Suche:e control

Available again for the first time since 1970, Lobo’s melancholy masterpiece epitomizes the experimental evolution of MPB. With new liner notes by Edu Lobo.
Released in 1970, Cantiga de Longe is a defining record in the career of Brazilian singer, composer, and guitarist Edu Lobo and a significant contribution to Música Popular Brasileira (MPB). Created during Brazil’s military dictatorship, the album reflects the subtle, poetic strategies that artists use to convey meaning while subject to censorship. Rather than overt protest, Lobo expresses longing and introspection through refined musical language and evocative lyrics.
Musically, the album captures the sophistication of MPB at the turn of the decade. A foundation of acoustic guitar blends with jazz-influenced harmonies and elegant arrangements. The sound is both intimate and expansive: delicate vocal lines unfold over complex progressions, supported by understated rhythms, rooted in Brazilian traditions. Lobo’s controlled yet expressive vocal delivery keeps the lyrical nuance at the forefront.
A key element of the album’s texture is the involvement of Hermeto Pascoal. His imaginative instrumental contributions add subtle harmonic color and atmospheric depth, enriching the refined arrangements and enhancing the sense of openness.
Thematically, the album explores memory, distance, solitude, and time—personal reflections that resonate with the broader climate of uncertainty that dominated Brazil in 1970. This remains one of Lobo’s most mature recordings, exemplifying the emotional depth and artistic subtlety of Brazilian popular music in a creatively fertile era.

TAR047 Lenson Tar 47 TH Tar Hallow The drone dive-bombed its operator. The saboteur had been wiring nerves and blood vessels on the control panel. Lenson manages to crash the system. Returning 4 beats. We shall oppose the boundaries. A1 - Lenson - Firgot A2 - Lenson - Paladin B1 - Lenson - Plexus B2 - Lenson - Limits

*COMES IN GATEFOLD 2LP WITH LINER NOTES*

The premise of this compilation is simple: music we’d like to hear at the airport.

The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.

Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.

Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.

In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.

When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.

The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.

As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?

We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.

We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.

Put out on the vinyl circuit today on the occasion of Sascha Müller's 50th birthday is the "50 Years, Still Banging It Hard EP" by named long standing purveyor of quality electronic music, providing a set of three original tracks by Mr. Müller himself as well as three additional remixes on highly limited heavyweight splatter vinyl. With the opening cut named "The Real Acid Protector" Sascha Müller caters a straightforward and well peaktime oriented take on UK-infused Acid Techno backed by heavy claps and spiralling modulations followed by the floating hypnotic late night x early morning Acid(Trance) meditations and twisted machine choirs of "Acid Is Our Religion" whereas the subsequent "Defunction 303" brings forth enchanted Acid Breaks for experienced late night crowds. On the flip we see Citric Acid provide a remix version of "The Real Acid Protector" which speeds things up heavily for strobe-lit underground basement parties whereas the "Acid Is Our Religion *eVADE Remix" offers a playful and trippy little Acid journey for the deep late night jackers and the Flensburg-based DJ Nightnoise morphs "Defunction 303" into a stripped down, swinging and enchanted IDM x Minimal Techno affair whilst at the controls for his so-called 'Mental Atmosphere Remix'. Great stuff and a worthwhile birthday celebration indeed. Go check!

Review by baze.djunkiii / nitestylez.de / 2024.08.26

Limited pressing on splatter vinyl.

The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.

The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.

The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.

The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.

A glorious night of no particular significance, Totally, the new album by Baba Stiltz. Recorded in Helsinki in studio with a drummer and overdubs committed in 5 days. Ballroom- sink songs of loss, grief, long drives on the I-5, centralized acquisitions, and corrective conditioning towards the prolonged effects of computerized lifestyles.

Every song looks you straight in the eyes, crooked and veering towards a light fixture off the side of the mirror. Ambivalence and assertions track us, down some gauzy networked afternoon. Relatively, perfectly, three dimensional. Proportions as they appear to us from outer intuition. Sometimes meaning is evoked through pure nothingness. Concealed and nothing known. We have no need for any paradise informed by anything beyond what is directly in front of us.

