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Based on the Irvine Welsh novel of the same name, the film version of 'Trainspotting' directed by Danny Boyle became a cult sensation. Focused on the heroin subculture of Edinburgh in the 1980s, the film is occupied with surrealism, black comedy and features a great soundtrack. This album includes tracks from Iggy Pop, New Order, Blur, Underworld and many more.

To celebrate the 20th anniversary of the iconic drama, the original soundtrack is being reissued on CD and vinyl. Having been out of print for a long time, the 180g vinyl features replica original artwork that includes special silver spot finishes throughout - front, back, booklet and picture labels, as well as bright pantones. There will be a limited run on orange vinyl before moving to black once sold out.

Solkyss are back with a four track blender. On the A side are two thumping tracks from the Stockholm based duo Subdued Camel - one rolling deep and one soaring airily. On the B-side we find Solkyss regulars with two tracks that differ in character. Lonely Shark is an afterglow tune with a driving beat set under an experimental soundscape. From Ensam comes another sun struck, funky piece with that signature cinematic dreaminess he showcased on his debut EP Eee.

Dark Entries and Honey Soundsystem Records have teamed up again to release another volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. Perhaps one of the most revolutionary and influential people in the canon of disco music, Cowley created his own brand of Hi-NRG dance music, ''The San Francisco Sound.'' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create radio jingles and electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. He would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

The bass provides the base for layers of dreamy synths and deep claps -
the chords are so powerful and the vocals spinning round and round in
your head. Welcome to Pysh on Einmusika Recordings.
Take a breath for his EP - Take me back' - you will need it! Three tracks
full of spirit and emotions, summerbombs without any pale moments -
make sure your hands are free for those special, hypnotic and deep
moments of 'Take me Back' , 'Bijeda' and 'Eua' and don't forget:
With some sounds the summer never ends.

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

Lavender Networks is the debut release on Warp Records by Nu Age pioneer Fire-Toolz. The Maryland-born, Chicago-based artist also produces and engineers for other artists including No Joy’s latest album Bug Land (Pitchfork Best New Music). Lavender Networks features Zola Jesus, Brothertiger, Nailah Hunter, Lipsticism, Jennifer Holm and Sling Beam. Dream logic, laughter in tears and emotional truth through absurdity are explored on this cybernetic journey running at fiber optic speeds.

Lavender marble 12" vinyl




c A3. [CODENAME_SPARKLY LAGOON LAN LINE] (feat. Lipsticism)



[c] A3. [CODENAME_SPARKLY LAGOON LAN LINE] (feat. Lipsticism)

And Their Power Is Alive is a collaborative record between the Vashon Island based artist Faith Coloccia and Ashville based guitarist Tashi Dorji out September on Whited Sepulchre Records. Coloccia and Dorji’s longstanding collaborative relationship and friendship bolsters this massive conceptual weight –– the music is as stirring as it is gorgeous, as exploratory as it is surefooted. And Their Power Was Alive manifests and rises up as a profound iteration of the interrelatedness of the personal and the political, poetically. Coloccia’s plaintive voice, as always, is clear and stirring, intimate, close, and notably here recorded without reverb. She is steady and her lyrics echo dream phrases which visited her during major life shifts: a drive through the arid desert, explaining the concept of private property to the next generation, intergenerational knowledge and caregiving. All of this establishes a melancholia of reflections on land, history, scale. The first words sung on this record are: “Cosmic Horror! I am nothing, I am no-one” and even here, Coloccia is steady. Dorji’s glacial layers of distorted howling guitar create a rise and crest and fall –– symphonies of noise, roaring but distant like fire in the hills, interwoven with piano, organ, and tubular bells.

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.



That initial fearlessness has since fuelled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.



GoldFord’s touring trajectory has followed the music's rapid ascent. He began in intimate rooms like Los Angeles’ Moroccan Lounge and New York’s Baby’s All Right before embarking on a debut North American tour that sold over 25,000 tickets. This momentum carried over to his first UK and European run, which required multiple venue upgrades in cities like London and Manchester. The international momentum continued with an Australian debut in March 2026, alongside key festival appearances at Austin City Limits and Noah Kahan’s Out of the Blue. He is currently headlining 1,000+ capacity venues on the Space of the Heart North American tour, including sold out shows in historic rooms like The Fonda and Webster Hall, with upcoming festival slots at Shaky Knees and Oceans Calling.

