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múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

A double vinyl helping of dripping-in-soul house from Toronto's Demuir. It originally surfaced digitally in 2021 but has been constantly in demand ever since. Not at all surprising when you start to dip into the likes of 'Aesthetics' (dub), with its constant synth washes and subtle funk underpinning, or the loopy, bongo-teased hypnotism of 'No Corazon, No Beat'. It's a varied selection here, from late night floor crushers to the softer, jazzier 'Bichano Doce', but there are two constants remaining throughout, namely quality production and a knack for irresistible grooves built for the floor. Demuir by name, demure by nature.

In 2024, Kyoto Jazz Massive released their third album as a digital-only project, 30 years after their debut. It now receives the honor of a special vinyl edition, featuring brand-new exclusive mixes by Young Pulse—elevating these already great tracks to even greater heights, for both your ears and your feet.
This marks the first and exclusive collaboration between KJM and Echoes Of A New Dawn Orchestra (aka Jéroboam), the unique Parisian band that has been performing live with KJM across Europe for the past three years. On this occasion, KJM recorded four new tracks with EOANDO, including three original songs ("Power", "Love Wars", and "Impulsive Procession") and a new rendition of “Stand Up”, a previously released composition. To complete the album, you'll also find a stunning cover of KJM’s iconic track "Substream" by EOANDO, as well as their signature piece, “EOANDO's Theme”.
"Power" and "Stand Up" were recorded with Vanessa Freeman, while "Love Wars" features Bembe Segue. This London-based duo has been singing live with KJM since 2004.
"Power" is a crossover anthem, blending jazz-funk and French disco with a gospel touch. Vanessa Freeman’s uplifting lyrics call for collective awareness and energize audiences. "Love Wars" is a live-band interpretation of broken beat with a boogie spirit, enhanced by Bembe Segue’s sharp and spiritual vocals. “EOANDO’s Theme” was specially composed by Echoes Of A New Dawn Orchestra for KJM, capturing the Okino Brothers' love for boogie-funk jams with Brazilian and Balearic influences reminiscent of Azymuth.
“Impulsive Procession” fuses Afro, funk, jazz, fusion, soul, rock, house, and techno—drawing inspiration from several of KJM’s most respected musical heroes. A brand-new version of “Stand Up”, originally released in 2008, was re-recorded live in the studio with EOANDO and fresh vocals by Vanessa Freeman.
The album closes with a reimagined version of “Substream”, one of KJM’s most beloved tracks, covered by EOANDO for the official Tokyo Crossover/Jazz Festival 2023 compilation. This new version was recorded as an organic disco interpretation at Danilo Plessow’s studio in Paris.

Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations.

In 2023, Realf Heygate - who makes music as Flaer - released his debut mini-album Preludes, composed on his mother’s piano and his childhood cello.Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall.

Like Preludes, Translations is coloured with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds.

“When I digitised my mother’s tapes, they warped and stuttered in a very similar way to the starling’s song,” he explains. “They had this uncanny rhythm and pulse that I couldn’t quite decode, but was saying something." These decayed transmissions hint at loss, resisting clarity in favour of the ineffable.

Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album’s opening track ‘Entre’. At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and ‘Starling Descends’ (a reference to Vaughan Williams’ ‘The Lark Ascending’) act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting awider palette of influences.

“Flaer began in many ways when I picked up my mother’s instruments, seeking a form of reconnection. Where words evaded me, they became the tools through which I found a language for grief – and above all, for love.”

Recorded between 2023 and 2025 – what Heygate calls “A gradual process of sowing and harvesting ideas rather than a single intense creative period” - each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.

“It's that feeling of searching that I really enjoy,” Heygate continues. “I never know what the destination of the composition is going to be, and I never really find what it is."

Translations is released on limited edition off-white vinyl LP (500 copies worldwide) with one of five signed and numbered handmade risograph prints. It's also available as standard black vinyl LP and digitally.

FJAAK return with a powerful remix package, delivering fresh takes on a selection of tracks from their unforgettable 2024 album 'FJAAK THE SYSTEM'. Welcoming three standout remixes from some of techno's most respected names, 'REMIX02' sees offerings from Robert Hood, Shed and West Code, as well as some surprise Bandcamp digital only remixes selected from the participants of FJAAK's latest remix competition. Kicking off the main remix package release, Detroit legend Robert Hood brings his unmistakable raw, relentless and pioneering sound to the table as he reimagines FJAAK's 'Breathe Underwater'. The genre-defining godfather serves up an undeniably signature cut flooded with euphoric energy, thumping grooves, rippling musicality and spaced-out vocal injections, carving out an authentic Floorplan-esque peak-time jam. Berlin-based artist Shed (one of the many monikers of established electronic stalwart Ren? Pawlowitz) is next to feature, delivering another impressive spin on FJAAK's work, this time exploring his vision on 'Micro Expressions'. An impressive blend of hypnotism and electricity, this bold remix echoes FJAAK's preference for cultivating huge dancefloor heaters that thrive on live instrumentalism and limitless energy. It's racy, groovy and raw, building around rolling rhythms, warping layers of analogue sound and intricate breaks throughout. Argentinian talent West Code was the winner of the 'Redemption' remix competition and rounds off the main package with a huge interpretation of FJAAK's original mix. Almost bordering into tribal techno in places, its emphasis on groove and subtle South American influences create a unique remix, overflowing with boomy low-end drive, piercing percussive drive and mind-bending melodics - a real gem for the height of the party and irresistibly sinister from start to finish. The remix competition of 'Redemption' drew an overwhelming response from producers worldwide, which made it very difficult to choose a winner. Even though West Code's interpretation was the chosen remix, four other interpretations were so good that FJAAK decided to showcase the talent of Helsmoortel, Genex, Ay Din and Your friend daao by including their reworks on an exclusive Bandcamp-only EP, highlighting the duo's ongoing commitment to to the underground.