Stone repetition thwarts the possibility of control and surrenders itself to understanding. Who are we, and what are we trying to understand? To understand being universally greater than being understood. There are soap operas everywhere for those with eyes to see. You don’t have to look as hard as we currently look. The dramatic is everywhere, we breathe it unintentionally, then we come to hate it. Haptic, embodied facts of a tedious life lodged in the jowls of history. Everything under the
sky being the best bedlam has to offer. Your family, your relationships, your memory. As you eat a burger you are reminded of every sharp protrusion and corner under the florescent lights, the same lights you see when you’re born, and although unconfirmed, when you die.

Some of these songs were written years ago, some recently. The bookshelf and television set come into full view. Women/men come and go. Stars and poseurs collapse under their alienated contradictions, the search for truth yields to continued gradients of probability (collapse). Spatial order maintains itself through perceptional feeling. Silence, singing along to Roger Miller, people entering and leaving, figures hovering over you in your dreams and waking hours. Cool and fun, Totally

Text by Barrett Avner

Repress

Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.

The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.

A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.

On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.

Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.

Adlibitum Tum Tunes is a division of MixCult Records

Blazej Malinowski - Nocturnal Shadows 

 You are never truly awake. You are never fully asleep. The mind, tangled and tireless, pulls you toward the dark. But the chain reaction stirs - a restless echo, thought after thought, unraveling stillness. Sleep falters. Unease breathes. Dream if you must. But sleep - Sleep well. 
The second release in the Inner Tension Extra series, Nocturnal Shadows, is a collection of ambient and experimental works by Blazej Malinowski. Created as a deeply personal exploration of atmosphere, emotion and inner states, the album moves away from the dancefloor into more abstract and immersive territories. Nocturnal Shadows marks another side of Malinowski’s musical language - slower, darker and more introspective, where texture, space and silence become as important as the sound itself. Artist: Blazej Malinowski Title: Nocturnal Shadows Label: Inner Tension Catalogue: InnT_Extra 002 Format: Double 12" Vinyl + Digital Genre: Electronic Style: Ambient, Experimental Inner Tension, 2026 W&P by Blazej Malinowski Mastered at Artefacts Mastering, 
 Copyright Control ©Inner Tension 2025 Cover Photo: Cosmodernism Worldwide distribution by Triple Vision

7CIRCLE - Fracture EP - DTR005 Limited Edition, Hand Numbered, 180gr Silver Coloured Vinyl 7CIRCLE returns with Fracture EP, the fifth release in the DTR series, exploring techno through structure, tension and controlled disruption. Following his previous work released through the UNTOLD SERIES on cassette, the new EP brings together two original productions and two remixes, each approaching the material from a distinct perspective. “Fracture” builds a rigid rhythmic framework driven by repetition and forward momentum, while “Broken Morning”introduces a more melodic and atmospheric dimension. Conrad Van Orton takes “Fracture” into darker and more forceful territory, intensifying its physical impact while maintaining its relentless drive. Answer Code Request reshapes “Broken Morning” into a deeper and more immersive interpretation, expanding its melodic and atmospheric elements while preserving its hypnotic core. Fracture EP is released as DTR005 on strictly limited, hand-numbered 180gr silver coloured vinyl, housed in a coloured sleeve.

From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra

From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra

Ariwa Sounds started in a front room in Thornton Heath, South London. Four tracks, some homemade equipment, and Neil Fraser, better known as Mad Professor, at the controls. That was 1980. Over four decades later, the label has more than 300 albums to its name and a legacy that stretches well beyond the reggae scene.

This compilation pulls twelve tracks from across the catalogue. Dub, lovers rock, heavy roots music, digital dancehall — it's all here. What ties it together is the Ariwa studio sound all going through Mad Professor’s desk.

Mad Professor is the backbone of it. Dub Me Crazy got him known and his production credits run from Jah Shaka and Horace Andy to Massive Attack, Sade and The Orb. The tracks here — the Dub Sampler, H2SO4, Disco Dude, Kathmandu Dub — show why.