The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.

This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.

The eponymous debut EP by London-based dreampop duo deary. The six-track release is available on 12" vinyl, CD with five additional bonus tracks/remixes and digitally. Their debut single 'Fairground', which came out at the end of January, was an instant classic. A mix of shoegaze beauty and trip-hop beats, it was amazing to see people falling in love with it in real time as it gained airplay around the world, a remix by Saint Etienne and hit number one on the Official Charts' vinyl singles chart. The EP includes the follow-up, the deliciously dark 'Beauty In All Blue Satin', and third single 'Sleepsong', plus three more tracks. The CD format adds a cover of Pretenders' "2000 Miles", the Saint Etienne "Fairground" remix and three more versions of that track (a.o. Live and Extended).

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash- based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/ thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dodheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dodheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, Ruim. Originally released in 2012, 'Out To Die' was the band's fifth full length release, & a continuation of the savage raw & ugly feast offered by its predecessors, containing eight relentless tracks in praise of the old thrash masters & early primal black metal forefathers of the 80's. 'Out To Die' features additional guest lyrics by Dirge Rep (Gehenna/Enslaved), & Fenriz, whilst the fittingly underground cover art was created by the prolific artist, Costin Chioreanu.

Ecstatic’s dreamiest cadets bliss out on a new album of acoustic and electric guitar, harmonium and synth tapestries, notably nestling a Romance cameo within a genteel toggle of atmospheric pressure.

Back on (side) road after releasing quietly acclaimed kosmische gem ‘I Had too Much to Dream Last Night’ back in 2021 and the lysergic lushness of ‘Listen to the Sky’ a couple of years later, Celestial suggest a more sublime return to earth with the shine-eyed wonders of ‘I Can Hear the Grass Grow’, an album that soothes to the supine in eight shimmering parts of pearlescent melodic motifs marbling harmonious backdrops intended to tenderly comb nerves straight.

The duo take their role as seductive sandmen with a curious melodic wit that leaves something to the imagination whilst nudging it along the album’s narrative thread. A courtly flamenco lick flickers in opener ‘The Endless Stair’, one of the most restrained recordings we've heard from the childhood friends; blessed with just a little reverb and echo, as if a mic's been lowered into some dimly lit basement while Celestial puzzle out mystifying, interlocking harmonies. It hits a mid-point between John Fahey's raga-inspired Americana and Vini Reilly's rain-soaked Northern blues - the emotion throbs from every note.

Celestial's music is never too polished, giving it the fuzzy, uninhibited flair of a long-lost mail order private press and instilling it with a level of humanity that's rare to discover in the new-new age. Even when mysterious labelmate Romance turns up to ornament 'Mermaid Boulevard' with backmasked electronics, it's their low-slung Ry Cooder-esque guitar/bass that provides the narrative anchor, while the title track and spongiform analog textures of ‘Song For The rainy Season’ dial it right down to a Harmonia-via-BoC pastoral sublime. Vini Reilly and Eno’s influence is most surely felt on the swaying elegance of ‘Sweet Sleep, Angel Mild’, with a central motif that lingers on the mind long after it’s stopped playing, whilst their closing couplet perfectly resolves the cycle with a melancholic kiss-off for the ages.

"Walking On Rubber Eggshells" is Yanik Soland's second release on Futura Resistenza. It is a seven-track journey through bowed koto, flutes, and modular synths, essentially Japanese court music if it had a late-night fever dream, filled with strange characters and ghosts on repeat. The album also serves as the backbone for his solo show at Kunsthaus Baselland, Switzerland, opening in September 2026.

FUNKSOULSEX is the debut album by London-based Liv East and the culmination of years spent refining a sound entirely her own. Blending R&B, funk, neo-soul and contemporary electronic influences, the album explores love, desire, intimacy, lust and connection in the modern age through smoky grooves, sensual vocals and vintage-inspired production. Featuring production from Brighton duo AMIcity and incorporating vintage equipment & textures, FUNKSOULSEX bridges timeless influences with a fresh, forward-thinking perspective, creating a sound that feels both nostalgic and unmistakably modern.