„Foreigner 4“, wie es oft genannt wird, ist das vierte Studioalbum der legendären britisch-amerikanischen Rockband. Es wurde in einer Zeit des Umbruchs veröffentlicht, als die Band bekanntermaßen von sechs auf vier Mitglieder schrumpfte.Aufgenommen in den berühmten Electric Lady Studios in NYC zusammen mit dem angesehenen Musikproduzenten Mutt Lange, enthält es einige der größten Hits der Band, darunter „Urgent“, „Waiting On A Girl Like You“ und „Jukebox Hero“. Jetzt, im Vorfeld des 45. Jubiläums des Albums im Jahr 2026, erfährt diese ikonische Platte die Rhino-Deluxe-Behandlung: mit einem glänzend neuen 5-Disc-Super-Deluxe-Boxset (4CD + 1BR), einer neu gemasterten 1LP sowie einem Dolby-ATMOS-Mix des Originalalbums. Hinzu kommt ein digitales Deluxe-Angebot, das das remasterte Album, unveröffentlichte Tracks, frühe/alternative Versionen, Instrumentalmixe und eine Zusammenstellung von Live-Auftritten der Welttournee 1981-82 enthält.Nach der Ankündigung am Jubiläum des Albums im Juli erscheint „Foreigner 4“ im Herbst – im Anschluss an die offizielle Auftaktveranstaltung zum 50. Jubiläum des bahnbrechenden Sounds und Vermächtnisses von Foreigner.

2025 Repress

After a short hiatus Deep In Dis intl. is back in the game. This time bringing you a split EP by two young prolific producers who have been in our radar for quite sometime now, Eric OS and Lewis. With both artists being based in Sweden and each one of them with a characteristic sound, we thought it would be a good idea to split our next release between these two cutting edge talents and that's how the Timebomb EP came to life.

We first discovered Eric tunes through a Binh set last year at the Nostromo Festival and we instantly knew we had to get Eric on board for a future project with us and here we are. With releases on System Error, Eya Records and his own imprint Space Trace, Eric brings to the table all those elements that made us get up off the back stage sofa and lose it on the floor. Flipping the record we have the Data Flow head label Lewis bringing us another two special club cuts. Having released a digital EP with us before, we couldn't wait to press some of Lewis analog soundscapes.

A1. 'Eden' is a true dance floor filler , endless groove and quirky sounds penetrating your brain while taking you in a break with some dreamy pads and even stranger synth lines. A2. 'Timebomb' keeps the vibe going, even higher this time. The formula seems to be timeless. Progry melodies, wonky bassline, and solid drum patterns.B1. 'Project Mayhem' invites us to close our eyes and travel without moving with its hypnotic groove, the feeling of pleasure, energy and empathy increases and floats the dancefloor in a never ending way. Closing the EP 'Acid44' spills a lysergic groove on the floor with no possibility of escape or return. Infected synth lines, snappy snares and some serious bassline are the powerful potion of the track.

We’re excited to present this special edition vinyl celebrating Lofi Girl’s collaboration! For the second year running, we’re proud to sponsor the Champions Chess Tour 2024—the largest online chess tournament in history with a $1.7 million prize fund and the world’s top players competing for glory.



This vinyl features our curated compilation, synthwave beats to play chess to, blending the focus and creativity of synthwave music with the strategy and brilliance of chess.



Thank you for joining us on this journey—let the games (and the beats) begin!

Everything Is Recorded, ist das musikalische Kollaborationsprojekt von XL-Recordings Chef Richard Russell. Auf dem Album "Temporary" sind zu hören u.a. Sampha, Bill Callahan, Noah Cyrus, Florence Welch, Maddy Prior, Berwyn, Alabaster Deplume, Jah Wobble, Yazz Ahmed, Laura Groves, Kamasi Washington, Ricky Washington, Roses Gabor, Jack Penate, Samantha Morton, Clari Freeman-Taylor und Nourished By Time. "Temporary" entstand im Verlauf von vier Jahren in Russells Londoner Copper House Studio und während einiger zusätzlicher Sessions in Tottenham, Cumbria, Dorset, Los Angeles und Las Vegas Es schließt an die vorangegangenen Releases wie das 2018 für den Mercury Prize nominierte Debüt an. Auf dem neuen Album erfährt Russells musikalische DNA allerdings ein Reboot: Sein Cut & Paste Approach reicht in die Zeit vor Sampling-Helden wie The Bomb Squad und Prince Paul zurück bis hin zu Innovatoren wie Steve Reich, Robert Rauschenberg und William S. Burroughs. Während Russells Musik bislang geprägt war von Rhythmus, Worten und Melodie - in ebendieser Reihenfolge - tauschen zwei Aspekte diesmal ihre Rollen. Der Rhythmus tritt zugunsten der Melodie in den Hintergrund. Musikalisch ist "Temporary" vom Gedankenexperiment "what if folk music had "gone digital" in the 80s, just as reggae had?" geleitet, während sich in spiritueller und lyrischer Hinsicht vieles um Trauer und den Verlust von Freunden, Familienmitgliedern und Kollegen dreht. Im Ergebnis stehen leuchtende und gelassene Kompositionen, auch dank der faszinierenden und vielfältigen Gästeliste, die "Temporary" mitbringt. Die fragilen, zärtlichen und stillen Tracks liefern vielleicht eines der sanftesten Alben, die je über den Tod geschrieben wurden. "Das Album zu machen, war erfüllend, eine Art, das Leben zu heiligen", so Russell. "Temporary" ist die erste reguläre Veröffentlichung von Everything Is Recorded nach über vier Jahren. In der Zwischenzeit war Russell allerdings nicht untätig. Via Soundcloud und Bandcamp erschienen zuletzt "Summer Solstice", "Autumn Equinox", "Winter Solstice" und "Spring Equinox", die alle mit einer Reihe von Gastmusikerinnen und -.musikern im Rahmen ausgiebiger Jams an jeweils nur einem Tag entstanden. Mit der Schauspielerin und Regisseurin Samantha Morton tat er sich zum Duo Sam Morton zusammen, welches sein Debüt "Daffodils und Dirt" veröffentlichte. Für Peter Gabriels Comeback-Album "i/o" produzierte Russell den Song "Four Kinds of Horses".

Mr. Fiel returns with a new collection of introspective sounds on his own label, Faith In Truth. The release — available soon on vinyl and digitally — marks the imprint’s second vinyl outing, exploring deep house and ambient textures beyond the club floor. Dreamy, meditative and emotionally rich, these tracks invite the listener into a gentle inward journey.

Peaceful mind - a warm deep house journey built on deep bass, soft rhodes, and subtle background chords. Peaceful and immersive – a perfect track to slow down and reflect.
No life without dreams - driven by a heavy bassline and hypnotic synths and congas, this track is mainly made for the dancefloor. A surprising flute outro adds a delicate, uplifting twist to the groove.
Beautiful day - emotional deep house with a nostalgic touch, like flipping through old photographs. Warm textures and soft melodies evoke memories of brighter days.
Into the Galaxy - ambient meets electro in a cosmic exploration of NASA-inspired sounds and samples. A spacious and otherworldly piece – are you ready for a sonic spaceflight?
Eternal sunrise - slow-burning at 110 BPM, this track unfolds with deep basslines, ambient pads, and layered synths. Perfect for quiet moments or watching the sunrise in a reflective state of mind.
Echoes of the divine - thick pads and trippy acid tones collide with slow breakbeats and textured drums. A surreal ride into another dimension – hypnotic and unpredictable.

