Buscar:el

FOR THE FIRST TIME EVER: THE LONG-LOST RECORDINGS OF BIRMINGHAM ROOTS REGGAE PIONEERS NATRUS Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the archival release of newly-discovered recordings by Birmingham reggae band Natrus. Comprising members of the same family – seven in total – Natrus were a ubiquitous presence of the live circuit within and beyond the West Midlands in the late 1970s. Used as an ad hoc “Wrecking Crew” by local producer and promoter Toney Owens, NATRUS frequently provided live accompaniment to visiting Jamaican artists such as Sugar Minott, Johnny Osbourne and Freddie McKay. With an age span ranging from 9 to 25, NATRUS’S live work had to be structured around the educational obligations of their younger members. But when they weren’t playing live, they would frequently hone their own compositions at Owens’ studio in Saltley, Birmingham.

During their collective lifetime, NATRUS released one very limited edition single Mash It, with a stellar guest vocal from deejay Ranking Glad(Stone). Featured alongside Mash It on this release are a selection of recordings previously thought lost by the group who laid them down. They were only discovered after Toney Owens’ alerted Needle Mythology’s Pete Paphides to the existence of some 60 quarter-inch reels featuring all the music recorded by Owens over a period of ten years or so. When Paphides finally tracked down NATRUS rhythm guitarist Owen Taylor, he was stunned to hear of their existence. After a meeting with Taylor and his siblings, Needle Mythology collaborated with NATRUS on the restoration and remastering of the tracks featured on this, their very belated debut album. As well as Mash It and its original flipside Come From Africa, highlights on ‘NATRUS’ include a superb version of Slim Smith’s The Time Has Come and the deep roots entreaties of Freedom Inna Babylon, both showcasing the soulful vocal of lead singer Fitzdonald “Fitz” English and the almost psychic sense of musical attunement that percolates right down the the formidable rhythm section of Beverley Stewart (bass) and Clinton Gordon (drums).

On "Enduring Sonance," saxophonist and flutist Steve Wilson reflects on a lifetime of lyrical, deeply felt songs drawn from jazz, pop, and film—brought to life by an all-star ensemble featuring Renee Rosnes, Joe Locke, Jay Anderson, and Kendrick Scott. *** Certain songs have a way of lingering in the imagination—resonating long after we’ve last heard them, sometimes for a lifetime. On his breathtaking new album "Enduring Sonance," veteran saxophonist and flutist Steve Wilson celebrates the music that has left the deepest imprint on his musical life. “Some of the tunes on this record have stayed with me for, in some cases, over 50 years from the time that I first heard them,” Wilson says. “I wanted to put some music out there that people can connect with, no matter what kind of music they like.” Originally conceived as a ballads project, Enduring Sonance evolved into something broader and more personal. Rather than focusing on tempo or style, Wilson gravitated toward a sense of lyricism—music whose emotional clarity and melodic resonance endure across genres, decades, and listening habits.

To realize this vision, Wilson assembled a deeply intuitive ensemble featuring pianist and arranger Renee Rosnes, vibraphonist Joe Locke, bassist Jay Anderson, and drummer Kendrick Scott, with special guest Kevin Newton (French horn, Imani Winds) appearing on two tracks. Each musician brings a rare sensitivity to melody, texture, and space, allowing the material to unfold with warmth, restraint, and quiet authority. The repertoire draws from a wide musical landscape, including works by close collaborators and modern jazz masters Billy Childs and George Cables, alongside enduring songs by Michel Legrand, Quincy Jones, Milton Nascimento, Gino Vannelli, Bill Lee, and Eliane Elias. These are not standards in the traditional sense, but deeply personal selections—songs that have accompanied Wilson through different chapters of his life. The album opens with Childs’ “Quiet Girl,” its subtle rhythmic motion enhanced by Newton’s luminous French horn, and travels through cinematic ballads, soulful grooves, and reflective lyricism. The title Enduring Sonance speaks both to the lasting resonance of these songs and to Wilson’s enduring musical relationships—most notably with Rosnes, whom he has known for nearly four decades and whose sensitive arrangements help unify the album’s diverse repertoire. “These songs are the soundtrack of my life,” Wilson says. “I’d love it if listeners came away from this album with the same kind of enduring sound and feeling.”