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal of city pop,
Japanese fusion has been rapidly rising since around last year.
This was the second release on AURA, the band’s own label established under Polydor, and their 13th studio album overall.
Because they had continued recording overseas for some time, they chose not to bring in guest musicians for this album, instead settling into their
home base at STUDIO JIVE and creating it solely with the band members.
As a result, the album offers a fresh and lively sound that returns to the group’s roots.
Alongside the live staple "SUPER SONIC MOVEMENT," it is also packed with new attempts, including the Japanese-flavored "Old Times," the technodriven big band-style jazz track "SOLID SWING," and the high-speed Latin funk number "RED ZONE."
This also became the final CASIOPEA album for the duo of Tetsuo Sakurai and Akira Jimbo.

Jason Dungan (aka Blue Lake) and Johan Carøe find beauty in the rhythms
and repetitions of domestic life for collaborative album, 'Routine' - out September 25

Copenhagen-based multi-instrumentalists Jason Dungan and Johan Carøe didn't set out to make an album. Instead, as the title 'Routine' suggests, they found their way there through a process of habitual making and listening, developing an intuitive musical language to reflect the dreamlike meanderings and creative play of life's quiet moments. 'Routine' blends pop orientated sounds, Avant-garde minimalism, folk and new age with the emotive depth of film-score.

Their meeting was not entirely coincidental. Previously in bands such as Squares and Triangles, Jason Dungan has since recorded multiple albums under the moniker Blue Lake, including the lauded 'Sun Arcs', pursuing his passion for self-built percussion and multi-string instruments. Johan Carøe meanwhile is a composer whose film soundtrack work has seen him collaborate with Angelo Badalamenti, Arp, and Sofie Birch, at whose Andersabo residency (curated by Dungan) the pair first met, resulting in the highly praised album 'Repair Techniques' written by Birch and Carøe.

'Routine' emerged organically over many years against the backdrop of great personal change. As Carøe said goodbye to his father and welcomed his first child, the pair sent each other fragments of melodies and patterns, working up responses when time allowed to assemble a sonic palette that combined acoustic instrumentation of zither, clarinet, cello, saxophone (among others) with the textures of tape, drum machine and Yamaha DX7 synth. Inspired by the vulnerability and DIY ethos of Arthur Russell's home recordings, the vision of labels like Disques de Crepescule, and the art pop, experimentation inherent to late '70s and early '80s recordings from NYC and Japan alike, Dungan and Carøe conjured new forms for their folk, leftfield pop and avant garde influences from the low-lit living rooms of Copenhagen and rural Sweden. "I'm very interested in the ways in which music and art emerge from our wider experiences as people, workers, parents and in the daydreaming activity of making music," Dungan explains of a process which allowed the duo's individual styles to drift apart and merge together seamlessly. "I think the process was definitely capturing moments in time, but over a long time," Carøe adds. "It was a bit like improvisation, but with time stretched."

The music floats with grace and humility, remaining sophisticated yet acutely introverted.
Whether on 'Clouds', where soft layers of zither and clarinet are moved along by a featherlight bass riff and the hypnotic clip-clop of the primitive groovebox, or the gentle grandeur of cello rising and falling through 'Routine 1', the album reveals itself over 10 instrumental tracks, evoking the ineffable calm that descends when the light changes and the world turns inwards. The act of time passing became a key creative ingredient to the evolution of the album, enriched with the exciting challenge to transform their passing rounds of home recordings via a slow release musical dialogue. Jason found creative moments in the twilight hours to lay down zither, melodica, acoustic guitar to name but few, while Johan utilising "line-in and headphones" would manipulate, stretch and pitch Jason's melodic pathways during newly born naptimes.

Carøe rhythmically plucks and slides the stringed cello instrument, leaving palpable foundations on 'Hymn' and 'Chords', in a treated, stylistic approach akin to Mabe Fratti, while 'Silence' draws to a close with a gospel touch. Dungan's harp-motion zither flourishes reveal more classical connotations on 'Reunion' with inspiration of Bedroom Community's Nico Muhly as organs rise with Moogs, culminating with a climatic choral outro from friend, mezzo-soprano Anna Caroline Olesen.

