walker (Taylor Swift, Fall Out Boy, Green Day) for Not Bad for New Jersey, his first collection of original solo songs since 2020's Local Honey. Fallon is best known as the frontman of The Gaslight Anthem (The '59 Sound, Handwritten). Featuring Brandon Flowers (The Killers), Phil Collen (Def Leppard), Lori McKenna, Donovan Woods, and guitarist Marc Ribot (Tom Waits, Elvis Costello, Robert Plant). Out September 10, 2026. Eleven tracks of high-energy, power-pop-leaning rock about underdogs turning setbacks into rocket fuel.

MEMPHIS, TN — Fat Possum Records and Hi Records are proud to announce the first vinyl pressing in half a century of Ann Peebles' 1975 album Tellin' It, fully remastered and recovered from the Hi Records vault, where it had sat untouched for decades. Available on vinyl in stores September 11, 2026 and can be pre-ordered now and also available streaming everywhere now. 
Peebles was at the height of her career when she recorded Tellin' It — coming off her biggest hit, "I Can't Stand the Rain," the year before. Produced by Willie Mitchell at Royal Studios in Memphis, with the grooves that defined the label's sound, backed by Howard Grimes' drumming and the Memphis Horns. 

"Peebles and Mitchell don't just recast "Rain" 10 different times—instead, they lean into the supple support laid down by the Hi Rhythm Section, who have plenty more uptempo grooves to offer." Andy Beta, Bandcamp
The original master tapes were sent to John Nicholson at Nashville Tape Transfer for their first listen in fifty years. From there, the project stayed close to home: remastered by Clay Jones in Taylor, MS, then back to Memphis for lacquers cuts by Jeff Powell (Take Out Vinyl), and was pressed & plated at Memphis Record Pressing.

Finnish Prog legend Wigwam's fourth album Being reissued on vinyl in September Finland´s Wigwam definitely belongs to the honorable circle of the pioneers of early progressive rock. Considered by many as their most ambitious work, Being was originally released in 1974. This reissue contains the album's partially remixed and remastered version from 2001, which the group’s mastermind behind the album concept Jukka Gustavson considers superior compared to the original mix. Being is a progressive rock masterpiece. Dark and satirical lyrics of social and political critique blended with complex jazz-rock, driven by the superb keyboard work by Gustavson who's joined by the band in its prime; Pekka Pohjola, Jim Pembroke, and Ronnie Österberg. Being is cited as one of the best albums from the 1970s Scandinavian Prog scene. Housed in a gatefold sleeve and containing a booklet, Being is out on vinyl and CD on September 11th, 2026.

Finnish Prog legend Wigwam's fourth album Being reissued on vinyl in September Finland´s Wigwam definitely belongs to the honorable circle of the pioneers of early progressive rock. Considered by many as their most ambitious work, Being was originally released in 1974. This reissue contains the album's partially remixed and remastered version from 2001, which the group’s mastermind behind the album concept Jukka Gustavson considers superior compared to the original mix. Being is a progressive rock masterpiece. Dark and satirical lyrics of social and political critique blended with complex jazz-rock, driven by the superb keyboard work by Gustavson who's joined by the band in its prime; Pekka Pohjola, Jim Pembroke, and Ronnie Österberg. Being is cited as one of the best albums from the 1970s Scandinavian Prog scene. Housed in a gatefold sleeve and containing a booklet, Being is out on vinyl and CD on September 11th, 2026.

Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like “Can You Get To That,” Maggot Brain redefined the possibilities of funk, rock, and psychedelic music.


For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved.

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

Features Rasco, L da Headtoucha, Edo. G, Esoteric, Pace Won, Young Zee, Danja Mowf, Lonnie B, J-Live, Shabaam Sahdeeq, Lucky Dice, Ripshop and more, plus the first production from Statik Selektah and beats by Soul Searchers, Eddie Bones of Skitzofreniks, Ray Fernandes & Fakts-1.
Along Came the Chosen dropped in 2001 and was the first solo album from Reks, and the first album by a solo artist released on Boston-based Brick Records, which celebrates its 30th anniversary in 2026 too. Its release was a defining building block in the long and storied history of Boston independent hip-hop, and this album set the bar for what was expected from MCs and Beatmakers on the Beatown rap scene and beyond.
Brick Records and Reks are proud to celebrate its 25th anniversary with this deluxe double-vinyl pressing. "Along Came the Chosen reaching its 25 year anniversary, being the piece of art that established my hip hop career, is something monumental to celebrate. The fact that individuals still reach out to me to express how they grew with this album means so much to me. There were so many voices in my ear telling me that being a successful artist in this game required bending to popular trends and styles. This album allowed me to establish my own voice and identity, and I am thankful for Soul Searchers (Magoo and Rockwell) for being the foundational sound bed, Shay Boogs for being my first manager, and Brick Records for being the label that believed in me. I am happy to say we have put out some incredible art together. This album boasts the first-ever Statik Selektah beat placement too! We have come a long way. Here’s to 25 more!" REKS.

