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Die Südlondoner Sängerin Jaz Karis präsentiert mit 'Favourites' ihren ersten Tonträger mit 15 Songs aus ihren bisherigen, digital erschienenen EPs. Jaz' stilistische Vielfalt reicht von R&B über Reggae bis Afrobeats, als Gäste sind TINYMAN, Blue Lab Beats und Afronaut Zu & Sillkey vertreten, als Producer u.a. P2J (bekannt für seine Arbeiten mit Beyoncé, Wizkid, Stormzy, FKA Twigs, Tems, Doja Cat) und Juls (Mr Eazi, Stonebwoy, Goldlink, Wanda Coal, Burna Boy).

2025 has been a big year for Drop Nineteens. They finally officially released their long lost pre-curser to 1992's Delaware, the demo collection 1991. These releases comprise the band's early run and as Pitchfork noted in their review of both albums earlier this year, "established Drop Nineteens' reputation as leading lights of U.S. shoegaze." Along with the band's 2023 album Hard Light, the band is back and as much of a presence in 2025 as they ever were. The band follows up 1991 with their first ever 7", White Dress b/w White Dress (demo). The song features the band's cover of the Lana Del Ray classic in two versions. It comes on the anniversary of the band's digital release of "White Dress." This is an edition of 500 7"s and is sure to be a collectable item for fans of shoegaze and Drop Nineteens alike.

WRWTFWW Records is very excited to announce its third release from visionary Japanese ambient/experimental/environmental composer/producer Yutaka Hirose, this time with brand new album Voices, available on limited edition heavyweight-sleeved double LP as well as double CD, both with liner notes from the artist.

Voices finds Yutaka Hirose expanding his signature spatial layering into a three-dimensional videography of sound, blending field recordings, electronic manipulations, and abstract narratives. The 12-track album is a journey through a crumbling library where books whisper, history collides, and sonic textures weave new realities. Chaos, memory, and transformation – Hirose’s voices echo throughout the space, creating a fully immersive sonic experience.

The pioneering experimental and abstract electronic piece with deep hints of ambient and IDM is beautifully represented by the original artwork by Koji Shiroshita and Mifuku gracing the double LP and double digipack CD sleeves.

Voices marks Yutaka Hirose’s third full-length release on WRWTFWW Records, following his kankyõ ongaku classics Nova + 4 (an expanded version of his genre defining Soundscape 2: Nova album) and archival compilation TRACE: Sound Design Works 1986-1989, both available in vinyl, CD, and digital formats.

Prometheus is the 2012 science fiction horror film directed by Ridley Scott, written by Jon Spaihts and Damon Lindelof and starring Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green and Charlize Theron. It is set in the late 21st century and centers on the crew of the spaceship Prometheus as it follows a star map discovered among the artifacts of several ancient Earth cultures. Seeking the origins of humanity, the crew arrives on a distant world and discovers a threat that could cause the extinction of the human species.

Marc Streitenfeld is a German composer. He has frequently collaborated with director Ridley Scott. Streitenfeld has composed the music for many high-profile Hollywood features as well as critically acclaimed independent films, including American Gangster, Body of Lies, The Grey, Poltergeist and All I See Is You.

Prometheus became the fifth collaboration between the composer and the director. The score was recorded over one week with a 90-piece orchestra at Abbey Road Studios. Streitenfeld began coming up with ideas for the score after reading the script prior to the commencement of filming. To create an “unsettling” sound, he provided the orchestra with reversed music sheets to have them play segments of the score backwards, before then digitally reversing it. The track “Friend from the Past” reprises Jerry Goldsmith’s original main title from the Alien soundtrack.

Ghetto Cycle is the soundtrack of Charlie P’s life, set to music by O.B.F.

Meeting up with Charlie P and Rico from O.B.F in a studio is like diving into a particle accelerator operating at full speed. Lively, hyperactive, hardworking, Southend’s MC and the greatest warrior of French sound systems just can’t stay put.

Their creativity works continuously: riddims, melodies, lyrics, clip concepts and other fantasies spurt out at top speed. These common traits allow them to produce explosive collaborations, both on stage and in the studio.

After the success of the singles “Dub Controler” and “Sixteen Tons of Pressure”, the launch of an album became self-evident. Coming from a modest background in a remote London suburb, Charlie P has been through a lot before understanding that his passion for music could be a vehicle for emancipation. It is this life trajectory, punctuated by difficulties, pitfalls, hard work, encounters and challenges that he tells through the tracks of “Ghetto Cycle”.