Metric’s relentless pursuit of timeless songwriting and fiercely independent ethos have cemented their place as one of the most essential and ahead-of-the-curve bands of the last two decades. The trailblazing Toronto outfit was founded by songwriting and production partners Emily Haines and Jimmy Shaw, along with bandmates Joshua Winstead and Joules Scott Key. Though both were also founding members of the influential and sprawling Canadian indie rock outfit Broken Social Scene, Metric was always the top priority, and shortly after they met and cemented their mission, they left Toronto for New York in search of like-minded artists. There, they found themselves at the center of the city’s burgeoning indie sleaze scene alongside bands like LCD Soundsystem, The Strokes, TV On the Radio, Yeah Yeah Yeahs, Interpol.

Their 10th studio album Romanticize The Dive harkens back to the free spirit of that era, kicking off with Haines nostalgically imploring the listener to “let me take you back, it was the start of something...” before pulling back the curtain on a band that has consistently stayed true to each other and their ethics for decades. In a tribute to lifelong friendship, the album also reunites the dream team behind their 2009 breakout album Fantasies at Electric Lady Studios in New York. All at once a heartfelt reflection on their history, a celebratory gift to those who have been along for the ride, and an outstretched hand to new fans, Romanticize The Dive is another testament to the band’s unwavering love for each other and their insatiable desire to push themselves as artists.

Made in Hell is Hell Boulevard's new studio album, due for release in 2026. The band remains true to its distinctive style, combining dark gothic rock with cinematic orchestral arrangements and electronic elements to create a powerful, atmospheric sound. For the first time in the band's history, a Hell Boulevard album was mixed by Bengt Jaeschke at Chameleon Studios in Hamburg. The final mastering was done by Stefan Brown at the legendary Abbey Road Studios in London. This high-quality production chain marks an important step in the band's sonic evolution and gives the album a particularly striking and powerful sound aesthetic.

Rock legend John Corabi—renowned for his work with Mötley Crüe, The Scream, Union, ESP, and The Dead Daisies—steps into the spotlight with “New Day” his first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that is both timeless and deeply personal. The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now fully integrated into a rich collection of tracks that showcase Corabi’s commanding vocals, heartfelt lyrics, and masterful songwriting.

Throughout the album, Corabi is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen, providing drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; and Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy. A trip down to memory lane mostly with a nostalgic mood offering intimate everything that is in between acoustic moments to richly layered arrangements rockers: “New Day” is a journey through the heart of rock, infused with soul and blues sensibilities, and inspired by the melodic grandeur of early Boston and Queen. With a European tour planned for February/March 2026 and additional shows through late spring and summer, Corabi is poised to bring this music directly to fans, delivering both powerful live energy and emotional resonance. More than just a solo debut, “New Day” is John Corabi’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn.