The Jah Shaka collaboration Only One God is a landmark. Two of the UK's most important dub figures on one track. Dark and heavy roots music.

The Robotics appear twice — Hong Kong Flew! and Miss Mood. They are Ariwa's house band and have backed U-Roy, Lee Perry, Big Youth and more over the years.

Aisha closes things out with Can You Feel It. A track that crosses reggae, soul and boogie funk. Collectors have been after original pressings for years.

Starky Banton, Ragga Doll, Professor Doppler and Earl Lawrence complete the compilation. Exactly the kind of thing that reminds you how wide the Ariwa net was cast.

Sleeve design is by Trevor Jackson. One of the UK's most respected graphic designers. His work has defined the visual language of British music for thirty years. His involvement here signals exactly the kind of release this is. A serious serious catalogue and compilation of music, treated with the respect it deserves.

Ariwa sits alongside Greensleeves as the most important reggae imprint this country has produced. This compilation shows why.

Discrepant presents Fantarombo, a new album by Giovanni Lami.

While his previous works often moved through memory, residue, degradation, and dialogue with existing materials, Fantarombo takes shape as an unstable, bodily gesture.

Sound is not recalled or reconstructed, but triggered, pushed, and set in motion as an active force. Lami approaches modular synthesis as a physical, hands-on practice rather than a technical exercise or display of system mastery. The modular setup becomes a responsive body: something to be nudged, listened to, and occasionally resisted.

The pieces unfold through slow accumulations, unstable feedback paths, and carefully misaligned sequences. Rather than driving toward resolution, the music lingers in states of suspension, allowing small shifts in voltage, timing, and texture to reshape the whole. Chance and duration play a central role, with structure emerging gradually from repetition and drift.

There is an unmistakably organic quality to the sound: porous, tactile, and quietly resonant. A sensitivity to space, grain, and micro-movement, where subtle changes carry as much weight as overt gestures. On Fantarombo, process takes precedence over control, and the circuitry is allowed to speak back, resulting in music that feels intimate, unstable, and quietly insistent, revealing itself slowly through sustained attention.

A music of unresolved behaviours, suspended somewhere between obsolete digital optimism, imaginary systems and malfunctioning computational folklore.

2026 Repress

Few producers embody the soulful heart of House Music quite like Move D. Being a mentor of the label since day one, All That Jelly brings together two defining and desirable cuts from David Moufang’s recent history to one record.
'To The Disco ’77' 2013 original version for the A-side and the 2017 live rework finds its way to the B-side, both freshly remastered by the amazing and sought after Andreas Kauffelt. 'To The Disco ’77', opens with a clean, electro-styled beat that has a restrained power and a controlled tension that gradually blooms as the keys start to lift the mood into something lighter. When the iconic 'to the disco' vocal sample cuts through, it’s like a wink
from the past, threading disco’s golden exuberance through the disciplined swing of classic house. The track is a seamless blend of Funk, Disco, House and Electro with each element raw yet playful, woven into a groove that never stops urging you forward. It’s a masterclass in balance: sleek but deeply human, nostalgic but alive in the moment. It's like listening to the history of dance music in one special track.
'To The Disco ’77 (Move D Live Rework)' stretches the idea out into something even more fluid. The groove loosens, the funk rises to the surface and the extended runtime gives space for guitar and bass lines to share center stage, riffing around each other with organic warmth. The 'to the disco' mantra remains, grounding the track in its celebratory intent. It’s the kind of tune that closes a night perfectly and makes you not want to leave the dancefloor. Reissued together, these versions show Move D’s masterful ability to bridge eras and genres, reminding listeners that the dancefloor is as much about emotion as it is about motion.