'Routine' then is their first collaboration, an album of deep and sincere reflection with inviting overtones that gesture with unrushed authenticity. A document of a new-found friendship that opens a window into the most personal of spaces, where the daily practices of music and life exist side-by-side to wondrous effect.

Meg Lui is a Northern California-born singer-songwriter, based in the Hudson Valley since 2015. In her songs, vivid lyrics and poignant melodies intertwine with a voice that feels both intimate and lasting. Through reflections on love, resilience, and the human experience, she offers listeners a window into her world.


A Californian by birth, Boston-educated at Berklee College of Music, musically raised in Brooklyn, and now settled in the Catskills, Meg has released music under the names M. Lui, Grover, and as part of the trio Ember Isles.
Her influences-ranging from Freddie Mercury, The
Cranberries, No Doubt, Sheryl Crow, and Bonnie Raitt-reflect her love for artists whose fearless individuality continues to shape her dynamic songwriting and performance.


Over the past two years, Meg has lent her voice to records including Sufjan Stevens' Javelin (2023), Sam Evian's Plunge, Denison Witmer's Anything At All, John Legend's My Favorite Dream, Keenan O'Meara's forthcoming record Bathe In The Everlasting Light, and Liam Kazar's Pilot Light. She performs regularly with Keenan O'Meara and Hannah Cohen and occasionally when the stars align, with the Hudson Valley country band Critter Bonus.

Belgian Limburg-based Cold Wavers Siglo XX, were a leading coldwave band, successfully touring around Europe,and active between 1978 and 1989. Often called the Belgian Joy Division with their dark sound they made quite an impression in their heydays. Their backcatalogue and their liveshows still sound today timeless and fresh.

The past year they started touring again and played an impressive and powerful concert on January 17th in Ancienne Belgique, Brussels. On the set list an exquisite selection of their best work. This live album captures that performance as if you were there yourself, and maybe you were!

Intentions, the debut of LA-via-Chicago beat maker, composer, and multi-instrumentalist megiapa, is a 40 minute master class in synth-heavy, jazz-informed Neo-soul.

megiapa's lush and emotionally layered album feels less like a collection of songs and more like a living archive of transformation. Across its warm synths, fluttering basslines, meditative voice notes and spiritual grooves, the Los Angeles-based producer, vocalist and composer maps the uncertain terrain between heartbreak, healing, fear, and surrender.

The album's title is genuine.

"The record is literally my intentions," she says. "It's a representation of my intentions, my dreams over the last five years or so."

Those years carried the weight of upheaval: the pandemic, the collapse of a long-term relationship, a move away from Chicago, and the disorientation that follows when the structure of your life suddenly disappears beneath you. But Intentions never sounds defeated. Instead, it radiates the quiet confidence of someone learning to trust herself in real time.

Intentions, the debut of LA-via-Chicago beat maker, composer, and multi-instrumentalist megiapa, is a 40 minute master class in synth-heavy, jazz-informed Neo-soul. megiapa"s lush and emotionally layered album, feels less like a collection of songs and more like a living archive of transformation. Across its warm synths, fluttering basslines, meditative voice notes and spiritual grooves, the Los Angeles based producer, vocalist and composer maps the uncertain terrain between heartbreak, healing, fear, and surrender. Featuring: Ahmad Muhammad (aka Kafari), Mekala Session, Blvck Spvde, Aankha Neal, Telemakus, Aisha Mars, 10.4 ROG

When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.

The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”

Saxophonist Patrick Shiroishi and drummer Jason Nazary present their new album, "here i am no i". The release marks their duo debut for We Jazz Records, adding to an expanding release catalog also including Nazary"s solo album Spring Collection (2021). "here i am no i" is a free-flowing body of work with continuous forward-motion, building on the acoustic duo setting and expands with electronics and voice landing somewhere beyond genre. Dedicated to jaimie branch, the album is a spontaneous product of trying to come to terms with the unimaginable loss of a close friend. Patrick Shiroishi is a Japanese-American multi-instrumentalist, composer & poet based in Los Angeles. His solo work has appeared on labels such as Sub Pop, Touch, American Dreams and Otherly Love. Jason Nazary is a Brooklyn-based drummer and producer, whose work has previously appeared on the We Jazz label on the solo album Spring Collection and on New Monuments by Amirtha Kidambi"s Elder Ones. RIYL: Patrick Shiroishi, Jason Nazary, Anteloper, jaimie branch, Y-OTIS, Koma Saxo, Jon Hassell.