“‘Round About Midnight At The Cafe Bohemia” von Kenny Dorham ist ein Blue-Note-Klassiker. Jetzt
erscheint der Konzertmitschnitt erstmals als Deluxe-LP in voller Länge auf Vinyl – in audiophiler Qualität!
Als Gründungsmitglied der Jazz Messengers war der Trompeter im November 1955 dabei, als Schlagzeuger
Art Blakey mit der Band im Café Bohemia bahnbrechende Live-Aufnahmen für Blue Note machte. Nur
sechs Monate später kehrte Dorham mit seinem eigenen Sextett in den berühmten New Yorker Jazzclub
zurück, um dort sein erstes eigenes Live-Album für das Label einzuspielen. Von dem über zweistündigen
Auftritt veröffentlichte Blue Note 1956 nur ein Album mit sechs Stücken. Elf weitere Titel erschienen erst
1984 auf zwei separaten LPs in Japan, die kompletten Aufnahmen gab es bislang nur auf einer im Jahr
2002 erschienenen vergriffenen Doppel-CD.
Jetzt erfüllt sich für Blue-Note-Fans ein Herzenswunsch: die Aufnahmen kommen erstmals komplett auf
Vinyl heraus - im Rahmen der audiophilen Blue Note Tone Poet Serie auf drei 180g-LPs im Deluxe-Tipon-Trifold-Sleeve, abgerundet durch ein großformatiges Booklet mit bisher unveröffentlichten Fotos von
Francis Wolff sowie einem ausführlichen Essay und einer Track-by-Track-Analyse von Syd Schwartz.
Parallel erscheint das komplette Konzert auch als remastertes 2-CD-Set in Jewelbox mit Booklet.

Backpackers rejoice as Ruckus release two more stone cold classics on 45 for the first time - coming hot from the NY underground of the 90s this boom bap bangers are certified

Zehn Jahre war es still um moskovSKAya - jetzt sind die Ska-Veteranen zurück. Die 9-köpfige Band steht für schnellen Ska mit markanten Bläser-Riffs, treibenden Rhythmen und einer explosiven Live-Energie. Mit Elementen von Polka bis Punk, von Reggea bis Jazz bringen sie ihr Live Publikum in Clubs oder bei großen Open Airs zum Tanzen...schwitzen garantiert! Bei unzähligen Auftritten, auch als Support von z.B. Bob Geldof, Manfred Mann oder The Specials haben sie das unter Beweis gestellt. Dabei stehen moskovSKAya weder für Mainstream, noch für Rebellion, sondern für Verbundenheit und der gemeinsamen Leidenschaft für die Musik, das Miteinander und dem unbeschreiblichen Gefühl, wenn auf und vor der Bühne alles zusammenpasst: die Baseline groovt, Gitarre und Orgel schwingen im Offbeat und die Bläser schieben nach vorne, bis das ganze Publikum mit dem Sänger um die Wette springt. Nun bringt die 1989 gegründete Band mit "Dancehall Schwof" ihr sechstes Studioalbum, das bei Sunny Bastards Records erscheint. Und moskovSKAya stellen mit den zehn Songs unter Beweis, dass sie nichts von ihrer Sound-Vielfalt und ihren knackigen Bläserriffs verloren haben...treibender Offbeat, musikalische Präzision, Charakter und ungebremste Spielfreude. Ska, wie er heute klingen muss - lebendig, auf den Punkt und jenseits von Nostalgie. Absolute 'Must-Dance' Anspieltipps wären unter Anderem 'Night Train', 'Let You Down', 'Eso Es' oder 'Only Once'. Hier bleibt kein Bein ruhig, Kopf und Körper wollen zwangsläufig in Bewegung gehen. Und wer damit nicht bis zum nächsten Live Auftritt der Band warten möchte, dem sei dieses Album klar ans Herz gelegt!