All tracks were written, produced, and mixed by Mr. Fiel between the summer of 2024 and the spring of 2025.

Anushka's third album Ancestry comes out on BBE Music as both digital and vinyl and represents a massive hitting of the duo's potential as songwriters, musicians and performers following their well received and critically acclaimed previous releases on Brownswood and Tru Thoughts respectively. Indeed Ancestry represents their best album to date and one which befits a release on one of the UK's (and the world's) premiere independent record labels. Anushka is the collaborative name for Victoria Port and Max Wheeler. The duo first met in the vibrant club, music and arts scenes in that creativity incubating south coast town that is Brighton.

With their first single, Yes Guess, gaining support from major broadcast influencers such as Gilles Peterson they released their debut album, Broken Circuit, in 2014. With major airplay support from Mary Anne Hobbs, Annie Mac, the aforementioned Gilles Peterson and others the second album Yemaya was released in 2021. On this second record they experimented with their sound, exploring darker and more complex songs and palettes. Both albums forged Anushka's sound and production values, combining a deep respect for the UK's electronic club culture mixed with Jazz and Soul. Now, with the release of Ancestry on BBE Music, the duo has created an album that furthers their sound, their songwriting, their arrangements and their production. Victoria's songwriting for Ancestry is influenced by her love of Ella Fitzgerald, Sampha, Jimmy Cliff and Georgia Anne Muldrow.

Max's approach to the production on Ancestry is driven by his own ancestral back catalogue of music from Moodymann and Theo Parrish and further back to Larry Heard, Wu Tang Clan and the 90's electronica of Tricky, Portishead and David Holmes. It definitely bears repeating that list of influences has resulted in Ancestry being Anushka's best album yet. Releasing on BBE Music, on both digital and vinyl formats, Ancestry is an album that is a must for lovers of the highly innovative, jazz and soul fuelled club sound that is part of the UK's contemporary music scene.

Emerging from the shadows of a small apartment in Chicago’s South Side Pilsen neighborhood in 1999, Winterlight was produced and mixed by Daniel Thompson over the course of three years, from 1999 to 2002. It’s an intimate and evocative album that captures a pivotal chapter in Thompson’s life and echoes the spirit of a formative era in the underground music scene.
Thompson’s journey began in the heat of Houston, Texas, where his love for sound quickly became an obsession. By the late ’90s, he was among the first DJs in Houston to champion the sound of Chicago house, often driving long distances from Texas to Chicago in search of records, inspiration, and connection. These trips—equal parts pilgrimage and education—eventually led him to relocate to Chicago, where his artistic vision would fully take shape. Winterlight is the direct result of that move. Crafted over several years, the album embodies a raw, hands-on approach to production, built from analog synths, outboard gear, and hours of meticulous layering. Thompson leaned on tools like the Kurzweil K2000, SE-1, Juno-106, and classic processors such as the DP4 and TC Electronic units, shaping each track with
care and intention.
Blending atmospheric textures with hypnotic rhythm and subtle experimental flourishes, Winterlight captures the sound of an artist deeply engaged with his tools and surroundings. His extensive vinyl collection—over 3,000 records—served as both palette and inspiration, with carefully chosen samples lending further depth and narrative to the music. Now set for release across all digital platforms and as a limited double 12" vinyl edition through Berlin’s Word & Sound, Winterlight invites listeners into a soundscape that is both immersive and personal. More than just an album, it is a sonic document of a moment in time—rich in tone, memory, and intent. For those willing to listen deeply, Winterlight offers a rare window into the underground spirit of the early 2000s and the inner world of a producer finding his voice.

**ON LTD SPLATTER VINYL** First time available on vinyl! With bonus tracks and unreleased material! The Sultans formed in 2000 and were John Reis / Slasher and Tony DiPrima and at times also Andy Stamets / Black Flame (Rocket From The Crypt’s ND) and Dean Reis / Black Velvet (Mannequin Piss, Spider Fever, The Heartaches, Los Dug Dugs). Shipwrecked was the bands second album and was released only on CD in 2004.

It was hailed as a “power-pop meets ’70s punk classic” by Virtual Underground Press and “…a masterpiece of the form...essential” by the Cleveland Call And Post. This reissue is a labor of lust with maximum attention to detail in resurrecting these masters from their deteriorated, analog state. The result is a louder, thicker and even more bristling slab of triumphant rock ’n’ roll. Everything on this reissue cuts deeper and breaks the digital glass into razor sharp shards and then shits on the 1s and 0s. Treble Magazine says. “It is the perfect soundtrack to your post-breakup life: fourteen songs about heartache, shame, trying to move on, regrets and just plain old hate. (And by the by, hate has never sounded as good as this)”. Added to the original are four bonus tracks, one being a cover of The Dils “Blow Up” and another the never released “Out Of Focus”. Shipwrecked was the last record at Drag Racist (Hot Snakes, RFTC, etc) before it shuddered its doors for good.

"Seminal Live" wurde ursprünglich 1989 veröffentlicht und ist ein ziemlich einzigartiges Album im reichhaltigen Katalog von The Fall. Es wurde nämlich zu einer Hälfte im Studio und zur anderen Hälfte live aufgenommen. Es war gleichzeitig die letzte Veröffentlichung der Band bei Beggars Banquet und das letzte Album, auf dem Gitarristin Brix Smith zu hören ist. Die Neuauflage von "Seminal Live" erscheint auf gelbem Vinyl. Aufwändig remastered wurde "Seminal Live" von Kevin Vanbergen. Zudem enthält der Re-Release ein neu gestaltetes Artwork, sowie ausführliche Sleeve Notes und einen QR-Code, der auf geheimnisvollen digitalen Wegen zu exklusivem Bonusmaterial führt. Die Studioaufnahmen auf Seminal Live sind allesamt neue Songs und bilden die erste Seite des Albums. Die Live-Aufnahmen auf der zweiten Seite sind hingegen allesamt Versionen bereits veröffentlichter Titel. Einige der Songs auf Seminal Live gehören zu den besten Songs von The Fall aller Zeiten. Seite eins enthält "Dead Beat Descendant", und ihre Coverversion von Lonnie Irvings "Pinball Machine" steht in der bewährten Tradition der Country-Coverversionen von The Fall.