Two tracks extending towards the 10 minute marker, very much in the unique style of Robert Mononom which was already being refined throughout his previous 3 EPs, now culminating in 2 excursions throughout deep hypnotic/psychedelic machine made sounds. A side is built on an aggressive triple and double beat kick drum with a very dubby "big room" presence upon which waves of other nuances in noise get overlayed slowly transforming the 165+ BPM experience throughout what sounds like an extended live mix. B side goes in more spacial/atmospheric direction where hi hats take control over the kick, capturing the witness in a whirlwind of dubbed out overlaying rhythmic patterns. A sound so raw and pure in its introspection, clearly showing Robert's capacity of developing an aesthetic of his own.

A kicking 4/4 french Gabber production. Dark and hard. Classic !

"With just a handful of teasing plays, the ID requests for this tune here have been snowballing out of control. And rightly so. The track is a coproduction of Keinemusik's own Adam Port and California based producer Stryv. Both met in Kreuzberg, exchanged some ideas and came up with „Move" - the undeniably most sensual and well… moving club anthem of the season."

Following the Home Listening Acid and House Compilation releases, Mark Churcher aka A-Eno-
Acid returns with his debut LP.

A raw transmission from the underground — deep, hypnotic and unapologetically acid. Rooted in the late-1980s sound of warehouse parties, pirate radio and underground dancefloors, this is an album built for DJs, dancers and heads who know. 808s, squelching 303s and hypnotic grooves — pure acid house energy.

Doppel-LP auf limitiertem ,Bullseye Splatter"-Vinyl. Seit 25 Jahren haben die Yeah Yeah Yeahs eines der beliebtesten Repertoires des modernen Rock aufgebaut. ,Hidden In Pieces Live at the Royal Albert Hall" versammelt Songs aus ihrer gesamten Laufbahn und interpretiert sie neu durch intime Arrangements mit Streichern, Klavier und Kontrabass. Aufgenommen an zwei Abenden in der Londoner Royal Albert Hall und angereichert mit Songs von Auftritten aus San Diego, Chicago, New York und Mexiko-Stadt präsentiert das Album Karen O, Nick Zinner und Brian Chase, die Songs aus jeder Ära der Bandkarriere in einem neuen Licht präsentieren. Entstanden im Rahmen der ,Hidden In Pieces"-Tour der Band und mit Arrangements des Musikdirektors, Arrangeurs und Dirigenten Jherek Bischoff, reicht die Sammlung von Klassikern wie ,Maps", ,Gold Lion" und ,Zero" bis hin zu neueren Highlights wie ,Blacktop" und ,Spitting Off the Edge of the World".

Isaac Kniveton (fka Keplrr) steps out with Daydreaming, a four track deluge of psychedelic club projections for Call Super and Parris’ can you feel the sun imprint.

Having boasted a notable reputation as Keplrr for labels like Control Freak and Midgar, Isaac Kniveton now embraces transition. On Daydreaming, his debut release under his own name, he maintains an unclassifiable sound with newer purpose; a sound that cascades in brighter colours. It’s a renewed sense of focus and subtlety that produces some of his most arresting work to date.

The ornate funk of opener Flutter angles for the wide-eyed, a cosmic stepper that pins tight drums to a weightless melodic base. Love Groove’s inebriated swing trips out further, a steady cut that binds vocals from GRACE founder Katiusha with entangled melodies. Symmetry’s wayward rhythm ups the ante with subtle rave tension, gently rising as its circular bassline swells. On closer Molecule, he locks in for an exploratory dive, offering shades of Detroit and twisted theremins.

A fascinating new era for Isaac Kniveton that finds solace in can you feel the sun’s forward-leaning club manifesto.

After a few years of silence, the London-based label resurfaces from the depths of the underground with a new split EP, the fifth in the series, merging nu-skool breaks and futuristic electro from the like of two firmly established talents.

The Brussels-based artist and founder of ZwaarteKracht Records - Arsonist Recorder.With standout releases on Diffuse Reality, 20:20 Vision and Specimen he takes control of the A-side to deliver two finely crafted electro gems. Spanish producer Sigma_ALgebra, co-founder of Tensor Norm and already featured on Science Cult, Elektrodos Recordings, Anti Gravity Device, Digital Distortions or Urban Connections is slamming the Side B with two experimental yet powerful electro assaults, unmistakably stamped.