Conceived as a concentrate of joint influences, this album gathers tracks in the purest digital dub vein, but also reggae, dance or downright grime. A new stage in the development of their collaboration.

For anyone unfamiliar with Skeleton Recordings, it was started in 1992 by DJ Monita based in West London and had a quality string of releases between 92-94 like Triple 6, Luv To Luv Ya, A Classic Skank, The Razor's Edge, Nightmares, I could go on and on...

In 2014, the label started back up again & I'd been sending some of my music to Monita around this time which led to me releasing an EP called Storylines on the label in 2016, where I was able to put out some of my music that was made in a darker & more modern style than my usual oldskool inspired work. I also had a tune featured on the 25th anniversary release series called Time's Up alongside other favourite artists of mine like Threshold, Gremlinz, Antidote (R.I.P), Future, Theory, Ricky Force & many more.

In 2021, Monita announced that he would be retiring Skeleton Recordings and putting out the final releases, which were single sided represses of Luv To Luv Ya & Nightmares, nearly 30 years after they originally were made. However, I had some great unofficial remixes that Phineus II had done of The Razor's Edge & Full Cry by Steve C & Monita, which never saw the light of day officially and I took a chance by contacting Monita to see if he'd be up for one more Skeleton Recordings release, in conjunction with Future Retro London.

Thankfully, he was up for the release and on top of that, he was able to provide 2 tracks that he made in 1995 that were meant for Skeleton Recordings but never saw the light of day until they were released digitally on Hardcore Junglism for a brief period of time, but never released on vinyl.

Big thanks to DJ Monita of course for allowing me to make this happen (as well as for his work in creating such a great label) & Phineus II for his remixes.

2025 Repress
L.F.T. returns to Mechatronica with his unique, signature blend of new wave and breakbeat influenced electro for the mind, body and floor. Boldly shaped by distorted drum machines, gut-wrenching grooves and haunting vocal chops, the KeyGenerator EP comes backed by an explosive IMOGEN remix and an occult collaboration with Cardinal & Nun. A spellbinding record on its own, and another crystal clear testament to L.F.T.s razor sharp sonic vision and ability to generate new styles from the past, present and future.

* V Recordings and Tim Reaper's Future Retro London have joined forces to unleash "One Stop Mr Driver," a track that channels the raw energy of '90s jungle. This release features both the original mix by the legendary Krust and a fresh remix by Tim Reaper, bridging the genre's roots with its modern resurgence.

* Kirk Thompson, professionally known as Krust, is a seminal figure in drum and bass. Emerging from Bristol's vibrant music scene, Krust co-founded the influential Full Cycle Records alongside Roni Size, DJ Die, and Suv. His innovative approach has produced classics like "Warhead" and "Soul in Motion," tracks that have left an indelible mark on the genre.

* London-based DJ and producer Tim Reaper has been pivotal in the revival of jungle music. Through his label, Future Retro London, Tim has showcased a plethora of talent from the modern jungle scene, earning accolades such as DJ Mag's Best of British Breakthrough Label award in 2021.
* "One Stop Mr Driver" was a coveted dubplate from the '90s, never officially released but highly sought after by enthusiasts. Recognizing its timeless appeal, Tim Reaper has crafted a remix that preserves the original's amen break-driven intensity while infusing it with razor-sharp modern production.

* Bryan Gee, the visionary behind V Recordings, has long admired Tim Reaper's contributions to the scene. This collaboration marks a rare partnership in V Recordings' three-decade history. The fusion of Krust's pioneering sound with Tim Reaper's modern touch honors its roots while embracing the future of drum and bass and jungle music.

* "One Stop Mr Driver" will be available digitally and as a limited edition 12" vinyl release.

Berlin-based Colombian DJ, producer, and curator Edna Martinez presents a sonic journey into the electrifying world of Picó—the vibrant and dynamic sound system culture that has defined the streets of Cartagena and Barranquilla for decades. More than just a musical movement, Picó is a way of life, a bold expression of identity, community, and resistance. From its roots in the working-class neighbourhoods of Colombia’s Caribbean coast to its deep connections with Africa and the Caribbean, this compilation captures the pulse of a culture where music is played at full volume, rhythms travel across oceans, and dance is both a form of celebration and storytelling. For those unfamiliar, Picós are hand-painted sound systems, often adorned with dazzling colours and striking imagery, each with its own name and sonic identity. These mobile discos became the heart of neighbourhood bailes, where the sounds of champeta, highlife, soukous, mbaqanga, zouk, soca, and cumbia would turn every street corner, market, and terrace into a dancefloor. Initially built by local craftsmen using modified speaker components, Picós became legendary for their powerful bass and exclusivity, with DJs sourcing rare vinyl from African and Caribbean ports and rebranding them with unique piconemas—new names adapted to local slang, making the tracks instantly recognisable within the community.