Zehn Jahre war es still um moskovSKAya - jetzt sind die Ska-Veteranen zurück. Die 9-köpfige Band steht für schnellen Ska mit markanten Bläser-Riffs, treibenden Rhythmen und einer explosiven Live-Energie. Mit Elementen von Polka bis Punk, von Reggea bis Jazz bringen sie ihr Live Publikum in Clubs oder bei großen Open Airs zum Tanzen...schwitzen garantiert! Bei unzähligen Auftritten, auch als Support von z.B. Bob Geldof, Manfred Mann oder The Specials haben sie das unter Beweis gestellt. Dabei stehen moskovSKAya weder für Mainstream, noch für Rebellion, sondern für Verbundenheit und der gemeinsamen Leidenschaft für die Musik, das Miteinander und dem unbeschreiblichen Gefühl, wenn auf und vor der Bühne alles zusammenpasst: die Baseline groovt, Gitarre und Orgel schwingen im Offbeat und die Bläser schieben nach vorne, bis das ganze Publikum mit dem Sänger um die Wette springt. Nun bringt die 1989 gegründete Band mit "Dancehall Schwof" ihr sechstes Studioalbum, das bei Sunny Bastards Records erscheint. Und moskovSKAya stellen mit den zehn Songs unter Beweis, dass sie nichts von ihrer Sound-Vielfalt und ihren knackigen Bläserriffs verloren haben...treibender Offbeat, musikalische Präzision, Charakter und ungebremste Spielfreude. Ska, wie er heute klingen muss - lebendig, auf den Punkt und jenseits von Nostalgie. Absolute 'Must-Dance' Anspieltipps wären unter Anderem 'Night Train', 'Let You Down', 'Eso Es' oder 'Only Once'. Hier bleibt kein Bein ruhig, Kopf und Körper wollen zwangsläufig in Bewegung gehen. Und wer damit nicht bis zum nächsten Live Auftritt der Band warten möchte, dem sei dieses Album klar ans Herz gelegt!

Lo Recordings is proud to present a brand new compilation by Russian electronic producer/composer OID, spanning 25 years of music that blends in and out of focus, inhabiting styles from dub techno to ambient, vaporwave, space gamelan, electronica and beyond. The album is both a retrospective and a celebration, a journey into a singular world that exists only in OID’s imagination, available digitally and on Ltd cassette from 24th April 2026.

“I first met OID in an illicit ‘Sky High’ bar in Moscow. It was a club for people who liked to jump from high buildings. OID played the piano whilst a tea ceremony took place. It was all like some kind of strange dream. The music he creates sounds like that kind of dream. Some of the tracks are reminiscent of the music released by ALEXANDROID on the ‘False Starts’ album way back in 2003 - a legendary album, in our minds at least. Alex tragically passed away in 2009, leaving only OID.

The music on this album is a testament to the beauty of friendship, the everlasting meaning of music and the light that shines forever.” -
Jon Tye, Lo Recordings

Zehn Jahre war es still um moskovSKAya - jetzt sind die Ska-Veteranen zurück. Die 9-köpfige Band steht für schnellen Ska mit markanten Bläser-Riffs, treibenden Rhythmen und einer explosiven Live-Energie. Mit Elementen von Polka bis Punk, von Reggea bis Jazz bringen sie ihr Live Publikum in Clubs oder bei großen Open Airs zum Tanzen...schwitzen garantiert! Bei unzähligen Auftritten, auch als Support von z.B. Bob Geldof, Manfred Mann oder The Specials haben sie das unter Beweis gestellt. Dabei stehen moskovSKAya weder für Mainstream, noch für Rebellion, sondern für Verbundenheit und der gemeinsamen Leidenschaft für die Musik, das Miteinander und dem unbeschreiblichen Gefühl, wenn auf und vor der Bühne alles zusammenpasst: die Baseline groovt, Gitarre und Orgel schwingen im Offbeat und die Bläser schieben nach vorne, bis das ganze Publikum mit dem Sänger um die Wette springt. Nun bringt die 1989 gegründete Band mit "Dancehall Schwof" ihr sechstes Studioalbum, das bei Sunny Bastards Records erscheint. Und moskovSKAya stellen mit den zehn Songs unter Beweis, dass sie nichts von ihrer Sound-Vielfalt und ihren knackigen Bläserriffs verloren haben...treibender Offbeat, musikalische Präzision, Charakter und ungebremste Spielfreude. Ska, wie er heute klingen muss - lebendig, auf den Punkt und jenseits von Nostalgie. Absolute 'Must-Dance' Anspieltipps wären unter Anderem 'Night Train', 'Let You Down', 'Eso Es' oder 'Only Once'. Hier bleibt kein Bein ruhig, Kopf und Körper wollen zwangsläufig in Bewegung gehen. Und wer damit nicht bis zum nächsten Live Auftritt der Band warten möchte, dem sei dieses Album klar ans Herz gelegt!