Ranging from dancefloor-oriented electro to industrial breakbeats and lo-fi textures, this fifth chapter offers a deep dive into raw, hammering rhythms and pulsating grooves crafted for sweat-drenched, late-night sessions.

"After a couple of years shaping her sound in the studio, Budino lands the "Signal EP", a record that grew out of the desire to make music for her own sets. Citing the journey she aims to create in the club as a key inspiration, she certainly put in the mileage, with a booking schedule tirelessly spanning all points of the compass. Although this is her first label-released original record, it's no novice effort: ALT027 shows a confident artist, fully in control, with a distinct vision and the technical expertise to bring it to life. On opener "Stay More", a trippy trance rendition, the sturdy kick and distorted sines leave ample room for mid-bass acid lines to roam freely. In its company, a myriad of risers, gated white noises and delayed fills appear - signifiers within the artist's palette, as will become apparent. "Wireless" features similar crafty sub movement, but this time the drums are infused with conga patterns and other exotic slices of battery. Because of the zest these rhythms bring, the track can keep building for several minutes until a synthesised lead emerges. When that finally happens, the affair really takes off. On the other side, "Alpha 7" rides the call-and-response dynamics between different formant and deep-vibrating leads, its shimmering arpeggios and atmospheric pads adding colour. Closer "1031" provides an organic touch with its live guitar bass pulse and enigmatic, eerie vocals. Amidst ever-evolving micro-frills, a sturdy square lead thrusts it forward. The groove, again, is endlessly seductive. This characterizes Budino's skilled approach: it's often so hypnotic it feels unclear whether the themes materialise from the surrounding, seemingly fluid compositions - or dissolve into them. In any case, these are multi-dimensional cuts you will love getting lost in on a nearby dancefloor."

Jack Hamill concludes his trilogy of space saga albums with The World Overhead landing on Tiraquon Recordings on October 30, 2026, with a special limited transparent blue edition issued exclusively via Bandcamp from October 16, 2026.

Introducing the science fiction realm of Mikrosector-50 and Mr. 8040 on breakthrough electro funk 12-inch, The Love Quadrant (2009), Hamill signed to R&S Records with the double 12-inch "prequel", The Pathway to Tiraquon6 (2011), setting the stage for debut-album proper Welcome to Mikrosector-50 (2013), where Prince-inspired funk and sleek '80s synth-pop soundtracked Mr. 8040's hazardous journey home via heartbreak and drugs. By Love Beyond the Intersect (2019), Hamill's vocoded opus turned introspective, pairing gentle krautrock influences with themes of love, redemption and self-discovery, mirroring Hamill's personal life, sobriety and creative renewal. Through lockdown Hamill retreated to the countryside around Belfast to reacquaint himself with his machines, experimenting with driving acid and trance, and playing guitar, culminating in a fuzzy shoegaze meets banging IDM sound. Relocating to Amsterdam in 2024 and setting up a new studio, Hamill wrote the third installment of Mr. 8040’s saga, bringing the storyline – and himself – back to earth.

Presenting under the new moniker, Jack Tiraquon, and releasing via his own label, Tiraquon Recordings, The World Overhead is the sound of Hamill removing the guise of Space Dimension Controller and concluding the space-themed concept to move forward as the cinematic hardware musician he's always been at the core.

Turn back the clock to an unforgettable era, with 32 huge hits from 1980–1984 brought together across 2LPs.

LP1 launches with Wham!’s feel-good ‘Wake Me Up Before You Go-Go’, before Duran Duran’s ‘Is There Something I Should Know?’ and Eurythmics’ ‘Sweet Dreams (Are Made of This)’ capture the contemporary sound of the new decade. The Human League’s ‘Don’t You Want Me’, Soft Cell’s ‘Tainted Love’ and Heaven 17’s ‘Temptation’ continue an outstanding run of synth-pop classics, with Blondie and Frankie Goes To Hollywood completing Side One. Culture Club open Side Two with ‘Do You Really Want To Hurt Me’, followed by colourful 80s favourites from Adam & The Ants, Altered Images and Kajagoogoo. Haircut 100’s ‘Love Plus One’ and ABC’s ‘The Look Of Love’ lead into Dollar and Bucks Fizz, rounding out a side packed with pure pop nostalgia.

