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The fifteenth release of Barro comes with an exclusive: behind the Transylvanian mask of Orlok 101 lies Nöle himself, the boss of the label.

Remember that he used this vampiric AKA to kick off Barro—his The End Of The Beginning being the first release, published in late 2018. That same year, his techno-industrial sound—packed with references from the famous work of Bram Stoker and nightmare atmospheres—helped launch another label: Soil, the Valencia-based imprint, with a project that included a suitably fitting remix of The Horrorist. The following year, he released an EP with five original tracks, titled Runaway, while also “spreading blood” on Antikhrist Visions Vol I alongside his Industrias Mekanikas comrades.

His dark influence has been felt across Barro’s catalogue, whether through his own tracks or remixes—sinking his teeth into artists like The Hacker (under his real name, Amato) or Nebula Circuit. In 2025, Orlok made his debut on Aspecto Humano with a powerful EP, equally gritty and dark. In Barro, we’ve recently had Nöle—the most techno side of Imanol Pagola—with the EPs Electro Bloody Music and Demencial Chico Aceleradom, two great showcases of his ability to keep us dancing nonstop, following the popular Mendekua, released by Xtraperlo.

For Barro 15, the two sides of the producer and DJ come together on this EP, titled Sex With a Cop—four tracks released on vinyl and digitally, plus an alternate version of the final composition as a bonus track.

Nöle's knowledge of the dancefloor and Orlok 101's ability to create atmospheres that will give you goosebumps come together on this EP to create an explosive mix.

Sex With a Cop starts with Hilerri, a techno EBM track where Orlok provides repetitive, screeching sounds and a ghostly melody, while Nöle adds incisive synths and a catchy, addictive vocal sample that warns you of the danger of the material you’re listening to. Orlok then takes over with his industrial and metallic sonorities on the next track, Amets Fabrika, although Nöle’s influence still comes through with his powerful bass and addictive synth lines. A stifled scream and a production packed with a thousand details create an unsettling atmosphere that will surprise you on the dancefloor.

The flip side begins with No Voy A Quedar Con Nadie, a track closer to Nöle’s technooid world. Even with its unsettling opening, it doesn’t take long to turn into a danceable bomb, with that dark touch typical of the Navarro producer.

Surprisingly, he saves the best for last: Harina de Huesos Humanos is one of the most interesting tracks created by Imanol Pagoda, and we can hear it in two versions, one as a bonus track. Thanks to complex production full of details and sounds that come and go, a punchy, hard as granite kick drum, and a carefully crafted industrial atmosphere, it all ends up being the perfect union between the two sonic worlds. A spectacular finale for the label’s fifteenth release.

A new producer-led project from musician and composer Nitzan Dana, Islands on Tape arrives with Dust Conspiracy, a cinematic and deeply textured three-track EP balancing vintage exotica, library music, psychedelic groove and modern beat culture.

Previously known for his work with psychedelic post-rock outfit Meuban, Dana created Islands on Tape as a separate artistic identity, a space to explore instrumental composition and studio experimentation through a more personal lens. Across the EP, he draws on a wide palette of influences, from Sven Wunder and Maston to exotica pioneer Les Baxter, alongside the sample-driven worlds of Madlib and MF DOOM. The result is a record that feels loose and organic in spirit while remaining intricately arranged and carefully constructed throughout.

Recorded across just three sessions with a close circle of collaborators, Dust Conspiracy draws together live drums, flute, percussion, surf guitars, Farfisa organs and atmospheric textures into a sound equally indebted to 1960s soundtrack music, dusty hip-hop production and classic exotica records.

Opening track “Dust Conspiracy” began with a bassline inspired by late-night listening sessions and crate-dug hip-hop production. Initially built around sampled drums, the piece evolved into a fully live recording featuring drummer Lotan Yaish (El Khat, Şatellites) and percussionist Ron Avidan. Swirling organs, creeping rhythms and heavy cymbal work give the track the feel of a lost 1970s espionage soundtrack, smoky, hypnotic and cinematic.

Blending cinematic soul, psychedelic groove, exotica and rhythm-heavy instrumental production, Dust Conspiracy introduces Islands on Tape as a richly detailed new studio project, equally suited to late-night headphone listening, imagined film sequences and dusty, atmospheric dancefloors.

Erdgeschoss (The ground floor) makes no distinction between old and new. And certainly not between old and young.

On the new record, two generations of KöPi uninhibitedly indulge in a brand of dirty minimal purism between Schranz and Glanz (glamour) between bouncing and banging.

Romance for everyone, you revelers.

Purity and dirt - from 133 1/3 bpm upwards, things really take off, and another door opens and closes again. Because. Bass drum on, bass drum off.

Kölsch meets Pils.

Trance meets Kraut - Haspel Haze goes loud.

So what. Your backpack is about to burst open.
Erdgeschoss unterscheidet nicht zwischen alt und neu. Und schon gar nicht zwischen alt und jung.

Auf der neuen Scheibe frönen zwei Generationen KöPi hemmungslos dem Dirty-Minimal-Purismus zwischen Schranz und Glanz - zwischen hämmern und pimpern.

Romantik für alle ihr Jecken.

Reinheit und Dreck - ab 133 1/3 bpm plus geht die Post ab und eine andere Tür auf und wieder zu. Denn. Bassdrum an Bassdrum aus .

Kölsch trifft Pils.

Trance trifft Kraut - Haspel Haze goes laut.

Na und. Da geht dir gleich der Rucksack auf.

Rubadub is proud to present this uncovered early-90s transmission from Heinrich Mueller (Drexciya / Arpanet / Dopplereffekt etc.) under his Intellitronic alias.The lead track “Pixel” has only ever appeared on the Magic Tracks (Deep Detroit Volume Two) CD compiled by Juan Atkins in 1993, whilst the rest remained unreleased, until now. Four tracks of stripped-back machine funk referencing pre-millennium printing technology.

"Veneer of Tolerance Remixes" is the nine-headed rebirth of KR3 Records' Chapter 07, signed by JK Flesh, an icon revered within the UK's alternative music realm for a trailblazing three-decade career. Each track of this double-vinyl project unveils a unique reinterpretation, birthing a bespoke tapestry of techno music, a dark sorrowful ode to the genre's diverse landscape. Traversing realms of power electronics, noise, breakbeat, industrial, gabber, and ambient drone, the 9 tunes are sculpting an evolution within the techno genre.

Rich Oddie (Orphx) and Dave Foster (Huren/Teste) reunite for their electronic-industrial punk project, O/H.
NO CONTACT LP - is a live compilation that captures the raw energy of their performances between 2011 and 2019. This intense anthology distills the essence of their sound: noise driven electronic power, relentless rhythms, and obsessive vocals. For the first time, this fury is preserved on a double vinyl with a special edition.
Fosters gritty vocals clash with Oddies dark sound
manipulations, reflecting a world on the edge of collapse a bleak view of modern civilization embodied in their
uncompromising music.