This compilation brings together a carefully curated selection of these rare and sought-after tracks, tracing the deep-rooted musical exchanges between Colombia, West and Central Africa, and the Caribbean. Featuring artists like Los Corraleros De Majagual, Peacocks International Highlife Band, Pedro Lima, Zaïko Langa Langa, and more, the album also includes edits by Edna Martinez, reimagining these timeless rhythms for contemporary audiences while staying true to their original spirit.

Strut presents ‘Picó! Sound System Culture From The Colombian Carribbean’ across 2LP Vinyl, 1CD & Digital focusing on a celebration of the raw, undiluted energy of Picó culture. Through Edna Martinez’s curation, and extensive liner notes, this compilation offers a powerful and authentic glimpse into one of the most vibrant musical traditions of the Colombian Caribbean

Following their debut album, Bay Area industrial duo Gridlock quickly pushed their creative boundaries. They restructured their live setup, incorporating new technology that expanded their sonic possibilities.

Their first experiment with upgraded digital tools resulted in the track Enzyme for Pendragon Records’ Quadraphobia compilation. Soon after, they embarked on a short West Coast tour before returning to the studio to craft their next album, Further.

Embracing real-time audio editing, Further developed rapidly, defined by its signature distorted percussion. Initially met with little feedback from their label, the album gained final approval after a live performance at the CMJ festival.

Released in early 1999, Further exceeded expectations, earning critical acclaim and charting in the the RPM charts. It became a landmark in the evolution of industrial music, blending emotional depth and cerebral complexity with brute force.

Gridlock continued evolving through two more albums before disbanding, leaving their work rare and highly sought after. Now, in tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s music with the blessing of Wells’ family.

Following the 2024 reissue of The Synthetic Form, Further will be released on July 11th on clear vinyl with greyscale splatter. Half of the proceeds will go to the American Foundation for Suicide Prevention in Wells’ honor.

"tilt your back
pay respect
hand on heart

we were raised without table,
without manners,

where is it we gather this time?


In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.

Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.

Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."

A deep excavation from the archives of Italy’s electronic vanguard, Navigators finds Franco Falsini—founder of the seminal Interactive Test label—charting bold, genre-defying territory at the dawn of the internet era. Created in 1997 with an Amiga Tracker interfaced via MIDI to Roland samplers, the EP reflects a hands-on, forward-thinking production approach that sidestepped industry norms of the time.

Named after Netscape’s iconic browser, Navigators is imbued with the spirit of early digital exploration. Ethereal vocals from Ashram’s Bettina and Ilaria Ciampolini drift through intricate, off-grid arrangements, while contributions from Riccardo Falsini, Ubj, and Atma Lai add rich, unconventional textures. The result is a collection that resists simple classification, bridging ambient, trance, and proto-techno with a distinctly Italian sense of depth and atmosphere.

Tremendo Recordings proudly reintroduces this timeless work—unmistakably personal, quietly radical, and ahead of its time.

RE:WARM Records are very pleased to announce their next release 'Rituals', a new compilation series from the curator and DJ, Josh Mason-Quinn, aka Somewhere Soul.

For Volume 1 Josh takes us on a journey through the various shades of his ritualistic listening habits across twenty-four hours. From rising first thing in the morning, radiating positive energy throughout the day, retreating into the evening before finally releasing your inhibitions on the dancefloor.

The compilation spans four sides of vinyl and is presented in a double gatefold sleeve. The release will also be available on CD and digital formats.

The album is a celebration of new and emerging talent from the underground Jazz, Soul, World and House Music spheres, sitting neatly alongside artists already carving their way into the collective conscience of those who have been curious enough to dig deep.

The record is due for release on 25th July 2025 with the pre-order available 23rd April 2025 via the Warm Agency Bandcamp and selected record stores.

Wonderful weird manouevres from Thomas Cox's QED, here releasing its first album. Expect dubbed up echofests and reggae sound system sirens ('Crushed By A Speaker Stack'), grungy distorted bassline rumbles ('Riot In The Dancehall') and sparse machine funk ('Spikes & Studs & Chains'). Like the musical lovechild of a leftfield 90s Vienna session a la Mego or Cheap, and a dubby take on the Berlin's Digital Hardcore Recordings sound, those who loved their electronics on the wayward, limit-pushing side, should find this a rather special listen.