The latest by Andrew Clinco's acid punk alias VR SEX takes its title from an architectural phrase but more importantly refers to the warped, wicked underworld the songs both chronicle and condemn. Donning the moniker Noel Skum - an acerbic anagram of Elon Musk - Clinco vents his scorn for and fascination with the seedy, surreal margins of low-life Los Angeles, doomed to dead ends of vanity, lust, and technology. Although initially launched as an outlet for "heavier sounds" beyond Clinco's duties in new wave fantasists Drab Majesty, the project has ripened into a compelling exercise in world building, weaving themes of gritty city neofuturist sleaze within a framework of driving, distorted guitars and cathode-blasted synths. Echoes of Chrome, Wire, Minimal Man, and Sisters Of Mercy ripple through the collection but ultimately Rough Dimension charts its own twisted vision of "our unforgiving reality." Written and demoed across two weeks alone in a Marseille flat using his prized 1980's Gibson "Invader" and a laptop, Clinco then took the tracks to Strange Weather studios in Brooklyn to record with Ben Greenberg (Uniform, The Men) who helmed 2019's debut, Human Traffic Jam. The results are notably ripping, refined, and riveting. Riffs in alternate tunings chug and churn over mid-tempo drums punctuated by spikes of sci-fi electronics while the vocals swagger and spit venom ("where we walk is also where we shit / but if we bark at our reflections are we hypocrites? / impulses bleed right into our seed / where hate culminates the apple rotted on the tree"). It's a bristling mix of the melodic and the macabre, absurdist observations of fast living and desperate measures, the clock of youth ticking towards midnight as dreams unravel in Babylon. VR SEX's specialty is making these cautionary tales of psychic decay and tainted love a thrill rather than a drag. There's a sunglasses at night glamor to Clinco's choruses and solos, a wit to his black leather judgements ("what is the answer / to cancerous people / walking in my line of sight?"). The music's milieu tends towards parasites and predators but its mood skews refreshingly accelerated and amused, cruising the strip with a cigarette, watching goths and limousines crawl in gridlock beneath digital billboards. The Rough Dimension may be a cesspool, but it's home.

Bendik Giske’s Beatrice Dillon-produced 2023 album gets an addendum with reworks from Carmen Villain, aya, Hanne Lippard, Hieroglyphic Being, Wacław Zimpel and Dillon herself.

Giske’s clearly got his ear to the ground; his last remix record was an invitation for Laurel Halo to put her stamp on »Cruising«, while 2018’s »Adjust EP« roped in Deathprod, Total Freedom, Lotic, and Rezzett. Now comes this new LP of remixes and it’s one of the best we’ve heard in aeons. Carmen Villain boots things off with a remix of »Slipping«, following her excellent (and way, way too underrated) »Nutrition EP« with a giddy, subtle roller that sounds as if it’s been constructed using only Giske’s raw stems. His breaths and leathery key presses – already amped up by Dillon’s detailed recording – are magicked into a dubby concrète groove that’s enhanced with the sparest melodic elements: echoing rainforest-at-night horn blasts, and lopped off decay trails that help fuel the momentum.

aya’s revision of the same track takes a different approach, forming forceful overlapping polyrhythms from Giske’s clanks, using the gamelan-like arpeggios for melodic weight and repetition. The result is a constantly shifting, hypnotic trancer that’s achingly organic – more Raja Kirik than Paul Van Dyke. Polish clarinetist and producer Wacław Zimpel, meanwhile, supplements his trippy recent collaboration with James Holden on a similarly levitational wrinkle of »Slipping« that twists Giske’s quivering sequences with microtonal synth prangs, and gusty echoes. But it’s Jamal Moss who plays fastest and loosest with Giske’s source material, calling back to April’s psy-house stunner »Dance Music 4 Bad People« with a powdery, sexualised banger that buries the breathy »Start« stems underneath neon synths, and brittle drum loops.

»I’m a digital nomad,« Lippard deadpans over Giske’s »Not Yet«. »I’m addicted you know that.« It’s a typically dry treatment from the conceptual artist that unexpectedly amps up the hypnotic qualities of Giske’s original, adding her circuitous charm to his concertina-ing sax sequences. And to tie things up perfectly, Beatrice Dillon returns with her diaphanous remix of »Rise and Fall«, built to emphasise the radically different approaches of each artist.

Amoul Bayi Records continues its mission of discovering and showcasing West African artists. After introducing talents such as Daba Makourejah and Saah Karim, the Dakar-based label returns with a new release from one of the most soulful
voices in Gambian reggae: Royal Philosopher.

"Thank You Jah" is a song of gratitude, carried by the emotive and distinctive voice of Royal Philosopher. With humility, he expresses his thankfulness for the talent he has received, the path he has walked, and the strength that has guided him along the way.

Built on a dynamic Digi Roots riddim produced by Yared and mixed by Rootical45, the track provides the perfect space for his voice to shine. The refrain – “Thank you Jah for giving I talent” – echoes like a personal prayer and a universal message, able to resonate beyond belief systems.

Royal Philosopher is a Gambian singer whose powerful and precious voice is shaped by spirituality, African heritage, and musical commitment.

Born in Banjul, he first discovered his vocal gift in a church choir, where he developed a heartfelt and sincere expression. He fell in love with reggae through the voice of Garnett Silk, whose intensity and devotion deeply influenced his path. He began his journey with the group The Royal Family, before pursuing a solo career, releasing music with consistency and authenticity.

Today, he presents "Thank You Jah", a single produced by Amoul Bayi Records, imbued with gratitude and faith, true to his artistic vision: sincere, elevated, and deeply connected.

Designed both for turntables and streaming platforms, the single will be released in digital format and on 7" vinyl. The artwork is by renowned Senegalese graffiti artist King Mow.

Hip Hop Collected will take you on a musical journey through the history of hip hop. This 2LP covers the first 20 years of the genre, showcasing 25 early pioneers who participated in the rise of hip hop. This compilation features music from the new labels that started to rise from the underground scene, like Sugar Hill Records, Profile and of course Def Jam. Including artists that defined a genre, a lifestyle and most of all, artists that inspired millions of young kids with both socially critical lyrics as well as classic party anthems.

This hip hop compilation album is part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia and uncovering new musical grounds at the same time.