The bleak, hard-driven third LP by the Wipers (originally released in 1983) offers Greg Sage at his most chased and breathless, lashing out with sharp staccato notes as if melody were his only defense. The 3rd LP from the PDX punks finds them tightening up their sound to create what is arguably the Wipers' definitive album statement. Kurt Cobain listed it in his top 50 albums of all time. A distant cousin of the preceding Youth of America but undoubtedly no less excellent and no less venomous, Over the Edge is a return to the easily digestible song lengths of Is This Real?; however, it all but leaves that debut in its wake. On the strength of some brave/smart radio stations that decided to play this album's "Romeo" (a propulsive horn-flecked slammer in the vein of "Youth of America"), Wipers solidified their status as a certifiable force in the American underground of the early '80s. Songs like "Messenger" and "What Is" show Greg Sage's increasing skill as a pop songwriter. Despite the fusion of punk and pop, the record hardly mirrors the bands that would later be called punk-pop. In fact, this collision of the two elements makes what followed decades later seem twee.

,AFRO-DISCO MAKOSSA" ist das erste Album auf Linear Labs, das ausschließlich für die Tanzfläche gemacht wurde, und Younge ist wie kein anderer dafür geeignet, es zu produzieren. Er ist nicht als Außenseiter zum Afrobeat gekommen, um ihm Tribut zu zollen. Über sein Schwesterlabel Jazz Is Dead hat er bereits dazu beigetragen, zu definieren, wie moderner Afrobeat klingt. Seine Sessions mit Tony Allen (Mitbegründer des Genres selbst) und dem Highlife-Pionier Ebo Taylor haben nicht nur sein musikalisches Vokabular geprägt; sie brachten zwei gefeierte moderne Klassiker hervor. "Afro-Disco Makossa" ist das, was passiert, wenn derselbe Künstler eine ganz andere Frage stellt: Was hätte ein ghanaischer Produzent im Jahr '76 gemacht, wenn er sich daran gemacht hätte, eine amerikanische Disco-Platte für seine Heimatstadt zu produzieren? Das Ergebnis ist ein klangliches Patchwork aus Afrobeat, Funk und Disco, gemacht für den DJ jeder Ära.

Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like “Can You Get To That,” Maggot Brain redefined the possibilities of funk, rock, and psychedelic music.


For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved.

2026 Repress
12" - Fully Authorised Reissue on Original Release Label!

Canadian deep house don Nick Holder's Fruit Loops EP is next to get the remaster and reissue treatment from Definitive Recordings. This label, now overseen by Get Physical Music, first released the EP back in 1995 when Toronto-based Holder had already become one of house music's most tasteful operators. He went on to release over 125 EPs and singles under countless aliases, in various groups, and on his labels DNH Records and Treehouse Records, as well as !K7 Records and NRK. His style spans house, disco loops and minimal Chicago grooves and is always high on immersive atmosphere. Opener 'Dance Dance Dance' brings together all those aspects of the Holder sound with its funky guitar riffs looping beneath raw drums and disco basslines. Classic Chic samples burst out of the mix to bring an air of celebration and party, and it makes for an irresistibly feel-good sound. 'Keep on Running' is a steamy and sweaty house jam with loopy drums and bass and more smartly chosen samples, this time from Roy Ayers, that bring the funk and never let up. It has long been a go-to anthem for house DJs, and the realness and rawness of the emotions in Holder's work also shine through with the filtered synths and jazzy keys of 'The Message of Love', which is complete with bumpy and irresistible drums. Last of all is the unfettered party spirit and diva vocals of the brilliantly lo-fi funk-house pumper that is 'Clap Ya Hands'. This EP hasn't aged one bit and remains a definitive piece of early Deep House history.

Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like “Can You Get To That,” Maggot Brain redefined the possibilities of funk, rock, and psychedelic music.


For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved.

Eine solide LP-Sammlung mit 14 Titeln, die die Hits des jungen Michael Jackson aus seiner Motown-Ära
umfasst, darunter die legendären Jackson-5-Hits von „I Want You Back“ bis „I’ll Be There“ sowie seine
Solo-Hits „Got To Be There“, „Ben“ und „I Wanna Be Where You Are“. Alle Songs, die in der neuen
„MJ“-Biografie zu hören sind, werden in diesem Set enthalten sein.