We reunited for this second EP two best friends who have been shaking up the South of France techno community for a few years now. They started as a duo named Flyov before exploring their solo projects. Tibahuult has since been touring all over Europe with his explosive live set, blending Techno, Electro, and Punk music. Nathanaël, on his side, has grown into one of the DJs you don’t want to miss when partying in Marseille.

We’re thrilled to bring them back together on this project, where you can witness how a shared universe can evolve in two very different ways as each artist grows. To highlight this evolution, we selected for each of them one track produced a few years ago and one track created more recently with this project in mind.

On the A-side, Nathanaël opens the EP with a mysterious, trippy, jazz-infused house track, revealing all his finesse as the bass comes to embrace you like a big warm morning hug. For his second track, Cosmic Messenger, Nathanaël dives into a much darker space with a banger designed to destroy any dancefloor it hits

With Bass in the Sound, Tibahuult expresses his love for Punk music and flawlessly merges both worlds into an addictive ear-worm that will stick in your mind all day long. Tibahuult closes the B-side with one of his all-time festival anthems—the track that made me fall in love with his music. This high-energy piece will make anyone dance like the devil has taken over their body.

Explosiv, emotional, kompromisslos und zu laut. In einer Rocklandschaft, die zunehmend zwischen Retro-Glanz und digitalem Kalkül pendelt, übernehmen THE EXTRAS eine Rolle, die längst verwaist scheint: Die einer Band, die Emotionalität nicht mit Pathos verwechselt, die Punk-Wurzeln mit Songwriting-Können paart - und die Haltung hat, ohne Parolen zu schreien. Gegründet 2023 in Köln, aber mit internationaler DNA, zwei der vier Mitglieder stammen aus den USA, verbindet sie den rohen Geist des amerikanischen Undergrounds mit europäischer Gegenwartskultur. Die Gründer Elmar Freels (Köln) und Jon Manierre (New York) werden komplettiert durch Transgitarristin Killer Krissy, Drummer extraordinaire Leroy Kaldenbach und Bassist Pat Bewick. Mit ihrem eigenständigen Breitwandsound, ausgefeilten Lyrics und Rollkragenpullovern nach Lou-Reed-Vorbild (nur in weiß) sind THE EXTRAS eine stilvolle Ausnahmeerscheinung. Sie vereinen rohe Energie mit Zugänglichkeit, Melancholie mit Wut, Punk mit Pop - und zeigen, dass Empowerment auch laut, chaotisch und kollektiv sein kann.

Am 29. Juli 1985 veröffentlichte C.C. Catch mit I Can Lose My Heart Tonight ihre allererste Single – ein Song, der nicht nur den Startschuss für eine der prägendsten Karrieren im europäischen Synthpop-Universum markierte, sondern zugleich zur künstlerischen Hit-Vorlage für den unverkennbaren Sound der Ära wurde. Vierzig Jahre später erscheint zum Jubiläum eine auf 1.000 Einheiten limitierte Vinyl-Maxi in ikonischem Blau – mit allen vier Original-Versionen des Songs, neu remastered von Blank & JonesDas Remastering 2025 durch Blank & Jones holt die zeitlose Energie dieses Hits mit technischer Raffinesse in die Gegenwart: wärmer, breiter, brillanter – ohne die nostalgische Magie zu verlieren. Ein Song, der Generationen verbindet: I Can Lose My Heart Tonight (2025 Remaster) erscheint am 25. Juli 2025 digital und erstmals als Blue Coloured 12” Vinyl Maxi mit allen vier Original-Versionen.

The Unknown Artist returns on Flipsight with deep soul/disco cuts. Sun after rain is what we all deserve, no one will ever stop that feeling. No digitals - Vinyl only

French synth-dub duo Froid Dub continue their blast of organic and digital material on this brand new 6-track album. Pushing the clash between synth wave and dub even further, the electronic beats of the TR 808 are more than ever engulfed in the slow motion vibes of the digi-bass echoes.

KILN return with an opulent new display of hue and swing on Lemon Borealis , a sumptuous
gallery of dazzling motifs that display a finely hewn concoction of visual tones and vital pulse.

Across its 12 cuts, this collection utilizes a fresh process of condensing immersive sprawl into compact, punchy and colorful sound.
Using aspects of live performance, beatmaking and waveform sculpting, the troika of Kevin Hayes, Kirk Marrison and Clark Rehberg III create
evocative and invigorating dioramas, continuing to surprise and enchant listeners after over thirty years into their collaboration.