Following the “immaculate and eternal soul” (The Guardian) of The Indications’ 2019 album, American Love Call, Private Space unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. Anchored by the high-low harmonies of Aaron Frazer (drums/vocals) and Durand Jones (vocals), and rounded out by Blake Rhein (guitar), Steve Okonski (keys), and Mike Montgomery (bass), The Indications are true masters at melding revival sounds with a modern attitude. The ten tracks across Private Space provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020.In conjunction with today’s announcement, they share Private Space’s lead single/video “Witchoo.” Reflective of the track’s vibrant, playful energy, the Weird Life-directed video features the five band members and close friends, transitioning from a live performance 
to an electric backstage soirée.“At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me,” says Jones. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness. From an Indiana basement (where the band recorded their 2016 self-titled debut LP as college students), The Indications have catapulted into the soul limelight and an international stage. Following their sophomore album American Love Call
 — a dreamy but pensive record of big string arrangements and sweet soul stylings — The Indications became revered by vintage music fans, the lowrider community and late-night television.

Led By Vultures, the new Los Angeles based heavy rock band fronted by Brian Tichy (Ozzy Osbourne, Whitesnake, Foreigner, Billy Idol, Gene Simmons, etc...)
has come together over the past year to record its powerful, uncompromising, undeniable brand of heavy music, and released their highly anticipated first single “Get It Right” in late-March. With that comes 12 songs dominated by loud guitar, massive drums, big riffs, killer grooves, aggressive vocals, and a feeling of flying through a tornado! With a pro home studio, Tichy started the recording
process and instead of trying to find the right players, engineers and producers, he chose to see it through on his own, and aim to make it feel and sound like a band that’s been together for years. Long time buddy/keyboard virtuoso Derek Sherinian (Alice Cooper, Dream Theater) lent a hand on a few tunes, including some co-writing and it was Sherinian who has been one of Tichy’s main friends, supporting him and telling him to stop talking and to get writing and recording!!
Led By Vultures is all about serving the song, the groove and the power it possesses. The recording process began as an organic, exciting, challenge for Tichy but soon became an all-consuming obsession to serve the songs and sounds with all of his being and abilities. This includes a rule of no samples or
auto tune! Led By Vultures; not just a band but a pure musical obsession!

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

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

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

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

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

“Environments 3” is one of ‘the great lost albums’ by The Future Sound Of London and these sessions have taken on almost mythical status with the group’s fan base. It was initially due for release after the 1993 release of the UK Top 10 album hit “Lifeforms”, but that didn’t happen. Instead, much later in 2010, it came on CD and download. Only now is it being released on vinyl for the first time..



This release also comes after the success of the first two installments which have sold steadily across the different volumes over the years and still climbing. This third volume is a sparse, highly minimal, and vivid departure from their dense 1990s period, and cited as one of the standout ambient releases of its time with FSOL in fine creative form. Reviewers at the time noted he complete absence of the heavy, spacey atmospheres of Lifeforms or the dark chaos of Dead Cities with delicate textures and moody variety throughout. While mostly calm and meditative, certain cuts evoke a desolate, lonely, or gently industrial feel.

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint.

Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it.

“The Sea of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace.

What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.