Let's dive into the third act of the KR3 Fifth Anniversary
celebration

Six years after their last standalone release, TESTE return in full raw power!
Following their 2020 double 12" on L.I.E.S. - which marked a renewed phase after years of silence - David and Martin (TESTE) now open a new chapter.
ERASED FROM MEMORY is a 4-track EP developed between 2023 and 2026, continuing their exploration of sharp, unconventional sound design - suspended between chaos and decadence.
The visual direction features a key contribution from the late Juan Mendez // Silent Servant via his SILENT EDITIONS imprint, combining archival TESTE materials with his legendary punk vision.
He completed the cover and zine before his passing in January 2024.
This release is dedicated to TESTE and their three decades of legacy, and to Juan Mendez - one of our greatest heroes.

Cameron Winter kündigt sein erstes Live-Album "Live at Carnegie Hall" an. Das Album dokumentiert Winters historischen Auftritt im Dezember 2025, bei dem er als einer der jüngsten Solokünstler überhaupt als Headliner im Hauptsaal der legendären Konzerthalle auftrat. Ganz allein, über sein Klavier gebeugt und mit dem Rücken zu einem ehrfürchtigen, ausverkauften Publikum, interpretierte der Frontmann der Band "Geese" Songs aus seinem gefeierten Debütalbum "Heavy Metal" neu. Ein Album, das von GQ in ihrem ausführlichen Bericht über diesen Abend in der Carnegie Hall als "eine der kühnsten und selbstbewusstesten Singer-Songwriter-Platten dieses Jahrhunderts bisher, ein Fiebertraum voller Gefühle von jemandem, der die Regeln gut genug verstand, um zu wissen, dass sie ihm kaum etwas bedeuteten" beschrieben wurde.

Auf dieser berühmten Bühne präsentierte er zudem drei bisher unveröffentlichte Kompositionen, von denen jede einen Einblick in seinen Fundus an Material bot. Die gesamte Darbietung war von einem unbestreitbaren Gefühl der Einmaligkeit geprägt, das die Bedeutung des Augenblicks einfing: Zeuge zu sein, wie ein Künstler, wie er nur einmal in einer Generation vorkommt, die Bühne eines der ehrwürdigsten Veranstaltungsorte der amerikanischen Musikszene beherrscht.

You've never played a game like Blippo+ before, and you've never heard a video game soundtrack quite like Greatest Hits from Planet Blip.

Composed by Rob Kieswetter and Jona Bechtolt from the LA-based trio YACHT, the soundtrack collects 71 tracks from the cult classic video game Blippo+, reworked and sequenced into a continuous listen for this special release —a TV static-speckled gatefold double LP, out Oct. 16 via Hologram Opera, marking the soundtrack’s physical debut.

Taking the form of a cable TV simulator, Blippo+ captures the magical feeling of seizing a mysterious signal from outer space and discovering the television programming of an alien culture. Soundtracking the game’s pastiche of programs is Rob and Jona’s genre-spanning score—synth-heavy, eccentrically electronic, with a skewed sensibility that pays homage to cable access, library music, video art, and the late-night margins of the 80s and 90s underground.

TV obsessives will find plenty to love in Greatest Hits from Planet Blip: with surreal theme songs, jangly jingles, zippystings, catchy kitsch, period-accurate menu music and even pop hits from the alien airwaves, this propulsively playful soundtrack will have channel-flippers tingling with nostalgia.

“Planet Blip is an alien planet where art and music are the only currency and ‘consciousness particles’ form the basis of all media. To capture the spirit of this world, we drew inspiration
from all the music we felt best embodied this ethos and ran it through our own utopian blender,” say Bechtolt and Kieswetter.

Blippo+ is an award-winning, experimental, live-action video game created by YACHT and Telefantasy Studios, along with developers Noble Robot and Dustin Mierau, and published by Panic Games. It was released for Steam, Playdate and Nintendo Switch in 2025 to widespread
critical acclaim and has earned a devoted fandom. A Mac version followed earlier this year, and was nominated for an Apple Design Award.

"Simultaneously nostalgic and futuristic, otherworldly yet
welcoming, Blippo+ is an absolute artistic triumph.
" —Deven McClure, Screen Rant

"Blippo+’s presentation might ape old traditions, but the collective impact of its content is richer, deeper, and more entertaining than any mere remembrance.
" —Garrett Martin, Paste/Endless Mode

"In the increasingly reactionary and prescriptive landscape of video games, it is remarkable to encounter something so distinctive, so hopeful, so celebratory, so devoted to expanding the possibility space of art beyond a single medium." —Sam Bodrojan

For Louis Johnstone, making music has never been about waiting for the right equipment, the right environment or the right moment. Across more than a decade of work as both Wanda Group and A Large Sheet Of Muscle, the Huddersfield-based musician has built one of British experimental music's most singular bodies of work by embracing whatever happens to be within reach, allowing instinct, improvisation and circumstance to shape the outcome as much as conscious composition.
"'Chinese Benefits' was made over a year ago on an iPhone that had a broken microphone and was on its way out," he explains. "I have made many records after this with clearer sounds. Sharper ideas. That is never the point, though. You work with what you hold in your hands."
Recorded entirely on a failing iPhone 6 that stopped working shortly afterwards, 'Chinese Benefits' isn't a record about damaged technology. It is a record shaped by it. Rather than resisting the limitations of the device, Johnstone allows them to become part of the music itself, where distortion, interference and deteriorating fidelity are inseparable from the recording process.
Across twenty brief but disquieting pieces, corroded spoken word, environmental recordings, abrasive noise and fractured electronics continually emerge and dissolve. Voices drift in and out of range, reverberation stretches everyday sounds beyond recognition, and bursts of white noise interrupt moments of uneasy calm. There are echoes of radio transmissions, field recordings and musique concrète throughout, yet 'Chinese Benefits' never settles comfortably into any one tradition. Instead, it inhabits a space where accident and intention become almost impossible to separate.

That philosophy has long defined Johnstone's work. Through a vast catalogue of self-released recordings on his Umbro G imprint, alongside releases for labels including The Trilogy Tapes, he has consistently favoured immediacy over refinement, embracing imperfection not as an aesthetic but as a practical reality. His recordings are less concerned with perfection than with capturing the conditions in which they were made.
Looking back on 'Chinese Benefits', however, Johnstone's own assessment is characteristically understated.
"Listening back fully, it's quite a nice record actually. Fair enough, I make them and never really listen again TBH. Even better, it was the last Large Sheet Of Muscle record made on that phone with grit and damaged guts."

Like much of his work, 'Chinese Benefits' offers few fixed meanings. Its titles remain cryptic, its voices partially obscured and its structures deliberately unstable. What emerges instead is a deeply personal document of process over perfection, where the limitations of the tools become inseparable from the music they produce, and where the act of making something matters far more than the conditions in which it was made.