Deep in waves of Hi-meets-Lo Fi, KILN delivers a panchromatic daymark arranged to biochemically align and stimulate your personal syntax, forging
a tapestry of sonic reveries ranging from the aquarium-on-fire radiance of DrnkGrlfrnd, a garden groove of field-recorded percussion in
Maplefunk Diptych, to the sizzling guit-noise whiteout of Deacon Rayhand.

Their eighth album, and first for A Strangely Isolated Place, on Lemon Borealis, KILN expands upon the long-explored themes of mosaic
texture, subtle melancholy, eroded consonance, and vivid cadence to reveal yet another aperture to their unique magnetic universe.

Lemon Borealis will be available on 12” Transparent Ochre Smoke vinyl and digital on July
18th. Mastered and cut by Andreas Lupo Lubich, and featuring artwork by KILN.

REPRESSED !!
Exhumed '77 OST frond 'Riddles Of The Sphinx'...magick Mike Ratledge unfurls coils of ARP, Moog &VCS-AKS via Denys 'Lucifer' Irving's hacked Z-80 sequencer...these post-Soft Machine plumes spiralin stasis to the frame pans and lockdown Maddox's
& Mulvey's dialogue like SE17 dunes...the concentric riddle of the missing original master tapes...film reel audio prised from the BFI vaults & transferred straight to zeros & ones by hieroglyphic
happenstance...this acrobatic dredge has revealed more than enough mercury to further protract the riddles within..."You've got my number if you need anything"...IBM 'The film's ground-breaking electronic score, by The Soft Machine's Mike Ratledge, was composed on synthesisers which were developed in collaboration
with Denys Irving (the man behind the mysterious and controversial 1970s band Lucifer).'Film extract (Official BFI Trailer: http://youtu.be/UlBaUd5Y58M)
Please note: The digital will be available to
download from Monday 28th of October. The
vinyl will start shipping from Friday 8th of
November....

Auf "At Tubby's" spielt Dougie Poole Live-Versionen seiner beliebtesten Songs in einem Veranstaltungsort, der von Musikern für seine Intimität und Akustik sowie für seine außergewöhnliche Behandlung von tourenden Musikern geliebt wird. Dieses Set war wie geschaffen für die Veröffentlichung als Live-Album, da es ein besonderer Abend für die Band war. Einer dieser Abende, an denen die Musik, das Publikum und der Raum zusammenkommen. Das Album wurde direkt am Mischpult aufgenommen, wobei Dougie selbst nur minimale Nachbearbeitungen vornahm. Dougies Live-Band auf "At Tubby's" besteht aus Mike Etten an der elektrischen Gitarre und Connor ,Catfish" Gallaher an der Pedal Steel. Beim ersten Song des Abends, ,Los Angeles", ergänzen Ettens klassische Country-Licks und Catfishs hochfliegende Slide-Linien perfekt Dougies beeindruckende akustische Arbeit und seinen goldenen Bariton. Man merkt, dass die drei schon seit Jahren zusammen spielen und in dieser Formation straßentauglich sind. Sie nehmen sich einiger von Dougies beliebtesten Songs an, von Rave-Up's (,Beth David Cemetery" & ,Vaping on the Job") bis hin zu Country-Balladen (,Must Be in There Somewhere", ,Don't You Think I'm Funny Anymore") und allen Punkten dazwischen. Es gibt hier einige Stücke, die für Fans von Dougies letzten Alben neu sein könnten. ,Toshiba Sky" ist eine einmalige digitale Single aus dem Jahr 2020 und ,Wild Motion` ist ein Stück, das Dougie für Drugdealer aus L.A. geschrieben hat, die es für ihr 2020er Album Raw Honey aufgenommen haben. Bei "At Tubby's" wurde auch eine neue Komposition von Dougie aufgenommen, ,Heaven Sent an Angel", die das Set mit einer herzlichen Note abschließt. "At Tubby's" entführt den Zuhörer an einen anderen Ort und in eine andere Zeit und ist für alte und neue Fans ein spannendes Erlebnis.

We presenting the upcoming Posthuman album "The Mind Is A Heavy Burden" coming out on Netherlands based imprint Flatlife Records. The full album arrives as a 9-track purple 12" vinyl and 13 track digital / streaming. This isn't the usual club-ready acid house to be expected from Posthuman of recent years, but instead a callback to their output in the early 2000s and their cassette releases on The Dark Outside. There's still plenty of their signature 303+808+101 sounds throughout but it's overall slower, more introspective and darker.