The 2LP features Kurtis Blow “The Breaks”, Grand Master Flash & The Furious Five “The Message”, Beastie Boys “She’s On It”, Rob Base & DJ E-Z Rock “Get On The Dancefloor”, and Eric B. & Rakim “Paid In Full” amongst many others.

Hip Hop Collected is available as a limited edition of 5000 individually numbered copies on red (LP1) and white (LP2) coloured vinyl. The album includes an insert with liner notes, photos and credits.

System is a retro futuristic album that is inspired by that iconic sound of the 80s. It seamlessly merges deep machine-like tracks alternated with surprisingly humanised pop songs.

With an extended palette of pianos and synthesizers Shook’s work will take you along those vintage funk and synth-pop sounds, while keeping you connected with touchy vocals from both Jasper and his partner Juliet.

“Great Doubt” is the third full length LP by Danish composer Astrid Sonne. Throughout her acclaimed discography, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On “Great Doubt” this skill is refined, now with the distinct addition of the composer's own vocal in front. The tone of each track is unmistakably Sonne’s, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse, merely highlighting different scenes or emotional states of being, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity, consolidated through the album title, searching for answers through looking at how and what you are asking, questions for the world, questions of love. The viola, a trusted companion since Astrid Sonne’s youth, appears effortlessly throughout the album, fully integrated into the sonic universe; through a pizzicato driven arrangement in the poignant track “Almost” or along with booms and claps in mutated cinematic stabs during “Give my all”, paraphrasing Mariah Carey's 1997 ballad. Yet the string section also gives way to explorations of woodwinds, counterbalancing the bowed movements with digital brass and airy flutes. Finally, beats and detuned piano are fresh additions to the soundscape, cementing how Sonne’s practice is always evolving into new territories. In fall 2022, Astrid Sonne relocated from Copenhagen with its peers of artists such as ML Buch, Erika de Casier and Smerz, to live in London, where musicians of the South-East London scene like Coby Sey, Lolina, Still House Plants and Mica Levi provide a new inspirational framework. “Great Doubt” bears witness to both of those geographical locations, yet finds itself in its own unique space, in many ways due to the presence of Sonne's voice throughout. A voice that has always been present in her work, but never fully explored as a solo instrument before now. Astrid Sonne elaborates on the wish to work more in depth with the voice: “I come from a tradition of choir singing where I’ve used my voice as a way of creating unity with other voices. I’ve disciplined my voice in a certain way and this album is an exploration of me trying to find my own voice as an instrument, as a communicator, as a new way of being honest.” Questions take up a central role throughout the album. The doubt is both a blessing and a curse, always lying in-between, acting as both what holds back and drives forward. A metamorphosis not going anywhere. The great doubt takes place in a space of courage, chances, love, loss, gifts and surprises. Genre: Electronic / Experimental

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

2025 Repress


Australian music devotees András and Instant Peterson hold a candle to overlooked avant-pop and electronic works by antipodean artists and outsiders working through the 80s and 90s. Through co-presenting weekly radio show Strange Holiday, the duo slowly upturned their locale for inspiration - archives, country bookstores, private collections and convenience stores, searching for a place to anchor their own identities in the oceans of the island continent. The 10 tracks acknowledge a minor history, passed on via a network of friends, friends of friends, the libraries of radio station 3RRR and more often than not, the artists themselves. Renowned mixed media artist Maria Kozic enters with the mysterious downbeat of Trust Me, her husband Philip Brophy responsible for digital and analogue sonic construction. A recurring character in András and Instant Peterson's investigations, Brophy reappears with a score piece from his divisive feature film Salt, Saliva, Sperm and Sweat, recorded as (pronounced 'Tch Tch Tch"). Other links are thread under the surface. Melbourne inner north experimentalist David Chesworth explores his Australiana songcraft leading Whadya Want. The short lived project also featured Philip Jackson, whose husband-wife duo The Couch is restored from Fast Forward's dance issue - a pioneering cassette fanzine published by early-80s 3RRR personality Bruce Milne.

LA-based composer/arranger E. Lundquist (aka Eric Borders) returns with ‘Art Between Minds’. Having cut his teeth in the LA hip-hop and beats scene and explored realms of cosmic-funk under previous monikers, E. Lundquist’s music displays a rich tapestry of influences including the cinematic & experimental jazz-infused library music that influenced his previous LP ‘Multiple Images’. Now he is back with another ample helping of his hallucinogenic sonics, utilizing a bevy of vintage gear to replicate that warm glow of ’70s jazz-funk. From the Fender Rhodes MKI to the ARP Odyssey, to the Mellotron, the keys and synths he employs on these tracks display a genuine appreciation for the groove-driven music of The ‘Me” Decade.

The album plays like the score to a cult classic B-movie. The sun-drenched haze of “Soliloquy” could easily be what you hear during the calm before the storm in a Blaxploitation flick and the laidback crawl of “Euphoria” seems ripped right out of a fuzzy ‘70s blue movie. But there is a certain sophistication here, like the way the horn section, slinky guitar, and trippy synths combine on “Escape” to sound like liquid one moment and like a summer breeze the next.

While E. Lundquist’s artistry will eventually take him to new plateaus of sound, where he is right now is undoubtedly a high watermark in his career. He has become a torchbearer for jazz-funk in a new jazz revolution, updating the sub-genre with his delicate balance of digital and analog elements that will easily appeal to fans of Kamaal Williams, Surprise Chef, BADBADNOTGOOD, Khurangbin, Robohands and similar.

'The story of IDM in the USA begins in Miami’ - Fact Mag

Control Freak Recordings are thrilled to be launching its new reissue sub-label with Soul Oddity’s Tone Capsule - a seminal electro/IDM classic from mid-90s Miami.

Originally released as a series of 3 EPs, the reissue compiles these into an album, newly remastered by Keith Tenniswood (Radioactive Man) - available digitally and, for the first time, on 2x12" LP album.

Soul Oddity marked the first outing for a pair of musicians who were instrumental in bringing the UK's post-rave IDM scene to the US. Having bonded over a love for the Warp output at the time, the pair fused this influence with the sound of their native Miami, where hip-hop, breaks and bass soundtracked a lively party scene.

A masterpiece of machine-driven, emotionally abstract storytelling, Tone Capsule rivals some of the best of 90s leftfield electronica. Twitchy beats and gloopy synth-funk are melded into jams that make for a seriously otherworldly listen - as forward-thinking now as it was in 1996.