When Drop Nineteens disbanded in the mid-'90s, singer Greg Ackell decided he would never make music again. He wouldn't noodle around on a guitar in his basement. He wouldn't get a group of friends together just to jam. He was done with music entirely. Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, the group disbanded. They shared stages with Radiohead, Hole, Blur, PJ Harvey and Smashing Pumpkins. They went from being teenagers in Boston to mid-twenty-somethings with a few MTV videos, a couple BBC sessions and numerous festival appearances under their belt. So when Drop Nineteens ceased to be, Ackell felt content. He had the rest of his life in front of him to figure out what he wanted to do. Music was a closed chapter.That was until 2021, when a friend from the band's early days got Greg on the phone to suggest making some music together, just to see how it felt. Instead of shutting it down like he had been doing over the years, he decided to entertain the prospect. For the first time in nearly 30 years, he picked up a guitar with intent. He immediately called up Steve Zimmerman, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says, "But also the question came up: what does a Drop Nineteens song sound like today?" Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light was, of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell writes the lyrics, and he works with band members Steve Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country: Boston, Brooklyn, San Francisco, Los Angeles. When Kelley and Ackell first heard their vocals recorded together on the opus album closer "T", the chemistry was undeniable. Making music together felt natural, fluid, exciting.Hard Light is a romantic record in the literary sense. Beauty from longing; longing from beauty. You put the album on and want to be clad in a velvet dress sprawled across a fainting couch. You want to be holding someone's hand while you sit back in the tall grass. The guitars are expansive and expressive as ever. Ackell and Kelley's vocals are cool, crystalline, and luminous. "Gal" comes on like a dream. The vocals pour in when you least expect them, once in the middle, where Ackell delivers one of the strangest (and best) lyrics on the record, "And there were snakes/with cats at the wheel." Hard Light's first single, "Scapa Flow" is triumphant and an excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide cloud-like, floor toms shuffle and rumble in the background, searching. Ackell and Kelley's vocals are as toned as they are bound. Hard Light is every bit the ride that Delaware was, diverse in its sounds, with surprises at every turn. Drop Nineteens have brought clarity and cool in 2023 to the genre they helped create. A portrait of a band 30 years later, as talented and dedicated to their craft as ever. To put it more bluntly, they're at the top of their game.

The most beautiful thing we’ve ever released?

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. Listen, listen, listen...

A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works.

A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket.

Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times.

Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs.

"When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd’s Echoes, Yes’ Close To The Edge, Klaus Schulze’s Nowhere Now Here, Miles Davis' Shhh/Peaceful and He Loved Him Madly. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ Tales From Topographic Oceans and Tangerine Dream’s Zeit being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album." - Sam Grawe

Phaser For The Ocean Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset - and every colour in between.

La Isla Borrego gathers fragments and echoes from the last few years. Based on an invented dream, this is not a composition, but a sediment; not a field recording, but an archive of mistreated memories.

There is no map for La Isla Borrego. Instead, there is the architecture of an invented dream: an accumulation of acoustic residue shipwrecked on the conscious island of the last six years. Sounds are not emitted, but reflected and bounced.

A catalogue of biographical errors; a series of echoes salvaged from a dissolving timeline. Assembled between the 2020 static air of Lisbon and the 2026 volcanic humidity of Tenerife, the album operates under the "bamboo sun": a light that does not illuminate, but instead casts shadows over what was once real.

Power Electronics, for the most part, stays within its lanes of transgressive misanthropy, with a blackened explosiveness of tortured psyches and nightmarish reflections for the darkest facets of the human condition. Since Whitehouse introduced the phrase, concept, and framework to Power Electronics, its authorship has been primarily male. But within the past decade or so, a diverse web of voices - female, feminist, non-binary, queer - has thrust the PE aesthetic beyond that of the tortured male artist. As such, the notion that Power Electronics is synonymous with true crime worship, political ugliness, degraded sexual fantasies, and misogynistic perspectives has been somewhat dispelled (though many still pursue such ignoble agendas).