*Glow In The Dark Coloured Vinyl*

Four years after its original release, Mochakk's breakout anthem 'Da Fonk' featuring Joni continues to define a generation of house music. Originally released via Nervous Records in 2022, the record has surpassed 60 million Spotify streams alone, becoming Mochakk's signature track and one of the most recognizable records in modern dance music.

Fronted by fellow Brazilian artist Joni's soulful vocals, "Da Fonk" bridges classic house and contemporary club energy. Its stripped-back bassline and timeless groove have made it a fixture on stages and dancefloors around the world, while also marking a turning point for Mochakk, who has since become one of electronic music's defining artists, widely praised for his vibrant live sets in which "Da Fonk" has remained a staple. To celebrate the track's continued success, Nervous Records releases the 'Da Fonk' Remix Pack today across all streaming platforms, alongside a limited edition three-vinyl release available during Mochakk's long-awaited New York City takeover from August 28, 29 and 30.

Spanning three parts, the remix pack brings together a wide range of artists, each offering a different take on one of house music's most enduring records of recent years.

The first vinyl features Mochakk’s Original Mix and OG Dub of “Da Fonk”, in addition to a new Bass Mix from Marco Carola, whose signature rolling grooves and understated approach bring fresh weight to the original without losing its unmistakable feel. The second vinyl moves across a broad spectrum of club sounds. Australian duo Confidence Man inject their playful, high-energy style into the track, while Berlin's DJ Gigola delivers a sleek, club-focused interpretation. Cinthie, known for her deep-rooted house sound and analogue production style, offers a warm and driving remix, with Brazil’s Bronka rounding out the record on a fresh, contemporary rework. The third vinyl shines a light on Brazil's electronic music scene with an all-Brazilian lineup. Solarce Brothers contribute a soulful reinterpretation that nods to the original's house roots, alongside remixes from DJ Fuzil, Classmatic, and Deekapz & kLap, each bringing their own perspective to one of Brazil's all-time most influential electronic releases on global stages.

Interface 68 old and new tunes.
Bangerz and defenitely dry-kick Acid style. Deeply old school and well done.
His unique style still rules !

Doomcrusher fuse stomping industrial riffs, uncompromising gutturals and uplifting hooks - modern core with electronic depth and metal roots.

In the crucible of the apocalypticatmosphere that envelops our world, Doomerusher was forged. Born out of the deepest desire to be the harbinger of change, the band emerged with a resolute mission: to defy the impending doom that looms on the horizon. Founded by Andy Posdziech (Any Given Day), Jean Bormann (Rage), Marv Kinkel & Rob Lee, Doomcrusher's sound is a powerful fusion of stomping and heavy mid-tempo industrial riffs, seamlessly intertwined with uncompromising gutturals that resolve into unfolding and uplifting hooks. The band's sound is further enriched by sophisticated electronic elements, adding depth and complexity to their musical tapestry. The ambition is clear - to redefine modern core music while staying true to the roots of the metal genre. Their music is not merely an auditory experience; it's a journey through the realms of sound, a deliberate exploration of the boundaries of heavy music. Doomcrusher stands as a defiant force against the inevitable, a rebellion that crushes the darkness of doom with an unwavering belief in the transformative power of music. DOOMCRUSHER BIO SHORT: Forged in the apocalyptic atmosphere, Doomcrusher blends stomping industrial riffs with guttural vocals and uplifting hooks. Their music, a deliberate exploration of heavy soundscapes enriched by electronic elements, redefines modern core while honoring metal roots- a defiant force against impending doom

Back for its 29th (!) birthday, No Use's fifth full lenght! "Bay area punk wonder-boys No Use For A Name have begun pleading for your friendship. Show your love for the boys, who were each reared with the ideals of Boy Scout Troup #221, by giving 'em wet sloppy ones when they come to your town." No Use for a Name was a melodic punk band from San Jose, California blending blistering skate-punk speeds with deeply melancholic, unforgettable pop melodies. What began as a scrappy late-80s hardcore act grew into a defining pillar of the 90s punk rock explosion, earning fans through relentless international touring and releases that perfectly balance grit and heart. Drawing comparisons to Lagwagon, Millencolin, and Strung Out, No Use for a Name pairs introspective, emotionally raw lyrics with fast-paced, harmony-driven arrangements built for sweaty club shows and massive circle pits. Their songs tackle alienation, broken relationships, and the struggles of everyday life, creating a connectionthat feels both intensely personal and universally cathartic. Their first two albums were released through the New Red Archives label, after which they signed to Fat Wreck Chords where they would remain, releasing seven studio albums and shifting to a melodic punk rock sound. With their fifth album `Making Friends,' the band continued to build on their momentum, delivering their tightest, most emotionally resonant, and career-defining collection of songs in 1997. 2026 it comes in brown vinyl color.