This record kickstarts our new reissue sub label Capsule Freak - marking the beginning of our dive into the rich past of dance music history which has brought the scene we love to where it is today. We can’t think of a more fitting time capsule to begin this journey with - over two years in the making, we hope you find this release as wild and intriguing as we do.

Recorded as part of the same daydreaming puzzle as Unwishing Well, Still Clouds at Noon brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples' melancholy catalog. Donaldson names '90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on Still Clouds_ often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson's lyricism. There's an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs. Formerly a Bandcamp only digital release, this white vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends The Lucksmiths on bass. Strictly limited edition of 500 ww.

Habibi Funk is more than happy to announce our 31st release which happens to be our 3rd various artists compilation. The album is dedicated to the cassette tape scene in Libya from the late 80s to early 2000s, from disco to reggae to pop. All songs previously unreleased outside of Libya and not available on any DSP platforms.

This compilation isn’t a sweeping history of Libyan music — it’s a personal journey into the sounds we fell in love with while digging through tapes, conversations, and stories across Libya and beyond. Rather than spotlighting the country’s most famous musical exports, the compilation brings forward a mix of overlooked gems and local classics of the cassette era: artists whose work thrived despite political limitations, and scarce international exposure. The music featured here blends reggae rhythms, synthy disco grooves, gritty pop, house, and funk, a vibrant collision of genres that reflects Libya’s unique sonic landscape from the 1980s to the early 2000s. Many of these recordings were recovered from the TK7 cassette factory in Sousse, Tunisia, a now-demolished site that once played a quiet but vital role in distributing and manufacturing Libyan music. Other tracks were digitised in a Cairo hotel room in 2021, where we transferred nearly 100 tapes over the course of three days, on-site using a high-grade cassette deck brought into Egypt with us. From that trove emerged artists like Ahmed Ben Ali, Cheb Bakr, and Najib Alhoush & The Free Music, who have already featured on our earlier releases. Their sounds sit alongside contributions from this release from the likes of Khaled Al Melody, Fathi Aldiyqz & Sons of Africa Band, City Lights Band, Libya Music Band, and Group Hewaya. During this era, Independent artists relied on makeshift home studios or travelled abroad to record in Tunisia and Egypt, gradually building their own infrastructures for creativity. By the 90s and early 2000s, as access to digital equipment increased, a few of the artists began setting up their own studios — a shift that gave rise to a more self-sufficient recording culture across the country. The resulting sounds are anything but homogeneous. They reflect Libya’s geographic and cultural crossroads: North African rhythms meet Arab melodies and deep African roots. Reggae, in particular, took on a local Libyan flavour — not just musically, through the slowed-down cadence of traditional shaabi beats, but socially, as a vehicle for expressing identity and pride. What ties all the artists on this comp together is a boundary- pushing approach to genre and style: recorded in small studios, exchanged by hand, and shaped by a cross-pollination of influences, from Benghazi to Tripoli and beyond. All tracks are licensed from their creators and in the case of the artists being deceased from their estates. All profits are being split 50:50 between us in the licensors and ownership remains with the creators, we only licensed the music.

Cherry Red Records is double delighted to present not one, but TWO brilliant brand-new albums from Jim Bob this summer! • Following his sold-out show at London’s O2 Shepherd’s Bush Empire in April, Jim Bob (Carter USM, Jamie Wednesday) returns with two new solo records (his 13th and 14th), released on the same day – Friday 22nd August 2025.

One album is ‘AUTOMATIC’ and one album is ‘STICK’. This is NOT a double album, double albums allow filler in and there is NO filler on ‘Automatic’ or ‘Stick’. You won’t find any skippable Instrumentals or reprised versions on these beauties, just wall-to-wall, floor-toceiling bangers - 22 of them – 11 songs on each excellent record. ‘Automatic’ features the full band from the last three Jim Bob albums (‘Pop Up Jim Bob’, ‘Who Do We Hate Today’ and ‘Thanks For Reaching Out’ - also available on Cherry Red Records) and includes the opening sing-a-long ‘Victoria Knits The Wars’ which features on the first 7” single. ‘Stick’ is a punkier, dirty power-trio, guitar record and features the poppin’ punky ‘S’ side of the 7” ‘Every Day’s a Discotheque’. Both albums are also available in colour gatefold vinyl and digital formats. ‘Automatic’ and ‘Stick’ are both the greatest album Jim Bob has ever made

Cherry Red Records is double delighted to present not one, but TWO brilliant brand-new albums from Jim Bob this summer! • Following his sold-out show at London’s O2 Shepherd’s Bush Empire in April, Jim Bob (Carter USM, Jamie Wednesday) returns with two new solo records (his 13th and 14th), released on the same day – Friday 22nd August 2025. • One album is ‘AUTOMATIC’ and one album is ‘STICK’. This is NOT a double album, double albums allow filler in and there is NO filler on ‘Automatic’ or ‘Stick’. You won’t find any skippable Instrumentals or reprised versions on these beauties, just wall-to-wall, floor-toceiling bangers - 22 of them – 11 songs on each excellent record. ‘Automatic’ features the full band from the last three Jim Bob albums (‘Pop Up Jim Bob’, ‘Who Do We Hate Today’ and ‘Thanks For Reaching Out’ - also available on Cherry Red Records) and includes the opening sing-a-long ‘Victoria Knits The Wars’ which features on the first 7” single. ‘Stick’ is a punkier, dirty power-trio, guitar record and features the poppin’ punky ‘S’ side of the 7” ‘Every Day’s a Discotheque’. Both albums are also available in colour gatefold vinyl and digital formats. ‘Automatic’ and ‘Stick’ are both the greatest album Jim Bob has ever made.

More than a decade after his last full album, Kim Hiorthøy returns with Ghost Note, released by the Belgian label Blickwinkel. Though his music has quietly existed in the background—shaping contemporary dance, film, and theatre—this album brings it into focus once more. Ghost Note is an exploration of sound on the edge of presence and absence, a fictional world that is both constructed and organic.

Using mostly digital technology, Hiorthøy created a set of instruments that are real—you can hear them, they have tone, timbre, and resonance—but also not. The percussion, for instance, sounds like cheap scrap metal drums. But are they real? Do they exist? Hiorthøy plays with perception, challenging what feels real and what feels like a memory. In doing so, Ghost Note becomes an invitation to embrace uncertainty and indefinability.

“It's a kind of foggy area between theatre and daily life. Ghost notes. I wanted to try to make music that existed in this in-between space. Electronic music that is acoustic, a kind of emotional music that also hides in abstraction (or the other way around), and to try to make tracks that were sort of falling apart as I was making them.” ­- Kim Hiorthøy

Welcome to a whole new stage from Akasha Records, introducing the label into the analog world.