Love or its absence dominates the intimate songs on the new album from ARBORIST – the musical outlet of Mark McCambridge. Looking For Love, Arborist’s fourth album of exquisitely inventive Americana, places us firmly in his hometown of Belfast, allowing it to act as a microcosm of the wider-world, with all its foibles and charms. We find fictional protagonists scouring the dark corners of the city, wiling-away afternoons in strip clubs, wandering the streets in all weather and reflecting on the harsh reality of modern society, all in search of an elusive love – emphasising our need for it now more than ever.
Looking for Love is ARBORIST’s first album to be self-produced by McCambridge, largely from his home studio in Belfast – and at times it feels like we are in the room with him. It’s a different kind of record for him as previously he has always sought collaboration; whether it be with Kim Deal who chose to sing intertwined harmony on his debut single “Twisted Arrow”, or recording in The Curfew Tower owned by The KLF’s Bill Drummond who described Mark’s songwriting as being “riven with more loss than any record since Leonard Cohen quit this world”, and who Matthew E White and his Spacebomb band collaborated with to such astonishing effect on the previous Arborist LP, 2023’s An Endless Sequence of Dead Zeros, winner of the prestigious Northern Ireland Music Prize. This time, with no outside producer steering the way, McCambridge found that the quiet hours were where he felt most at ease, despite periods of trial and error, and, by his own admission, moments of feeling genuinely lost in it all.

Despite playing many of the parts himself, McCambridge still called upon old friends from the community around him; Spacebomb’s resident bassist Cameron Ralston (Bonnie Light Horseman, Hiss Golden Messenger) again features throughout the record, alongside Eamon Ferris (The Waterboys) on drums, with the great and the good from Belfast’s vibrant music scene. Grainne Meyer plays concert harp and Aga Olek plays violin for the quasi-title track “Looking 4 Love” – an off-kilter love-letter to Belfast. Meilana Gillard provides a sleazy saxophone on “Bye Bye Johnny Cash” – a seedy tale of a man obsessively visiting a dancer in a club, and The Larne Community Youth Choir provide backing vocals for “Go Kill The Fatted Calf” – a song Mark wrote about his son growing up, a take on the parable of the prodigal son, with Jonny Ashe’s blistering guitar solo adding an album highlight. The Errigal Ensemble String Quartet and Aisling Agnew’s breathtaking flute solo feature on “What Is It You’re Asking” – a song about love, or its absence, both personally and universally in these times.
McCambridge was recently honoured with a “Fellowship” by the Seamus Heaney Centre at Queen's University Belfast where he collaborated with such illustrious names from the literary world as Nick Laird, Caoilinn Hughes and Conor McPherson. Through the University he was given access to the music department's Steinways and pipe organs, and decided to try one out for the album’s centrepiece “I’ve Been A Flaneur”. As Mark explains, "The drone on the pipe organ — and the sound of it starting and stopping — was so visceral that I decided to try a half-written song against it right there and then, and this came out in one take… The song was a breakthrough artistically - I don't think I'll ever record in the same way again after this."
The album was engineered by longtime collaborator Ben McAuley (Van Morrison) and mixed by Jimmy Robertson (Anna Calvi, Beth Gibbons, Fat Dog). The results are staggering, devastating and uplifting in equal measure, calling to mind albums such as Songs Ohia’s Magnolia Electric Co., The Divine Comedy’s Regeneration, The Blue Nile’s Hats and Wilco’s Ode to Joy, as well as early-70s records from John Cale, John Lennon and Bill Fay.

Belfast native Mark McCambridge played his first show as Arborist supporting James Yorkston. A solo tour followed, and impressive performances led to notable support slots alongside Low, Cat Power, Echo & The Bunnymen and Guy Garvey. Arborist's debut single, the Americana-tinged "Twisted Arrow," caught the attention of the critics with an astonishing duet with Kim Deal of The Breeders. The debut album Home Burial (2016) and its follow-up, A Northern View, both received glowing praise, from The Guardian ("instant classic" ----) to MOJO ("devastatingly bleak… upliftingly beautiful" ----) to Uncut (8/10), with BBC 6 Music play from Cerys Matthews, Cillian Murphy, Lauren Laverne, Radcliffe and Maconie and Gideon Coe — and Steve Lamacq calling single "Taxi" "one of those records that makes you immediately stop what you're doing." He went on to even greater success with the 2023 Northern Irish Music Prize winning third LP, An Endless Sequence of Dead Zeroes, which was recorded at SpaceBomb Studios in Virginia with musician and producer Matthew E White. For his fourth LP, Looking For Love, he has signed with Fika Recordings and with a tour approaching in November, 2026 looks set to be a seminal year for the Irish artist.

Wewantsounds it delighted to announce a deluxe reissue of Frank Foster's 'The Loud Minority' LP. Released on Bob Shad's Mainstream Records in 1972, it's a landmark album and one of the key political works of the 70s. Featuring an all-star cast of superb musicians including Elvin Jones, Stanley Clarke, Airto, Cecil Bridgewater and Marvin 'Hannibal' Peterson, it is also Dee Dee Bridgewater's earliest full recordings. This special edition includes a 20-page booklet featuring amazing unseen session photos recently unearthed, an introduction by Judd and Mia Apatow (Shad's grandchildren), an essay by British journalist Kevin Le Gendre and an exclusive interview of Cecil and Dee Dee Bridgewater by Paul Bowler. The album's original artwork as been recreated with original photos and the audio newly remastered from the original tapes.

When he recorded "The Loud Minority" in 1972 for Bob Shad's Mainstream Records, Frank Foster had been a solid sax player for nearly twenty years, playing with the likes of Donald Byrd, Thelonious Monk and The Count Basie Orchestra. For this special session, he gathered a stellar line up of old fellow musicians like Elvin Jones and Harold Mabern and young turks including Stanley Clarke, 'Hannibal' Marvin Peterson, Cecil and Dee Dee Bridgewater. Cecil Bridgewater remembers: "Frank, his thing was, any group that he had he wanted to give young musicians a chance." As usual for Mainstream sessions, the studio was booked for two days and the record was cut live, supervised by Bob Shad's trusted men, arranger Ernie Wilkins and engineer Carmine Rubino.

What came out of these two days is now the stuff of legend, four long funky jams fuelled by two distinct line ups playing simultaneously augmented with a powerful 6-piece brass section led by Foster. The album kicks off with the anthemic "The Loud Minority" (sampled by United Future Organization and DJ Shadow) with its long brass introduction followed by Dee Dee Bridgewater fiery poem, a politically charged statement expressing the fight for civil rights, before the whole group comes together for a funky explosion clocking at 14 minutes. "That was a period where we were really into our African consciousness" reminisces Dee Dee in the interview.

The album continues with the funky uptempo "Requiem for Dusty" while "J.P.'s Thing" adopts a slightly more spiritual feel, with a beautiful Fender Rhodes solo and Foster's soprano sax improvisation. The album ends with "E.W. Beautiful People", a long dreamy improvisation climaxing with Dee Dee Bridgewater's poignant vocals.

The Loud Minority is a key militant jazz manifesto and one of the landmark jazz funk albums of the 20th Century. The album was recorded in two days but its legacy lives on and still resonates loudly in the BLM days. Wewantsounds is delighted to reissue this major works with newly remastered audio and a deluxe 20-page booklet full of breathtaking unseen session photos and insightful texts telling the whole story of this superb album.