Enter Ester Kärkkäinen. For close to a decade now, she has developed her own voice, tread her own path, and exorcised her own demons in her unique take on Power Electronics, recording as Himukalt. A Power Electronics album based on the collapse of a relationship is probably not as uncommon as one might think. The sexual violence portrayed through Power Electronics may very well have had its origins in the heartbroken, scorned, or otherwise romantically mistreated. Kärkkäinen gives us two very different perspectives on these themes through two rather different sounding records. There is Last Wish from the plague year of 2020, and there is Torn Asunder: The Half Girl, recorded in 2019. Where the 2020 record is a long-form fever dream of the erotic gone horribly wrong and turned morally questionable, Torn Asunder is the more fractured, yet more concise extrapolation of Kärkkäinen's anger, horror, confusion, and depression from the end of a sexless relationship. She nakedly reveals a psyche that has been shattered, scarred, and broken as she alternates between deadpanned proclamations and barked sermons amidst the harrowing articulation of heavy industrial electronics, laced with shrill feedback tones, disjointed rhythms, and harsh noise outbursts. Torn Asunder stands as a significant milestone in Himukalt's catalogue, but remains one her most rarely heard documents given it was originally published as part of Helen Scarsdale's instantly out of print, 10 cassette On Corrosion boxset. With this vinyl reissue, Torn Asunder can get a proper re-evaluation as one of her strongest works.

Hailing from Las Vegas, Himukalt began in 2016 as a vehicle for Kärkkäinen's noise constructs and crude programming that found references to Puce Mary, Anenzephalia, and Atrax Morgue’s Mörder Machine. Since then, she has maintained a manic schedule with releases for Tesco Organisation, Cloister Recordings, Old Europa Cafe and her own EK Verlag. With the release of Torn Asunder, Helen Scarsdale terminates the mission for the On Corrosion reissue campaign.

In Arc, Yorkshire-born artist Kirk Barley explores alternative tunings and off-grid sequencing to shape fluid rhythmic and melodic systems that unfold into rich harmonic forms. Kirk’s fourth album under his own name and debut for Marionette continues his exploration of just intonation through a sparse but finely detailed palette of organic atmospheres, metallic shimmer and off-kilter rhythms. Across the record, glassy pads, gamelan metallophones, clarinet and guitar dissolve into fluid, dreamlike forms, suggesting vast coastal landscapes, charged air and the stillness that follows turbulence.

Drawing on the feel of sample-based hip-hop, the minimalism of Terry Riley and Jon Hassell, as well as dub techno and post-rock, Kirk brings together a range of influences in a sound that feels both intimate and expansive. After first hearing Terry Riley’s Shri Camel as a teenager, he became captivated by just intonation and microtuning, inspirations that have shaped his work ever since, from his earliest Bambooman releases to the present solo works and as on half of Church Andrews & Matt Davies. Arc is his first record to be fully rooted in alternative tunings from start to finish. Longtime friend and collaborator Matt Davies appears on Ion, Sundry, Ecstatic and Fret (Haar), where his finely detailed, ASMR-like muted percussion deepens the dialogue between tactile acoustic sound and Kirk’s luminous electronic palette.

Children, the one and only instrumental song that breaks all the rules, created by Robert Miles. The netherlands producers Tinlicker signed the new remix of Children.

Bio:
Tinlicker are Utrecht based duo Micha Heyboer and Jordi van Achthoven who have been crafting their computerized soul together since 2013. Before joining forces, they individually honed their skills as part of world renowned drum 'n bass act Black Sun Empire (Heyboer) and as producer, songwriter and music editor for many artists (Van Achthoven). Their previous experience was apparent from day one of their collaborative project, resulting in an impressive
string of highly mature and deeply emotive tracks. Since starting working together they’ve quickly become a household name in the world of electronic dance music previously releasing on Armada,
mau5trap, Anjunafamily and Astralwerks. They have released their first full length album 'This Is Not Our Universe' last fall and released their remix album this past spring from the likes of Dosem, Joris Delacroix and Grum.

The second album from Chicago based Brigette Calls Me Baby firmly establishes them as a band to watch. It's fair to say that they are a band that takes a lot of influence from 1980s UK indie in general and The Smiths in particular. Opening track 'There's Always' finds vocalist Wes Leavins channelling Morrissey's finer moments; and in particular those moments when Morrissey was in thrall to the crooners of the 1950s. This is particularly poignant in relation to the themes that run through the album, most notably the idea that certain moments in your history shape your very being for the rest of your life. Clearly hearing certain records has shaped Brigette Calls Me Baby as much as those all important life-change moments. That's not to say this a band that isn't ploughing its own furrow, songs like "Slumber Party" with its relentless bassline and dance influenced drums show a band that can mix its influences are create something unique. "I Can Take The Sun Out Of The Sky' might have those darkened crooning tones from Leavins, but they can't keep a lid on the sheer positivity that his band is generating, it has the feel of a real summer anthem.