To begin with, Delazar brings us three delightful dancefloor dishes together with an ambient mix from the timeless gem "Memory Access", released in the first Akasha's digital appearance.

Monkey Slayer, this new EP, brings us so much flavour with acid touch, funny percussive bounces and synth sounds. A1 brings the perfect mood. It's remix version from master Deep Mariano takes us to an intense and happy trip, so that alter on, "Reincarnation" makes us close the stadium. "After" well... You already know when to play this one. And to come back to Earth at some point, as dessert, you can delight with an ambient masterpiece.

Die LP-Ausgabe von "Babygirl (Original Soundtrack)" kommt gepresst auf candy pinkfarbenem Vinyl und enthält Cristobal Tapia de Veers Original-Filmmusik und Sky Ferreiras Single ,Leash". "Babygirl (Original Soundtrack)" ist der Soundtrack zum Film Babygirl aus dem Jahr 2024 unter der Regie von Halina Reijn mit Nicole Kidman, Harris Dickinson, Sophie Wilde und Antonio Banderas in den Hauptrollen. Das Album enthält 12 Titel aus der Filmmusik von Cristobal Tapia de Veer und wurde am 25. Dezember 2024 digital über A24 Music veröffentlicht. Separat erschien der im Abspann verwendete Song "Leash" von Sky Ferreira als digitale Single. 2025 wurde de Veers Filmmusik in der Kategorie ,Beste Originalmusik" bei der 97. Oscar-Verleihung nominiert.

MEMOTONE, aka Will Yates, has announced details of a new 12-track album, smallest things, set for release on World of Echo on 1 August 2025 on vinyl and digitally.

The album launches today with first track, ‘Time Is Away Theme’, a live favourite that is finally available on album. Watch the video HERE Talking about the release, Will has said, “Staring at a square inch of neglected concrete, I recognise the beauty of existence. Quietly hysterical. While humanitarian catastrophes bubble across the planet, the tides remain in constant and disinterested motion. Your money is worth less than the dusty moss that powders this pavement.

It's certainly not worth a life. We are the smallest things, along with everything else." Will Yates has made music as Memotone since 2007. He operates in the tradition of what Robert Fripp has called 'a small, independent, mobile, and intelligent unit.' If you book him, he will come. When he arrives, he will have everything he needs to make his complex, engaging music: a clarinet, a guitar, synths, samplers and pedals, quickly unpacked in the corner of a club, gallery or village hall. Starting small, he will build layer upon layer of melody, accompanying himself and cutting across himself, creating a music that avoids cliche and moves beyond easy description. His recordings have followed the same trajectory. Moving quickly, he has released fifteen or so albums across various labels (including Trilogy Tapes, Discrepant, Soda Gong). Taken together, these recordings are the sound of a skilled, inventive composer pushing at the edges of what he wants to listen to himself. It is possible to hear a variety ofinfluences in his music: folk and jazz forms, the textural inventiveness of British DI electronica and Chicago post-rock and the blurred sci-fi brass of Jon Hassell are all discernible. But mostly, Will's work seems to stem from a constant drift between long hours in his home studio, and time spent outside in the woods and hills around his home in Wales.

Listening to the album, lushness creeps in at the edges, tiny green shoots appear on what might at first appear to be bare soil. smallest things sheds the skin of Will's previous recordings, removing the electronics and the looping and layering of previous work, to create something almost entirely acoustic. But don't be fooled into imagining music that's folksy, pastoral or twee. Opening track 'I Could See the Smallest Things' is a statement of intent. Widely spaced guitar is underpinned by earthy cello and sleepwalking clarinet, making a gorgeous threadbare pattern, which recalls a Morton Feldman miniature or a Morandi still life.

Beyond the skill involved and the years of self-taught music making that have gone into putting this record together, it is Will's close, careful attention and his talent for existing, observing and creating in the moment that make his work special. Memotone will perform at World of Echo’s annual birthday celebration on 8 Nov Expected Music, when they take over Walthamstow Trades Hall for an inter-genre, day-long investigation into some of the more outré manifestations of the contemporary worldwide underground.

Internet's favourite music critic and Youtube star Anthony Fontana aka Needledrop has gotten a liking to the Grande Mahogany vinyl & digital album 'As Grande As'. The bald funny guy has been raving about the album to his millions Youtube, TikTok and Instagram follower on several occasions, also covering the record in his 'one of the great albums of 2024' round up.

The album is also already making waves in the UK with continuous plays on BBC Radio 1 by Jazz Supernova and BBC Radio 6 by Cerys Matthews as well as the New Music Fix show.

If this is the first time you're hearing about Grande Mahogany, now is the time. Behind the alter ego of Grande Mahogany is Finnish-Ghanaian multi-instrumentalist Jesse Essel, who relocated with his family from Finland to Manchester, England, at the age of 11. It was in Manchester where Essel found his own style, drawing inspiration from the city's diverse music scene.

Grande Mahogany's unique blend of Funk, Rock, Afro-Psychedelia, and R&B has already garnered international interest. Singles from the album, such as "Angle of The Dangle," "Thundercurls," and "SUPER ROCKER," have caught the attention of prominent music critics, for example Anthony Fantano of Needledrop.

"As Grande As" stands as a testament to relentless creativity and perseverance, much of it crafted during tumultuous times. It invites listeners to embrace its raw authenticity, serving as a chronicle of the artist's journey towards unfiltered expression. Mastered by Guy Davie, whose credits include work with Kaytranada, Jon Hopkins, and Mikael Kiwanuka, the album ensures a high-quality sonic experience.

On the first full-length album under the FERN moniker, drummer Paul Seidel serves his dark poetry with deceptively catchy tunes and chunky grooves you can step to. Balancing between the emotional experimental pop music of Björk and the punishing industrial rock of Nine Inch Nails, FERN explores the fast-changing nature of reality in our digital society through a filter of moody synths, painfully precise drumming, and a fearless vocal delivery.

18 tracks pressed across three vinyls. A limited-run tee. Seven digital relics, unearthed for Bandcamp only.

As always, dance floor-focused with a clear nod to the ’90s — Progressive, deep & dubby, transcending, 303s. Immersive, but never drifting. Direct, but never dry. Forward thinking, expansive.