All-enveloping superbly alternative third take on 1988’s ‘Charmed Life’ album featuring previously unissued versions and a half dozen previously unreleased songs. Includes liner notes and an interview with Jad and David Fair.

Tomorrow’s World is the new album from synth-punk/darkwave artist N8NOFACE. Fully produced by Dave Sitek of TV on the Radio, the record also features contributions from Hudson Mohawke, Snow Wife, and Angélica Garcia.
On Tomorrow’s World, N8NOFACE pushes beyond the DIY spaces that formed him, delivering his most ambitious album yet: a collection of hard-as-nails songs that manage to be furiously catchy. In line with N8's cyberpunk aesthetic, Tomorrow's World's title comes from the 1960s British TV show of the same name about tech and science. N8 came across the show when he found a clip of Kraftwerk performing and breaking down their music on it, with Tomorrow's World being credited in breaking the band to a wider audience. In N8's words, the album sees him “imagining what the punks and the street kids might be listening to in 2077.”

And they can't. Tiny things are important - This house could be anywhere, These things could happen to anyone." With this reflection, Charlie Parr introduces the characters of Rooming House, a conceptual folk opera that chronicles the lives of Upper Midwesterners through his quietly raucous, deeply rooted, and empathetic blues. These are songs of lost memories and hardship, but also of the improvised acts of kindness that help neighbors make do. Joined by celebrated drummer and fellow Minnesotan Dave King (The Bad Plus, Happy Apple), Parr cements his role as one of the great troubadours of our time with an album that becomes its own small yet profound offering of care. * "A gritty blend of Delta blues and Depression- era roots music soaked in his hardscrabble voice. It's a sacred realm of folk wisdom and sorrowful vulnerability." - Rolling Stone * "Expertly-picked resonator guitar and lyrics that puncture the soul" - NPR * "Arguably America's finest living troubadour." - Songlines (UK) * Compelling character-driven portraits on a folk opera concept album that chronicles the lives of Upper Midwesterners through his quietly raucous, deeply rooted, and empathetic blues. Driving, groove- driven resonator guitar pulls you in. Working through the material realities of our contemporary moment but also weaving that narrative with his hypnotic sound reveals the near-mythic scale importance of these stories

A genre- blurring statement born from bedrooms and late- night studio sessions, the album fuses live drums, analogue synths, samples, and dense percussion into something critics struggled to pin down - baggy grooves meet electro-pop meets rave culture. Originally designed as an extension of the band's unpredictable live shows, Harder Than It Should Be captures a rotating cast of collaborators and a core four-piece that expanded into an eight-member spectacle. Tracks like Atom Bomb City, Cut It Loose and the cult single These Boys Are Athletes (featuring Bis vocalist Manda Rin) earned radio play and industry buzz - yet the album itself was never formally released. Recovered from early recordings and demos, this reconstruction reflects the original intent: a high- energy journey mirroring the band's live intensity. A document of a moment when MySpace buzz, indie discos and electro experimentation collided in small venues and word-of-mouth scenes.

THE EPIC RETURN TO MARS FROM RICK WAKEMAN A NEW PROGRESSIVE ROCK SUITE INSPIRED BY BOTH PAST & THE LATEST DISCOVERIES ON THE RED PLANET FEATURING LEE POMEROY, DAVE COLQUHOUN, ADAM FALKNER & MOLLIE MARRIOTT - RELEASED ON CD/BLU-RAY EDITION - INCLUDES CD OF THE STUDIO ALBUM + BLU-RAY DISC FEATURING DOLBY ATMOS, 5-1 SURROUND SOUND & HI-RES STEREO MIXES & THE MAKING OF THE 'RETURN TO THE RED PLANET' DOCUMENTARY + 20-PAGE PRINTED BOOKLET / CD EDITION / 2LP VINYL. Following his acclaimed 2020 album 'The Red Planet', Rick Wakeman makes a triumphant & inevitable return to Mars with 'Return To The Red Planet', a sweeping new progressive work that fuses science, imagination & musical virtuosity into one of the most ambitious recordings of his career

In their own words, it's "more focussed, paced and thought-out." Over 13 tracks that explore the horrors of the outside world and the internal minefield of the brain, Mould's debut also hits with the thrills of a brilliant live band who've distilled that energy to tape. The title comes from a line taken from the time signature-warping 'Emotive Language' that distills what it means to be a band in 2026 down to one concise sentiment. "This has always been the dream, playing with your mates and making good songs and getting to tour and make records," says Kane. "But the realities of trying to start a band now, when you're 30 and also have other goals at the same time are hard. We'd be doing it regardless, but you have to learn a lot. " This duality runs throughout the record, where tracks like lead single 'Float' speak of "strolling through hellscapes" of social media yet surround their frustrations with the sort of barbed, visceral musicality that sounds like if Interpol had grown up in gloomy, rain- soaked Britain. "You're endlessly doom scrolling, past a funny video of a sausage, and then there's Farage and then there's an ad for something," Joe says of the track. "That mindnumbing flashy distraction turns you into idiots."

In their own words, it's "more focussed, paced and thought-out." Over 13 tracks that explore the horrors of the outside world and the internal minefield of the brain, Mould's debut also hits with the thrills of a brilliant live band who've distilled that energy to tape. The title comes from a line taken from the time signature-warping 'Emotive Language' that distills what it means to be a band in 2026 down to one concise sentiment. "This has always been the dream, playing with your mates and making good songs and getting to tour and make records," says Kane. "But the realities of trying to start a band now, when you're 30 and also have other goals at the same time are hard. We'd be doing it regardless, but you have to learn a lot. " This duality runs throughout the record, where tracks like lead single 'Float' speak of "strolling through hellscapes" of social media yet surround their frustrations with the sort of barbed, visceral musicality that sounds like if Interpol had grown up in gloomy, rain- soaked Britain. "You're endlessly doom scrolling, past a funny video of a sausage, and then there's Farage and then there's an ad for something," Joe says of the track. "That mindnumbing flashy distraction turns you into idiots."

10" vinyl limited pressing (Pink vinyl) from this popular and quirky UK band who have released 3 CD albums and 2 10" LP's in the past

An evolution of her radio show, event series and Bandcamp community under the same name, this compilation plots a globe-spanning day-into-night voyage across 16 tracks, from artists, countries and scenes that have shaped Jamz' musical worldview. Each track, many of which are exclusive to this comp, tells a story of heritage and roots, whilst pushing boundaries and pioneering new sounds in their respective regions. From the Reunion Island to Latin America, East Africa to the Caribbean and Pacific, it's a 24-hour cycle moving from downtempo to dancefloor. The concept of Dance Around The World began in the summer of 2025 but has ultimately been a part of Jamz' journey in music since the beginning. At the centre of it is her 15-year career as radio presenter - her tastes evolving from the early days on Reprezent Radio, to a 1Xtra residency and now a Saturday daytime show on BBC 6Music. There has always been a desire to highlight music from underrepresented scenes to new audiences.