includes DL code and insert with English & Japanese lyrics

The terms “nursery rhymes” and “children’s songs” may give rise to visions of idyllic innocence and the charms of childhood, but "Play Nursery Rhymes and Children's Songs" by Tokiyo Ooto & Orhythmo, their first release on EM Records, brings forth quite different aural imagery: this is an eerie and unsettling sonic picture book which hints at the darkness and mystery which form the hidden heart of many traditional songs and rhymes. The length of the songs provides a hint: each piece delves deeply into the latent uncanniness of the music, with superficial innocence gradually displaced as electric guitar, bass, field recordings and concrete sounds draw the listener into a chilly forest, while Tokiyo Ooto’s voice croons dark “lullabies for adults,” blending elements of folk, slowcore and dream pop. The Tokiyo Ooto & Orhythmo duo formed in 2023, releasing their first album in 2024. This release updates two pieces from the first album, and also includes a traditional Japanese children’s song from Shiga Prefecture and a masterpiece for children by composer Yasushi Akutagawa. Both musicians are Osaka-based: Ooto is a guitarist and singer-songwriter who also works in band and solo contexts; Orhythmo is a bassist with hardcore punk roots who focuses on improvisation, drone, noise and ambient sound. This release is available on CD, vinyl and DL; physical versions feature a printed insert with Japanese and English lyrics. The evocative cover is by Yoshitomo Ano.

Red Dwarf Star emerges as a striking new chapter for Coley Taylor of famous US/CH based MASERATI, a new project that captures a deeply personal arc that spans continents, relationships, and creative reinvention. Working largely alone, Taylor embraced a deliberately stripped-down approach, navigating unfamiliar technology with joyously unpolished determination. Much of the material was recorded in a modest, direct manner that prioritizes feeling over finesse. This DIY ethos is balanced by key collaborations that elevate the record's sonic depth. Drums were recorded in Los Angeles by Kellii Scott, whose distinctive style adds weight and clarity, while contributions from Allen Epley and Jenna Fournier introduce subtle vocal textures that expand the emotional range of the songs. Despite its introspective origins, Red Dwarf Star is not intended to remain a solitary endeavor. What began as a personal outlet is evolving into a fully realised band, with a lineup assembled to bring these songs into a more expansive, dynamic setting. This shift signals not only a new phase for the project, but also a broader artistic trajectory. Taylor is known best for his work with Maserati, a legendary outfit that leans into collaborative, rhythm-driven expanses rooted in krautrock and electronic psych. Through Red Dwarf Star Taylor's lineage of influence is felt, echoing the raw emotional immediacy of `90s alternative, post-hardcore, and the textured atmospheres of jagged dream-pop that bleeds. These are sounds that have lingered in Taylor's creative subconscious for decades, now resurfacing with renewed urgency. For fans of MASERATI, FAILURE, SLOWDIVE, QUICKSAND, SHINER, HUM Black or coloured vinyl LP or CD available

Yup, he’s finally done it. Afters years of releasing some of your favorite DJ’s dance floor ammo, Sweater has started his own label. The inaugural release on Sauna Records is produced by the new label boss himself and features 4 tracks he’s held close to the chest for a bit of time now while testing dance floors, tweaking arrangements, and getting these baselines just right to ensure a hot & steamy dance floor experience.

The A1 “Chemical Reactions” races out of the starting line with a swampy bassline peak time heater full of classic rave sounds contrasted by Sweater’s signature lush pad and lead work creating a mad chemist’s auditory dream. A2’s “Yaoguai” bubbles with a thoughtful and playful bounce over an ear-worm bassline. B1’s “On & On & On” is the proggy tech piece of kit you didn’t know you needed to ensure “that” moment in a set. B2’s “One Chord” lands the EP in a calmer manner, acting as a production experiment to see if Sweater could keep you interested with one chord playing in the background the entire track. The result is an introspective, eyes closed, thoughtful bop.

We hope you enjoy Sauna Records first offering and use this record for the physical and mental detoxification through sweat therapy on a dance floor near you.