Under-the-radar artist CV1 debuts on Life In Patterns Lab with "Blocks of Darkness", a six-track EP that delivers a captivating blend of raw, expressive techno inspired by 90s and 2000s sounds with a modern edge. This release showcases CV1's talent for crafting immersive techno journeys, balancing peak-time energy with deeper, hypnotic, and introspective moods. "Blocks of Darkness" is set to release in mid-July 2025 on hand-stamped vinyl and digital formats.

Das 2014 erschienene Debüt-Studioalbum White Noise von PVRIS hat sich in den USA über 100.000 Mal
verkauft (und bis heute über 300.000 Exemplare) und hat Fans auf der ganzen Welt in seinen Bann gezogen. Mit fast 250 Millionen Streams in den USA markierte das Album den Einstieg der Band in die Welt.
Jetzt, nach über 200.000 verkauften Tonträgern (über 600.000 Äquivalente bis heute) kehren PVRIS nun
zu ihren Wurzeln zurück.
Die Jubiläumsausgabe von White Noise wurde im März 2025 in digitaler Form veröffentlicht und enthält
Spiritbox’s Courtney LaPlante auf der äußerst beliebten Single „My House“. Die Neuauflage des Albums
enthält außerdem
Die Neuauflage des Albums enthält außerdem zwei neu bearbeitete Versionen von Songs aus der Originalversion, „Fire“ und „Mirrors“, sowie eine Live Version des Hits „You and I“. Die Jubiläumsausgabe von
White Noise ist ein Muss für Szene-Veteranen und Sammler

On At Tubby’s Dougie Poole plays stripped down live versions of his most treasured songs in a venue beloved by musicians for its’ intimacy & acoustics as well as its’ exceptional treatment of touring musicians. This set was a natural for release as a live album as it was a special night for the band. One of those nights when the music, audience and space all come together. It was recorded right from the board with minimal mixing work in post from Dougie himself.
The version of Dougie’s live band on At Tubby’s features main stays Mike Etten on electric guitar and Connor “Catfish” Gallaher on pedal steel. On the night’s first song “Los Angeles,” Etten’s classic country licks and Catfish’s soaring slide lines perfectly compliment Dougie’s formidable acoustic work and golden baritone. You can tell these three have been playing together for years and are road tested in this formation. They tackle some of Dougie’s most loved songs, from rave-up’s (“Beth David Cemetery” & “Vaping on the Job”) to country balladry (“Must Be in There Somewhere,” “Don’t You Think I’m Funny Anymore”) and all points in between.
There are some tracks here that might be new to fans of Dougie’s recent albums. “Toshiba Sky” is a one off digital single from 2020 and “Wild Motion” is a track Dougie wrote for L.A.’s Drugdealer, who recorded it for their 2020 album Raw Honey. Live at Tubby’s also sees the recorded debut of a new Dougie composition, “Heaven Sent an Angel” which closes out the set on a heartfelt note. At Tubby’s brings the listener to a spacial place and time, and will be a thrilling listen for fans old and new.

Trust in 6 was a one-off project by Torsten Stenzel, produced in collaboration with André Fischer (Recall IV, Technoline, Scope) and Lars Janzik (Scrot). Their sole release, “Life in Ecstasy”, came out in 1991 on Techno Drome International, a sub-label of ZYX Records, and earned a spot on the first volume of the legendary Techno Trax compilation series. The track fuses techno and EBM with a dark, driving energy-layering classic trance arpeggios, eerie pizzicato samples, and haunting, hypnotic vocals into a standout piece of early '90s electronic music.


Limited edition of 300 copies on black vinyl and 200 copies on clear vinyl, including both original mixes, the renowned Digital Mix (also known as Razormaid Mix), and a radio edit.


Limited 12" vinyl only release. Run of 500. 140g black vinyl. No repress, no digital.

On Friday 25th March Parlophone Records release “Remixes” on double CD and triple vinyl LP. The album is an updated version of the 2020 Digital compilation of the same name, featuring mixes that were originally released between 1991 and 2021.

Alongside Kraftwerk’s own remixes, the album includes some of the world’s biggest DJs and Producers, including François Kervorkian, Orbital, Underground Resistance, DJ Rolando, Alex Gopher + Étienne de Crécy, William Orbit and Hot Chip.

Wade Watts and Sir Rizio have previously only released on Lempuyang's digital arm, but now step up to the full label with this standout new EP. They hail from the suburbs of Jo'burg which is where they have cooked up these seriously flavoursome and stripped-back sounds. 'Atlas' kicks off with rolling drums and widescreen dub chords that sink you into a warm world of fluid groove. 'Limitless Progression' keeps the depths coming with rattling and classic dub hits and smoky pads, while an EmmaSoul dub mix on the flip heads into heady territory and 'Innermost Existence' brings some wisps of melodic light to the fore.