LP2 starts in suitably anthemic style with Spandau Ballet’s ‘Gold’, alongside Elton John’s uplifting ‘I’m Still Standing’ and Billy Joel’s ‘It’s Still Rock and Roll to Me’. The Cars’ ‘Drive’ and Bonnie Tyler’s epic ‘Total Eclipse of the Heart’ bring some of the decade’s biggest power-pop moments, while Laura Branigan’s ‘Self Control’ and Matthew Wilder’s ‘Break My Stride’ pave the way for Dexys Midnight Runners’ ‘Come On Eileen’. Side Two brings another burst of ’80s energy with Ray Parker Jr.’s ‘Ghostbusters’, Chaka Khan’s ‘I Feel for You’ and Billy Ocean’s ‘Caribbean Queen’. Diana Ross’ ‘Upside Down’ is followed by favourites from The Police, Pretenders and The Jam, before Roxy Music’s ‘Jealous Guy’ provides an elegant finale to this celebration of 1980–1984.

Soft Resonance is a 4-track EP focused on deep, driving techno with a strong sense of space and movement. The tracks are built to work on a system — controlled pressure, solid low end, and evolving atmospheres.
Each piece moves between elevation and grounding: moments of lift and openness contrast with dense, earth-bound grooves designed to lock the floor in place.
Rather than peak-time aggression, the EP relies on tension, resonance, and gradual progression. Rhythms are steady and hypnotic, allowing DJs to shape long blends and transitions. Soft Resonance functions both as a tool and a statement —
deep techno for late hours, focused rooms, and careful hands behind the decks.

25 Jahre nach seiner ursprünglichen Veröffentlichung bringt Warp Records Aphex Twins "Drukqs" erneut auf Vinyl und CD heraus. Damit ist dieses wegweisende Album aus dem Jahr 2001 erstmals seit Jahren wieder physisch erhältlich, was bedeutet, dass nun wieder alle Alben von Aphex Twin auf Vinyl verfügbar sind. "Drukqs" enthält einige der bekanntesten Aphex Twin-Tracks, darunter "Avril 14th" und "QKThr" und erscheint erstmals als Standard-Vinyl-Ausgabe.

Straight into fifth gear.

**2026 REPRESS. New Orange Artwork***

TRjj is made up of several people that meet regularly since 2016. It is practiced collectively with interchanging names and roles, so the full control about disguised authorship would be guaranteed. Everyone involved was set to meet half way. TRjj is a filter for the kinship of many. Its the freedom attained, once you have gotten rid of yourself. This heteronomic practice would be ideal to advocate against reasons which are claimed, biographies that are scripted, economies that are fueled and histories that are written to be recognized as something apparently truly valid and fully finnished.

Alveromancy is a method of divination performed by attending to and interpreting certain sounds, so that the loudness of sound is taken to indicate the severity of predicted event and from its proximity how soon the event will come to pass.
The label’s first divination session is made up of 4 selected cuts originally composed between 1994 and 1996 coming from Fred Exelby’s archives, bringing his All Broken solo project back to a renewed life more than 30 years after his last release.
Rooting its core into Canada’s 90s DIY electronic scene and drawing inspiration from themes such as anti-pop culture, shared knowledge, music programming and his formative frequentation of the seminal Rivoli in Toronto, this record might also be seen as a picture in time, a reflection of Fred’s world back then.