"Fragments of Light" documents seven years of creative dialogue between Purl (Ludvig Cimbrelius) and Ecovillage (Emil Holmström & Peter Wikström). Their journey began with a spontaneous meeting in Los Angeles during October 2019, evolving into a transcontinental process where Ludvig refined ideas during Sri Lankan train journeys while Emil and Peter furthered their ambient dreaming in northern Sweden. Sonically, the album inhabits a space between pop ambient and new age—combining atmospheric textural depth with accessible melodies, while also carrying forward the contemplative nature central to the artists' work and personal lives. Ecovillage, who has collaborated with many revered artists (such as Laraaji, Carlos Niño, and Fennesz), here pour their own deep sensibilities into the ever widening river of Purl—this initial, ambient-rooted alias of Ludvig Cimbrelius. Featuring original, hand-painted artwork by Steven Jackson and delicate mastering work by Ludvig for a special limited physical edition released via his own LILA लीला imprint, “Fragments of Light” carries the hallmarks of an ambient classic-to-be. The album fits naturally alongside works by artists like Brian Eno, Harold Budd, and Hiroshi Yoshimura, as well as contemporary artists who bridge the ethereal with melodic sensibility.

Josmans Mixtape-Klassiker Matrix erscheint erstmals als Vinyl auf Diggers Factory.
Die 2016 veröffentlichten neun Tracks verbinden introspektiven Rap mit melodischen Strukturen und prägnantem Storytelling.

Familiar. Usually reserved for things we think we know. A face, a place, a feeling, a record perhaps. Until, of course, they aren’t quite the same anymore. Or maybe you aren’t.
Jennifer’s debut album lives somewhere around there.
It’s a record about time, which is already a fairly ambitious subject considering nobody seems to have figured that one out yet. More specifically, it’s about what
time does to a person. The old versions, the new versions, and all the ones in between that you only notice when something suddenly brings them back. Someone you
haven’t seen in years. A room you used to know. A certain way the light falls. That sort of thing.

There’s a bit of a doppelgänger situation going on, too. Finding something completely new and somehow recognising it. Meeting yourself again without immediately realising who you’re talking to.
Which can be nice. Or strange. Usually both. The songs on Familiar sit comfortably with that contradiction. Looking backwards without wanting to go back. Missing things without necessarily wanting them
returned. Realising that people who once occupied most of your waking hours can become people whose address you don’t know. Meanwhile, some tiny, seemingly irrelevant detail from fifteen years ago remains perfectly intact.
Memory has its own filing system. Not a particularly sensible one.
Jennifer wrote a series of poems alongside the album. In them, familiarity appears in melting snow, rough coastlines, a kitchen already warm in the morning, somebody’s hands fitting into yours. Elsewhere she wonders about someone she
once knew everything about and now knows nothing about. They could live around the corner. They could live on another continent. They could, technically, be dead. Probably not. But that’s time for you.
Maybe Familiar is less about remembering who you were than realising you never entirely stopped being them. Things get added. Things disappear. Things come back looking slightly different.
And somehow, you recognise them.

Major figure in electronic music and pioneer of cosmic disco, Space was founded in 1977 by Didier Marouani.
"Magic Fly", its first single, embodies its futuristic DNA (a melodious, cosmic and disco-inspired composition). Following its worldwide success, 3 albums were released in 2 years :

- "Magic Fly" (1977), blending melodic richness with synthetic innovation, delivered both dancefloor hits and midtempo tracks.
- "Deliverance" (1977) is a typical 70s concept album, ranging from disco to cosmic electronic music.
- "Just Blue" (1978) is a more melancholic album featuring broader orchestrations and complex harmonies.
These 3 records sold over 10 million copies worldwide.

"The Art Of Space Disco (1977-1978)" presents Space's most iconic tracks and sums up two fruitful intense years of musical innovation.

- The Vinyl comes in as 1LP Crystal Clear. It includes 4 edits : Carry On Turn Me On, My Love Is Music, Deliverance & Running In The City.
- The Double CD features original versions . It includes 2 additional tracks (Symphony, Velvet Rape) and 8 remixes (never released physically before) produced in 2026 by artists whose musical careers were shaped by Space.
- CD & Vinyl Exclusive liner notes by Jean-Yves Leloup.
- All tracks have been remastered by Alex Gopher

Marlon Plein also known as Driven By Attraction, one half of Watching Airplanes is releasing a new solo EP on klakson! Watching Airplanes' 'blue is dope' was already one of the pleasant surprises featured on the klakson 20in20 compilation and the journey continues with 'Last Days Of Innocence'. 4 distinguished contemporary electro funk driven dance floor stompers with an ultra deep twist. Mandatory for serious record bags!!!!!!

Mit über 500 Mio. Katalog-Streams und einer kompromisslosen Mischung aus Punk, Rave, Metal und Breakcore haben Machine Girl eine internationale Kult-Fanbase aufgebaut. Das Fan-Favorite „The Ugly Art“ erscheint nun erstmals überhaupt auf CD und Vinyl – und damit erstmals regulär als physisches Album.

Mit über 500 Mio. Katalog-Streams und einer kompromisslosen Mischung aus Punk, Rave, Metal und Breakcore haben Machine Girl eine internationale Kult-Fanbase aufgebaut. Das Fan-Favorite „The Ugly Art“ erscheint nun erstmals überhaupt auf CD und Vinyl – und damit erstmals regulär als physisches Album.

„Christmas Cocktail Jazz“ verbindet Weihnachtsklassiker wie „I’ll Be Home For Christmas“, „Winter Wonderland“, „Let It Snow“ und „Baby, It’s Cold Outside“ mit entspannten Jazz-Arrangements. Mit dabei sind u. a. Stephen Kummer, The Lori Mechem Quartet, The Jeff Steinberg Jazz Ensemble und Beegie Adair. Die Vinyl-Ausgabe enthält zusätzlich Cocktail-Rezepte und eignet sich damit als stimmungsvolles Weihnachts-Geschenkprodukt.

Shadowman ist das gleichnamige Debütalbum des neuen britischen Trios um den Alt-Blues-Rock-Musiker John J Presley, den Produzenten Ben Hillier (zu dessen Referenzen Top-Acts wie Depeche Mode, Blur, Elbow, Villagers und Editors zählen) und Danielle Perry, Radiomoderatorin und Jury-Mitglied des Mercury Music Prize. Die Aufnahmesessions verliefen schnell und intuitiv: Kein Stück benötigte mehr als drei Takes, und das musikalische Spektrum ist weit gefächert und reicht von wuchtigen Gitarren bis zu cineastischen Orchestrierungen, von Bläserarrangements im Stil eines New-Orleans-Trauermarsches bis zu motorischen Drumcomputern, von vielschichtigen Gesangsdialogen bis zu Momenten von Post-Rock-Intensität. Die Studiomusiker Pete Wareham und Marcus Hamblett verliehen dem Werk mit ihren einzigartigen Saxofon- und Bläsertexturen zusätzliche Farbe und Tiefe. Für die technische Umsetzung zeichnet Dan Crook (Killing Joke, Black Grape) verantwortlich. Das Album erzählt Geschichten von Hochzeitssängern, der Intensität der modernen Welt und der Sommersonne.