Mannequin Records presents Artificial Salvation, the long-awaited next chapter from Taiwan-born, Berlin-based artist Jing. A visceral journey into fragmented identity, post-human desire, and sonic disobedience, the album marks a bold evolution in Jing's unmistakable language—where rhythm is weapon, voice is distortion, and silence is political.

Known for her uncompromising DJ sets and past releases exploring industrial textures, field recordings, and haunting spoken word, Jing now delivers her most narrative-driven and confrontational work to date. Artificial Salvation lives at the intersection of club dystopia and spiritual unease: glitched-out techno structures collide with ghostly chants and collapsing machinery, echoing themes of surveillance, digital exile, and existential displacement.

Crafted between Taipei and Berlin, the album draws from a palette both hyper-modern and deeply ancestral—melding broken beats, noise, and vocal manipulation into an unflinching statement of intent. This is not music for escapism. This is a sonic exorcism.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Released in 2018, the Original Blunted Breaks Vol.1 compilation was a landmark release in the future jungle revival, collating the sounds of the rapidly emerging underground in long player format and extending the reach of the modern productions beyond the clubs and hardcore vinyl enthusiasts, to the likes of BBC Radio 6, with guest Dead Man’s Chest mix and album feature on Tom Ravenscroft’s show.

In the ensuing years, contemporary jungle music has continued to gain in popularity with a rapidly expanding global influence and reaching younger audiences who’ve adopted it as the sound of now.

In 2025, Western Lore continues its role as a modern tastemaker in both jungle music and the wider electronica scene with Blunted Breaks Vol.3, a 12 track long player featuring a selection of deep and textural future jungle workouts from the freshest rising talent & now established stalwarts of jungle music.

Released on triple heavyweight (180g) black vinyl, shrink-wrapped in full art sleeves & digital.

Pioneering British electronic musician Mark Van Hoen is set to release his latest solo album, The Eternal Present, on 23 May 2025 via Dell'Orso, a remarkable collection of tracks spanning nearly three decades of recordings from 1998 to 2024.
The Eternal Present embodies its philosophical title, inspired by Joseph Campbell's concept that "Eternity isn't some later time... Eternity is that dimension of here and now that all thinking in temporal terms cuts off." The album explores music as the ultimate expression of existing in the present moment, transcending time and creating a sonic experience that is simultaneously "spectral, ghostly, melodic, harmonic, and decayed."
An influential contemporary of Aphex Twin, Autechre, LFO and Boards of Canada, Van Hoen is best known for his solo work as Locust in the mid-'90s, which helped push post-rave electronic music into newly challenging realms. His extensive discography spans releases on influential labels including R&S, Touch, and Editions Mego. Van Hoen has worked on numerous collaborations throughout his career, including with Nick Holton and Neil Halstead of Slowdive under the moniker Black Hearted Brother—their album Stars Are Our Home was released in 2013.
The Eternal Present continues the lineage of Van Hoen's most significant works, with artwork by Ian Anderson (Designers Republic) reflecting the album's "eternal present" concept with a mysterious visual approach, allowing listeners to form their own imaginary landscapes. The mastering by Stefan Betke (Pole) enhances this document of the evolution of the artist over the years as he continues to hone his signature sound. Using a host of instruments including analogue synthesisers and employing various recording approaches, Van Hoen's equipment changed dramatically over the years—from early DSP processing used on his first solo record on Apollo ‘Playing With Time’ to various synthesisers, modular systems, tape machines, and digital workstations—contributing to the album's rich sonic diversity.
Throughout The Eternal Present, ideas are woven together through spoken word quotations and abstract vocals featuring notable collaborations from Rachel Goswell on the Slowdive cover "Shine" (from 1998), Megan Mitchell (Cruel Diagonals) on "Somewhere", and session vocalists Clare Dove and Dorothy Takev on "No-One Leave" and "It's Not You (In A Way)" respectively. The use of cleverly assembled vocal samples from an "undisclosed but very famous female vocalist" on "Multiplex" (2016) and the indistinct vocalisations on the Cabaret Voltaire-influenced "Only Me" (2017), constantly challenges and disorientates the listener through fluctuating, ever-changing musical elements.
The album was recorded across multiple locations including Somerset, London, Los Angeles, and New York—even beginning compositions during flights and in airport lounges—reflecting Van Hoen's changing personal circumstances, environments, and situations throughout the years.
Of Indian-Jamaican descent, Van Hoen was born and raised in England, absorbing diverse musical influences from his neighbors—African-Jamaican on one side and Punjabi Indian on the other. "Each family played their own music frequently, and I absorbed it." His musical foundations include Brian Eno, Kraftwerk, OMD, Tangerine Dream, Japan, Cabaret Voltaire, and Cocteau Twins, later finding inspiration in My Bloody Valentine, LFO, and '90s producers Robert Leiner and CJ Bolland.
These eclectic influences are evident on The Eternal Present, which contains snapshots of different periods in his life, with changing circumstances across decades creating a variety of textures and sounds. As Mark explains: "It holds the same sonic signature as many of my solo releases and early Locust albums. It's a natural development that has taken place in the last few decades. It's even related to the earliest music I made as a teenager, although perhaps more sophisticated."
“What a remarkably affecting, majestically broad and captivating work it is..what strikes you most is the album’s myriad diversity. Outstanding” (Electronic Sound)