Direct, 303s, raw — this lane’s locked down by Roza Terenzi, Cybernet, Aju, Kalani, Ash Is and Xupid, each carving out their space with raw, floor-focused energy. On A2, Xupid slips in Raindanc94 — a long-lost gem some might recognise from D.Dan’s 2021 Boiler Room. Unreleased until now, it’s finally getting the drop it deserves.

Transcending? You know it. Trance mind-melters? Always. Plastic GRNchannels that classic 90s Xpander sound, Alfred Czital drops a dance floor annihilator, while Dutch duo Match Box keeps it as bright and club-ready as ever. It’s a full spectrum of sound, each track weaving into the next with peak energy and timeless hooks.

Progression, progression, progression — it’s shaped our sound from the start. Uplifting, expanding, always pushing into the outer zones. DJ Life, Aiden Francis, Jeku, Tifra, Cosmic G and Laars are back on the label and doing the business. Whether it’s a floor-heating bopper by DJ Life or emotive, widescreen territory by Aiden Francis, this release has it all.

And of course, no 6-year celebration of ND would be complete without a deep dive. Dubbed-out rollers and hypnotic house cuts come courtesy of Baumb, Glen S, and Harrison BDP. Fresh off his second EP last month, Baumb returns with those trademark low-end orbs, guiding us through the fog with finesse. Glen S strips it back and locks into a tech-deep groove. BDP lands on F1. Sublime, heads-down deep house with that unmistakable sample finesse — pure signature gear.

A nod to the 9 incredible artists who feature on the release through digital exclusives — Astro alongside Ash Is, Rounds & Plastic GRN, Primitive Needs, Hotpretty, Tourman, Skinner (making his way through the Pyramid Fields portal), and Wigs — whose Trigger Step track has been getting heavy rotation from Spray and Roza Terenzi, to name a few.

late night drive home have never known a world without Wifi - without access to the endless stream of joy, sorrow, heartbreak, and hope that we all tune in and tune out to on the daily. In many ways, the guys can"t really extricate themselves from that reality - even their band name comes from a random Wikipedia page - but they"re trying to at least grapple with it. "Most of us grew up on the internet with unsupervised access at a very young age," says singer Andre Portillo. "As we started foreseeing all the outcomes - both good and bad - of this kind of access and advancement, we started writing... forming a sound and message that would become our next record." The culmination of that, then, is the buoyant yet ominous as I watch my life online, the band"s debut album. late night drive home was born in El Paso, Texas, and Chaparral, New Mexico, hardworking communities where folks built their houses by hand and collars were mostly blue. Comprising guitarist Juan "Ockz" Vargas, singer Andre Portillo, drummer Brian Dolan, and bassist Freddy Baca, the entirely self-taught quartet released their first digital EP as a full band, 2021"s Am I sinking or Am I swimming?, and blew up with the single "Stress Relief," a blast of early-Aughts indie that racked in tens of millions of streams. After they signed with Epitaph Records in 2023 - and releasing 2024"s grunge-inspired 3 song EP i"ll remember you for the same feeling you gave me as i slept - they found themselves playing stages their indie idols previously shredded: Coachella, Shaky Knees, Austin City Limits, and Kilby Block Party. Since the end of the pandemic, though, the band had been dreaming up as i watch my life online. "I started thinking about the time after the pandemic and how much things were changing," says Vargas. "So the whole album is a critique of social media and the way we use the internet to distance ourselves from each other." The resulting suite of tracks is a series of online vignettes that hammers home the band"s message: the photos on your phone shouldn"t be your identity; your posts aren"t your inner monologue. A bigger life is lived where there"s no service - in your hometown on a late night road with your friends, and on stage, where the band finally found their destination after that long drive.

Kobe Dupree unveils debut album, ‘Voice from the Inside’, arriving 21st May 2025. It lands on fellow Chicagoan DJ Hyperactive’s 4Trk (4 Track Recordings), and features twelve tracks already supported by the likes of Dustin Zahn, Truncate, Korea Town Acid, Amanda Mussi & more, coming out on wax alongside the digital release.

Dupree’s cosmic ambient opener, 'Jacurutu', sinks you into deep, sub-aquatic techno hypnosis before 'Heretics' layers up alien sounds and rolling kick drums. 'Syk' brings edgy, unrelieved loops and muffled spoken words over more mind-melting rhythm. The supple sounds and otherworldly atmospheres continue on 'Forms', which is marbled with static electricity, with 'Interlude of Voice' marking a moment to reset amongst gorgeous celestial synth smears.

The second half of the album takes in the more punchy but still perfectly loopy deep techno of 'Memory Replacement' and psychedelic swirls of 'Tongue of the Unseen'. There is a mystical charm to the harmonic tones of 'Gammu', a moodier vibe pervades the suspensory 'Fogwood', then 'Semuta Music' traps you in tightly coiled drums and hi-hats while a backlit glow soothes the soul. 'One of Many Faces' closes with a heart-aching piano piece that gets deeply emotional.

Kobe Dupree is a techno artist from Chicago with a deep interest in sound design and minimalism. His musical experiments have been released on Trax Research, Double Vision Records and DJ Hyperactive’s 4 Trk, on which he released the ‘Stimulate | Iterate’ EP in 2024. He has a hybrid approach to production, which involves using a modular rig for sound design before moving to a DAW for arrangement and final touches, heard on the sophisticated and cerebral ‘Voice from the Inside’ album.

We are very happy to present you a special release from gutinstinct! After his contribution ‚Eternal Jungle’ on the 10 year anniversary compilation ‚Down The Danube River’, he returns to Fortunea Records with the Back To The Roots EP. A collection of tracks suitable for different moments in a clubbing environment.

The record opens with his melodious and emotional expression of ‚Art‘. This energetic track forces us to sink into venturesome sound waves driven by a dark but at the same time warm pad. A beautiful catchy synthesizer hook line is the icing on the cake on top of it.

Similar tonal but not as uplifting as the opener is the title-track of this EP. A simple, grooving, relentless and continuously deep journey that exemplifies gutinstinct’s profound innate understanding of rhythmic grooves and complexity in simplicity.

Sensuous chills and thrills continue with ‚Pueblo’ on the B-side. A constantly rolling and evolving piece of synth laden ecstasy with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define his catalogue.

Lastly, the record closes out with a remix of the title-track by the analogue gear enthusiast Jakobin. In this version he takes the beautiful arpeggio synth sounds and amalgamates them into a framework of lo-fi house aesthetics. You can just imagine this track slicing through an unbent sunset dance floor or morning afterhour ceremonies.

The Back To The Roots EP will be available on august 1st, 2025 digital and on limited vinyl.