Der US-Produzent Devonwho kehrt mit „TV2“ zurück und verbindet wonky Instrumental-Hip-Hop, G-Funk und tiefe, elektronische Klangwelten zu einem neuen Doppelalbum.


D.Side
Logo Etching

Pünktlich zum großen PROJECT PITCHFORK Jubiläum und der anstehenden Tour feiern zwei außergewöhnliche Veröffentlichungen ihre längst überfällige Premiere auf Vinyl: „First Anthology“ und „Second Anthology“. Zwei sorgfältig zusammengestellte Rückblicke, die nicht nur die Entwicklung einer der prägendsten Dark-Electro-Bands aller Zeiten nachzeichnen, sondern auch eindrucksvoll zeigen, warum PROJECT PITCHFORK bis heute nichts von ihrer Faszination verloren haben.

FIRST ANTHOLOGY Die ersten zehn Jahre einer außergewöhnlichen Band – von den visionären Anfängen bis zum internationalen Durchbruch. „First Anthology“ vereint die frühen Klassiker und Meilensteine von PROJECT PITCHFORK und dokumentiert den Aufstieg einer Formation, die den Dark-Electro-Sound nachhaltig geprägt hat. Ein eindrucksvolles Zeitdokument voller wegweisender Songs und zeitloser Hymnen.

Pünktlich zum großen PROJECT PITCHFORK Jubiläum und der anstehenden Tour feiern zwei außergewöhnliche Veröffentlichungen ihre längst überfällige Premiere auf Vinyl: „First Anthology“ und „Second Anthology“. Zwei sorgfältig zusammengestellte Rückblicke, die nicht nur die Entwicklung einer der prägendsten Dark-Electro-Bands aller Zeiten nachzeichnen, sondern auch eindrucksvoll zeigen, warum PROJECT PITCHFORK bis heute nichts von ihrer Faszination verloren haben.

SECOND ANTHOLOGY Mit „Second Anthology“ setzt sich die Reise nahtlos fort und umfasst die Schaffensphase ab 2002. Kraftvolle Elektronik, epische Klanglandschaften und eine beeindruckende Dichte an Klassikern machen diese Sammlung zu einem eindrucksvollen Zeugnis der ungebrochenen Kreativität von PROJECT PITCHFORK.

Einige Alben schlagen ein wie ein Blitz, andere entfalten ihre Wirkung über Jahrzehnte hinweg. Robert Lester Folsoms Kultalbum Music and Dreams, ursprünglich 1976 im Eigenverlag erschienen, feiert sein 50-jähriges Jubiläum mit einer besonderen Neuauflage.
Die 50th Anniversary Edition präsentiert das remasterte Originalalbum erstmals zusammen mit den bislang unveröffentlichten Reel-to-Reel-Demos auf einem Doppelvinyl. Geprägt von Folsoms Liebe zu den Beatles sowie Songwriter-Größen wie Neil Young, Joni Mitchell und Crosby, Stills & Nash, verbindet Music and Dreams zeitlosen Folk-Pop mit jugendlicher Sehnsucht, Melancholie und großer musikalischer Vision.

GEORG DANZER - "JAHRESZEITEN" - Das Beste aus fünf Jahrzehnten Anlässlich des 80. Geburtstags des großen österreichischen Liedermachers GEORG DANZER veröffentlicht Sony Music eine von Georg Danzers langjährigem Wegbegleiter und Manager Franz Christian Schwarz liebevoll kompilierte Best Of mit dem Titel "Jahreszeiten". Das auf farbiger 2LP sowie auf 1CD erhältliche Album umfasst Lieder aus jeder Schaffensphase des 2007 verstorbenen Künstlers, dessen musikalisches Erbe die österreichische Musik nachhaltig prägte. Das Albumcover setzt sich aus vier Portraits Georg Danzers zusammen, die von Nina Maron, Tochter des unvergessenen Sigi Maron, gemalt wurden. Franz Christian Schwarz beschreibt die Zusammenstellung der Best Of mit folgenden Worten: "Alle meine Lieder sind wie Sonne Mond & Sterne" ist der Beginn eines Liedes auf der CD-Single "Sonne, Mond & Sterne", die anlässlich der gleichnamigen DVD-Veröffentlichung von Georg Danzer erschienen ist. Diese Liedzeile gab auch den Ausschlag, die vorliegende Doppel-LP "Jahreszeiten" zu nennen, um die Bandbreite von Danzers musikalischer Vielfalt unter Beweis zu stellen. Danzer schaffte es wie kaum ein anderer Beobachtungen, Erzählungen, Gedanken und Emotionen in Worte und Melodien zu fassen. Mit über fünfhundert veröffentlichten Liedern für sich selbst und andere Interpretinnen und Interpreten zählt Danzer zu den produktivsten Liederschreibern des Landes. Einige seiner Lieder hielten auch in Schul- und Notenheften Einzug. Die vorliegende Doppel-Vinyl und die um einen Titel verkürzte CD-Version wurden eine spezielle Zusammenstellung, auf der neben bekannten Liedern auch solche zu hören sind, die entweder bisher unbekannt oder dem Zuhörer nicht so geläufig sind, aber das musikalische Spektrum des großartigen Poppoeten widerspiegeln. Sie dient zur Auffrischung von Erinnerungen ebenso wie als Anreiz, sich mit dem Werk Danzers vertraut zu machen oder es neu zu entdecken. Der Frühling ist für viele Menschen ein Zeichen dafür, das

„Oklahoma Toad“ von 1970 war Dave Frishbergs Debüt als Sänger und Startpunkt seiner gefeierten Karriere als Pianist, Sänger und Songwriter. Die Neuauflage präsentiert erstmals auf Vinyl den vom Künstler freigegebenen Producer’s Mix aller zehn Originaltracks. Eine Bonus-7" ergänzt „Peel Me a Grape“ und den bislang unveröffentlichten Schoolhouse-Rock-Outtake „A World Without Verbs“.

These two very different sessions involving John Surman and Mike Osborne have much in common. They both share a wonderful sense of liberation, of the joy of making music together and of finding collectively new ways of making jazz happen. And even more importantly, they speak volumes about the eclecticism and openness of British jazz in those years of the mid- to late-sixties and about the creative ambitions of John Surman. In the current absence in the market of his first LP, this is an essential purchase for Surman fans. Notes by Duncan Heining with suggestions from John Surman. These sessions have never previously appeared officially in any form.
Side One 26.2.67 - Mike Osborne (as), John Surman (ss, bs), Harry Miller (b), Alan Jackson (d) - Side Two 17.7.68 - Sterling Betancourt for Alan Jackson and add Russ Henderson (p)

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

Nach dem Demo MMXXV aus dem Jahr 2025 legt der in Mailand ansässige Musiker Gabriele Gramaglia das erste Album in voller Länge seines neuen Projekts Lugubrious Garment vor: „In The Wide Vale Of Uncreated Night“. Bekannt für seine Arbeit mit Cosmic Putrefaction, Vertebra Atlantis und zahlreichen anderen Bands im anspruchsvollen Extrem-Metal-Bereich, gründete Gramaglia Lugubrious Garment als Ventil für eine bösartige und instinktive Art von Death Metal, getrieben von unbändigem Momentum, rasender Aggression und kompromissloser Rohheit. Auf „In The Wide Vale Of Uncreated Night“ bricht dieser anfängliche Impuls in eine weitaus gewaltigere und voll entwickelte Bestie aus.