“Whether channelling mid- 70’s Eno, early Aphex Twin or Neu! his vivid sounds shimmer with emotional weight” (Mojo 4*)

"Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre's glitch and Boards of Canada's pastoral IDM." (Pitchfork)

SHDW's Mutual Rytm imprint is back with its third release of 2024, marking a full label debut from Sonic Propaganda with their 'Native' EP.

Sonic Propaganda comes from the collaborative minds of Earwax and Rosati, a pair who favour dark and intense techno sounds and take inspiration from Jeff Mills and Robert Hood. In the studio, they blend analog and digital technologies into smoky warehouse atmospheres and immersive journeys that connect with listeners on an emotive level, and this full EP lands following their contribution to the third instalment of the Mutual Rytm's Federation Of Rytm compilation series in February.

The powerful 'Native' opens up at high speed with tightly coiled drum loops that never let up. Sleek metal percussive sounds peel off the grooves and lock listeners into a perfect state of hypnosis. 'Soul Pressure' is just as absorbing, with a tense bassline keeping you on edge as the train-like drums march under incendiary hi-hat ringlets. There is plenty of perfect machine funk to 'Terminal', which has more rusty synth textures and chopped-up vocal fragments humanising the turbulent grooves. 'Basic Path' brings an extra skip to the kicks as they enter, scuffed up and flowing just above the groove, while vocal pulses and twitchy synth modulations bring the detail. 'Body Empire' closes the vinyl package with a deeper vibe and pensive synths that add warmth and soul to the brilliantly mechanical grooves, while digital bonus 'Acid Riot' closes with squelching acid lines amongst a swell of analog crunch and laser-sharp percussion.

Gary Beck returns to Mutual Rytm as he unveils a selection of impactful cuts across his debut 12'' on the label, 'Upside Criminal'.

Bek Audio boss and Glasgow techno mainstay Gary Beck has long been a key figure in the scene with a unique sound that has shaped a vast discography. One of the genre's best, with appearances across iconic institutions and collaborations with legendary talents, he is a definitive talent. Returning to SHDW's Mutual Rytm imprint, his new EP lands following his recent appearance on the label's 'Federation Of Rytm III' VA, with the tracks on the package proving as go-to favourites for the label boss over recent months.

''Mutual Rytm has been nothing short of inspirational to me over the last years. I've been playing almost
everything from the label, as the tracks really suited what I was selecting in my DJ sets. The high-quality output really got my juices going to create something for the label, and I was delighted when Marco liked what I sent. This EP signals exactly where I am musically. I'm an absolute sucker for tracks with relentless groovy energy and little breaks, so it felt like a perfect fit. Tracks from the EP have been an absolute joy to play in my sets recently,
and I'm so excited to deliver this EP on my current favourite label, Mutual Rytm.'' - Gary Beck.

The powerful 'Upside Criminal' kicks off with hammering drums and pounding hits that create an inescapable wall of sound that will dominate dance floors of any size. There is more loopy energy to 'Sambana' with its ever more jagged synth stabs and fizzing drum textures while 'Pepper Track' is a futuristic techno workout with rattling snares and mutant synth details peeling off the straight-up groove. 'Rejected' is built around trapped vocal fragments that swirl about the mix to a disorientating effect as the high-speed drums and sheet metal synths race onwards, 'while
Ghost' closes out with a subtle sense of uplifting celebration from the synths that rise up through rusty, rickety techno grooves. Digital Bonus 'Variation 6.1' offers another searing and funky techno stomp, once again providing an extra gem for digital purchasers.

Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens his exploration of experimental steppers and sacred low-end science.

TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.

TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.

Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.

Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.