Mighty Music is proud to announce the release of "What Are We Waiting For", the brand-new studio album from Danish rockers ELECTRIC GUITARS. The band's sixth studio album marks a bold new creative direction, with drummer Morten Hellborn taking over production duties and leading Electric Guitars into fresh sonic territory. Recorded at Medley Studios Copenhagen, "What Are We Waiting For" is the first Electric Guitars album produced without founding members Soren Andersen and Mika Vandborg behind the controls. The final mix was also handed over for the first time, with former Duné member Ole Bjorn shaping the album's modern and forward-looking sound. Despite its contemporary production, the album features more guitars than ever before, while deliberately moving away from traditional blues-based and classic rock formulas. Every song was carefully evaluated, resulting in what the band considers its strongest collection of material to date.

This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.

Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.

Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).

Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’

Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.

"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis

Modeight returns with four new cuts from label head Silat Beksi, moving across broken grooves, stripped minimal house and hazy after-hours moods. A1 "Belpaese 3000" opens on a loose summer feel, built around off-centre drums, elastic funk phrasing and a surreal vocal line that feels half-sung, half-invented. Sampled folk details and a crunchy acid twist in the breakdown give the track its own oddball tension. A2 "Alpha Style" keeps things tighter and more direct, locking into a pumping minimal house flow with clipped modular stabs, warm female vocal phrases and light atmospheric drift. It is playful, controlled and built with the floor in mind. On the flip, "For The Heads" goes deeper into late-night territory - reduced, driving and sharply focused, with a rolling pulse and enough pressure to carry a room without overstatement. "Soft Collapse" closes the record on a softer axis, layering blurred vocal tones, textured percussion and a gentle after-hours motion that stretches naturally from the first warm-up hours into the early morning.

En Direct presents “No More Spectacles”, the fourth release from one of the finest electro EBM projects worldwide. With this new work, En Direct leans further into a sharper and more emotionally charged EBM sound while making clear they do not renounce their roots as the driving force behind the influential electro imprint Clear Memory. The record is infused with strong post- punk overtones, somewhere between the cold intensity of classic body music and the melancholic tension of post-punk reimagined through EBM structures. No More Spectacles delivers a sound that feels both immediate and deeply atmospheric. Drill-like kicks hammer through the mix while distorted basslines split the tracks wide open, locking into martial and commanding vocal lines that push the energy forward with relentless precision. Mechanical yet deeply human, the record balances darkness, groove, and emotional weight with remarkable control. Built for strobe-lit floors and restless bodies, “No More Spectacles” confirms En Direct as masters of a sound where post- punk sensibility and EBM functionality collide at full force. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

2026 Coloured Vinyl Repress

2026 Repress

Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.

Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.

Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.

Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.

In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.

Presenting ‘Nothing Is Lost’, A.Morgan continues his journey through high pressure, pummeling techno, this time on SIDE B. Proving the degree of his effect as well as his stylistic versatility, Morgan pulls different influences from afar to craft a record that pushes forward with a nod to the past through three powerful cuts and a remix by Yant. The EP starts with ‘Sucker Love’, appropriately named for its commanding rhythmic section while bleeding almost into house music with a hypnotic vocal loop. The track oscillates between stabs of cold dissonance and an extraverted flare, creating a natural intrigue throughout its progression. The follow up is Yant’s remix, a hyper-focused take on ‘Sucker Love’ with significant weight in the low end. Thundering percussion widens the dimension of the track, flicking through a brutal synth sequence over slithering hi-hats and claps. Yant reaffirms his understanding of uncompromising club music with this remix, creating a tunneling track fit for a concentrated peak-time set. Highlighting the B-side, A.Morgan takes back control of the record with the ‘Cloudfall’. Undulating the bass of the track, Morgan sneaks in a lurking melody that detunes throughout his arrangement, creating increasingly destabilized moments to pack intrigue in the cut. White noise whips around the production to create a storm of ambiance over a violently binary lead, underlining the undeniable effect of minimalism in techno. The EP concludes with the title track ‘Nothing Is Lost’, combining instructive percussion, biting chords, and cold vocals - as is Morgan’s custom. Here, the British artist brings a harmonic quality with the synth work that comes and satisfyingly completes the project. The embrace of the chord selection immerses the listener over a highly tuned rhythm, pushing ‘Nothing is Lost’ into a state of euphoria for the conclusion. Words by Noah Hocker