Lugubrious Garment behält das vielschichtige Songwriting bei, richtet diese Komplexität jedoch direkt auf das totale Chaos. Raue, abrasive Gitarren wühlen sich durch hämmernde Rhythmen, während gequälte Vocals heulen und kreischende Soli die zerrüttete Landschaft zerschneiden. Doch hinter dieser scheinbar zügellosen Gewalt verbirgt sich ein präzise konstruierter Angriff: Riffs kollidieren in halsbrecherischer Geschwindigkeit, das Tempo wechselt zwischen hämmernder Wucht und plötzlicher Beschleunigung, und Momente des klassischen Heavy und Speed Metals blitzen auf, bevor sie wieder verschlungen werden.

„In The Wide Vale Of Uncreated Night“ lebt von diesem Zusammenprall aus Präzision und Brutalität. Ein unaufhörliches Gewitter aus messerscharfen Riffs und wahnsinniger Energie, das keinen Stein auf dem anderen lässt.

"Beirut City Pop" vereint zehn Aufnahmen aus der libanesischen Privatpress-Kassettenszene der späten 1970er und 1980er Jahre. Diese Songs, die von kurzlebigen Bands und Studioprojekten entstanden sind, bewegen sich zwischen Disco, Pop, Soul, Jazz, Bossa, Rock und AOR. Viele davon wurden während des libanesischen Bürgerkriegs produziert, zu Hause kopiert und nur im Freundeskreis und in lokalen Gemeinschaften verbreitet, wobei einige ausschließlich auf handkopierten Kassetten erhalten geblieben sind. Viele der Musiker waren über Ziad Rahbanis "Bypass Studio" miteinander verbunden, arbeiteten projektübergreifend zusammen und teilten eine gemeinsame musikalische Sprache. Inspiriert von der Genremischung des japanischen City Pop spiegelt der Titel sowohl den Klang als auch den Geist dieser Aufnahmen wider. Mit Künstlern wie Stephanie Stephanou, Force, Games, Andromeda und Walid Itayim dokumentiert "Beirut City Pop" eine eng verbundene Musikszene, deren Kreativität und musikalische Kameradschaft trotz außergewöhnlicher Umstände Bestand hatten.

Mit „GAMER“ veröffentlicht CG5 sein bislang ambitioniertestes Album. Zwischen Pop, Rock und elektronischen Einflüssen widmet sich der YouTube-Star Gaming, Internetkultur und Fantasie und verbindet hymnische Hooks mit cineastischer Produktion und seinem charakteristischen, energiegeladenen Storytelling.

HoYoverse und Laced Records präsentieren den offiziellen Soundtrack zu „Zenless Zone Zero“ auf Vinyl – eine fesselnde klangliche Momentaufnahme von New Eridu, der letzten Stadt in einer Welt, die von den „Hollows“ verwüstet wurde.

Diese Sammlung enthält eine kuratierte Auswahl an Musik aus Versionen vor 2.0. Während das Cover-Artwork Agenten wie Yixuan, Miyabi, Anby und Nicole in den Vordergrund rückt, geht die Musik über einzelne Charaktere hinaus und fängt die allgemeine Atmosphäre des Spiels ein.

Die vom San-Z STUDIO kuratierte Trackliste vereint Charakter-EPs (darunter „pinKing“ und „Burning Desires“), dynamische Kampfthemen und den entspannten Groove der „60%“-Reihe.
Mit Genres, die von Metal und 90er-Jahre-Anime bis hin zu Lofi und EDM reichen, spiegelt sie die kühne und vielseitige Identität des Spiels wider.

In Kombination mit einem maßgeschneiderten Cover-Design ist diese Veröffentlichung sowohl ein Sammlerstück als auch eine lebendige Erweiterung des Zenless Zone Zero-Universums.

HoYoverse und Laced Records präsentieren den offiziellen Soundtrack zu „Zenless Zone Zero“ auf Vinyl – eine fesselnde klangliche Momentaufnahme von New Eridu, der letzten Stadt in einer Welt, die von den „Hollows“ verwüstet wurde. Während das Cover-Artwork Agenten wie Yixuan, Miyabi, Anby und Nicole in den Vordergrund rückt, geht die Musik über einzelne Charaktere hinaus und fängt die allgemeine Atmosphäre des Spiels ein.

Erhältlich als 2LP mit 25 remastereten Titeln aus dem Urban-Fantasy-Action Role Playing Game von HoYoverse - mit dabei sind unter anderem Mr.mo, Philip Strand, Sion Tsuji und YMIR, sowie als erweiterte 4 LP Sammler Edt. mit 49 Tracks, vom San-Z STUDIO kuratiert, die Charakter-EPs (darunter „pinKing“ und „Burning Desires“), dynamische Kampfthemen und den entspannten Groove der „60%“-Reihe vereint.

DOSSIER002 UVB 2éme nouveau dossier contenant des éléments anciens - DOSSIER 2 A1. Dossier 2-1 A2. Dossier 2-2 B1. Dossier 2-3 B2. Dossier 2-4 "Unshadowing a second dossier by UVB. Tar Hallow and System Revival offer to rebuild the events with the precision of an addict. After finding out that the system goes far, all ideas become evidence. All tracks recorded in Berlin between the years 2012-2014.

Teen of Denial: Joe’s Story is a freshly reimagined take on Car Seat Headrest’s beloved breakout, Teens of Denial, now celebrating its 10th anniversary.
On the original album, Toledo often used the name “Joe” as a pseudonym – a sly homage to Daniel Johnston. Revisiting Teens in the run-up to its 10th birthday, he felt called to give Joe a unique backstory and began tweaking the album to tell that tale. The group returned to the studio with Teens producer Steve Fisk to update accordingly – tweaking lyrics, revising arrangements, and recording new songs in the “Denial-style,” including ‘Optimistic Son” and the anthemic ‘Joe Drives Again’. The result retains Teens’ dark edge and youthful cynicism, but allows a bit of hard-won compassion into the mix.

From Will Toledo:
Sometime last year, it was suggested to me that we do something for the ten-year anniversary of ‘Teens of Denial,’ so I started looking back on the album to see what we might do. In spite of some of its songs being a regular part of my life for the past decade, it wasn’t a record I’d thought much about as a whole since it came out. Most of the songs I’d come up with over a two-year period at the end of my college days, when I was struggling a lot with cynicism and misplaced aggression. But by the time the songs were done, I was living in Washington, Car Seat Headrest was a full band with a record label, and in spite of the turmoil of the writing process, the final album was pretty enjoyable for everyone to work on.
This time, looking back at the songs, I started to feel like there was a story being told through the album, though I’d never imagined it as being a narrative work. On ‘Hi, How Are You?’ Daniel Johnston had used the name “Joe” in the titles of a few tracks –“No More Pushing Joe Around,” “Keep Punching Joe” – as a sort of joke, a stand-in for himself. I borrowed the idea, and the name, for titling songs on ‘Denial.’ This time, I started thinking - who is Joe? And how do the songs, in the way they’re sequenced on the album, reflect what he’s going through? As I started asking this question, a story emerged with startling wholeness and clarity, like finding the foundations of an ancient city while digging in my backyard. As I kept digging, certain songs from the original album fell by the wayside, as they seemed misplaced in this new context; others asked for new lyrics, to fully give birth to the story contained in the music.
The resulting work feels more like the album ‘Teens of Denial’ was meant to be. When you’re writing from a dark space, it’s hard to have perspective on where you’re at. This time, I could pull from memories of that darkness, and use the distance and additional perspective of ten years of life to shed a fuller light on the experience. Joe is a character going through some of what I experienced, and some of his own problems. Telling his story, and not just my own impressions of life at the end of the teen years, brought a new level of compassion and wholeness to the album. It gave us the opportunity to write new material in “Denial style”, embracing a snappy and simple(ish) rock aesthetic, and in an additional blessing, we were able to team up once with Steve Fisk, a joy and inspiration to get back into the studio with after ten years. We mixed the material at his house in Tacoma, and were constantly amazed at the lack of divide between past and present, as we’d punch in vocal overdubs ten years later into the same gear, hearing my voice now running alongside a 2015 Will. For someone coming across this album or this band for the first time, this is how they’d hear the record, not as a relic of the past but as a new piece. It was immensely rewarding to experience that on our side.

For anyone familiar with ‘Teens,’ comparisons with the original will be inevitable, but I do hope that as much as possible, people can come to this album on its own terms, approaching it as a teen, hearing the music and story for the first time. I believe music is an ongoing story, and albums don’t always do justice to its dynamic, ongoing nature. What gives it life is the new ears that hear it, and the new hearts that engage with it. I’m so grateful that this is a work that people have kept coming to, and I hope that this presentation does them honor with a fresh offering to the conversation. We’ve known that “it doesn’t have to be like this”; now we can wonder - “what it if were like this?”

Mit"Lach doch mal" legen Bärchen und die Milchbubis ihr zweites Studioalbum seit ihrer viel beachteten Rückkehr vor. Die Band, die bereits Anfang der 1980er-Jahre mit ihrer eigenwilligen Mischung aus Punk, Pop und scharfem Humor Kultstatus erlangte, knüpft dabei an ihre Stärken an und präsentiert zwölf neue Songs voller Energie, Haltung und Alltagsbeobachtungen. Zwischen humorvollen Seitenhieben, gesellschaftspolitischen Themen und persönlichen Geschichten entstehen Stücke, die gleichermaßen wütend, nachdenklich und verspielt wirken. Produziert von Tobias Levin (u.a. Tocotronic, Ja, Panik, Rocko Schamoni), verbindet das Album den charakteristischen Charme der Band mit einer zeitgemäßen Perspektive. Gastbeiträge von Bela B, Stefanie Schrank und den Feigen Flittchen unterstreichen die kreative Offenheit dieser Veröffentlichung. Lach doch mal zeigt eine Band, die auch Jahrzehnte nach ihrer Gründung unverwechselbar geblieben ist.

Mit"Lach doch mal" legen Bärchen und die Milchbubis ihr zweites Studioalbum seit ihrer viel beachteten Rückkehr vor. Die Band, die bereits Anfang der 1980er-Jahre mit ihrer eigenwilligen Mischung aus Punk, Pop und scharfem Humor Kultstatus erlangte, knüpft dabei an ihre Stärken an und präsentiert zwölf neue Songs voller Energie, Haltung und Alltagsbeobachtungen. Zwischen humorvollen Seitenhieben, gesellschaftspolitischen Themen und persönlichen Geschichten entstehen Stücke, die gleichermaßen wütend, nachdenklich und verspielt wirken. Produziert von Tobias Levin (u.a. Tocotronic, Ja, Panik, Rocko Schamoni), verbindet das Album den charakteristischen Charme der Band mit einer zeitgemäßen Perspektive. Gastbeiträge von Bela B, Stefanie Schrank und den Feigen Flittchen unterstreichen die kreative Offenheit dieser Veröffentlichung. Lach doch mal zeigt eine Band, die auch Jahrzehnte nach ihrer Gründung unverwechselbar geblieben ist.

Dolly TS welcomes Juri Heidemann! The versatile german producer is known for his modern stripped hypnotic grooves and unique rhythm textures. His Echo Mute EP strikes hard with a set of deep captivating, pumping, melodic, razor sharp techno!

* 2026 REPRESS *
Handed to the legendary Channel One Soundsystem in exclusivity over a year ago, Don Fe's Jericho has been on constant rotation around the globe ever since. Cut to dubplate by Mikey Dread this tune has been securely locked down and spun exclusively as Channel One's last tune at places such as Notting Hill Carnival and many of the soundsystem's international sessions and festival appearances. After a very patient wait Steppas Records are extremely pleased to be able to offer this plate to the world, pressed to 12' vinyl, featuring two new mixes of Jericho and two exclusive cuts of the equally powerful Weep Not.

UK born musician and producer based in Spain for over 20 years, Don Fe's passion since the age of five has been music, classically trained in piano, flute and theory and as from sixteen reggae. From his humble beginnings in the 80s with a 4 track and a TDK D90 his riddims and productions are now being played by the world's most respected sounds - Channel One, Jah Shaka, Aba Shanti, Iration Steppas and many more all over the world.

Zwei Jahre, nachdem das Debütalbum "Was für ein Glück" (2024) die deutschsprachige Indie-Szene aufwirbelte, Konzerte quasi über Nacht ausverkauft waren und sich noch vor der Veröffentlichung eine innige Fangemeinde bildete, ist es endlich soweit: das zweite Album von ENDLESS WELLNESS, "Domino Days" (2026), ist da! Musikalisch bleiben sich Milena Klien, Adele Ischia, Patrick "Pata" Huter und Philipp Auer treu, von mitreißenden Tanznummern bis feinfühliger Gesellschaftskritik ist alles dabei - und das nicht selten klug im selben Song vereint. Aber auch einige klangliche Überraschungen hält die Band diesmal bereit. ENDLESS WELLNESS entwerfen auf "Domino Days" (2026) andere, bessere Zukünfte und geben mit ihrem Album einen musikalischen Vorgeschmack darauf, wie sich diese anfühlen könnten. Sicher ist: Diese Zukünfte sind ein Ort für uns alle und sie haben die Musik von ENDLESS WELLNESS als Soundtrack.

Doctrine Audio launches with Wetworks’ The Spraypaint Audio EP, featuring two original cuts built around raw percussion, nasty grooves, and uncompromising dance-floor energy. The release is completed by powerful remixes from techno veterans Cari Lekebusch and Glenn Wilson, bringing their unmistakable production quality to a record rooted firmly in the tradition of timeless underground techno.