Fog On Mirror Glass introduces a new aesthetic amongst Donald Beaman albums. After four albums of varied full-band arrangements, this album emerged as an idea to present solo performances in conversation with full-band work. The bulk of the songs were recorded in the same place they were written: Beaman’s living room. Long time bandmate and producer Kirt Lind set up a makeshift studio at Beaman’s house to record the guitar parts in the same room where they were written, using the same guitars on which they were first played.

Unfurling with a measured pace, the resulting album combines elegiac lyrics with elemental arrangements played with an almost jazz-like reverential expressiveness, calling to mind the works of Cass McCombs, Will Oldham, and Jake Xerxes Fussell. Album opener “Glass Bottom Boat” sets the tone for the album with just Beaman and his guitar – written during the final months of a decade-long stay in New York City, the song was finished upon his arrival back in California. Meanwhile the title track, long a staple in live sets, lands near the middle of the album to recalibrate the mood, featuring the ghostly guitar work of longtime collaborator Ken Lovgren. “Old Universe” lifts things up a bit, propelled by the brushwork of drummer Michael Nalin and the jaunty bass playing of Kirt Lind. Finally, the album ends much the way it began, with Beaman and his guitar on album closer “Bamboo”.

“The dictionary definition of less is more.” - ---- Mojo
“His ability to carve universal empathy from mundane domesticity is remarkable.” - ---- RNR Magazine
“...a collection of evocative scenes and vivid emotions sung to sparse musical arrangements in Beaman’s distinctive sonorous tones” - Americana UK
“...pure and simmering, like a tattoo dedicated to a long lost friend, slightly fading from years in the sun, a memory that will always bring a tear in those quiet reflective moments.” - Psychedelic Baby Magazine

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /

Over the last decade, Portrayal of Guilt have solidified themselves as a pillar in the extreme underground music scene. With relentlessly consistent releases like 2023’s orchestral nightmare Devil Music, and year-round world touring with the likes of Deafheaven, Uniform and Pg. 99, POG have unquestionably carved their own path.
Defying accurate categorization since formation, the three piece blends elements of black, death and nu metal with crust, screamo, powerviolence and hardcore, with the bands forthcoming LP …The Beginning of The End” continuing to further obscure genre lines. The band takes the unhinged discordance to the next level on album standouts “Ecstasy” and “Human Terror”, with KoRn-like guitar dissonance, punishing death metal lows, and haunting spoken passages confidently riding the line between Life is Peachy and Scum.

With one exception, this disc is a recording of a concert given at the Ateliers Claus in Brussels in March 2024. It was preceded by three short hours of improvisation the day before and the day before that, during which ErikM and I made a series of careful observations of each other's playing. It must be said that neither of us had skimped on transporting a few cases, the contents of which would have allowed us to play several concerts in a row without ever repeating ourselves. Erik had brought his turntables to Brussels, as well as sophisticated electronic machines, accompanied by a virtually infinite sound bank. For my part, I had both a mechanical orchestra and a range of acoustic instruments at my disposal. In two sessions, we eliminated the superfluous and the ineffective. On the evening of the concert, it was through close observation-of each sound, each direction taken by one or the other, each intention, each break-that we composed this record in the moment: vigilant and scrutinising, like the pairs of eyes on the cover of this album.

SRC were no strangers to the Detroit Grande Ballroom live scene (that also featured The Stooges, MC5 & Alice Cooper), but SRC’s anglophile-leaning compositions made their records stand out from that pack. Beloved and championed by GENESIS' PETER GABRIEL & DJ JOHN PEEL, SRC were a band that sonically was a cross-section of the UK pop of The Zombies and the inventive, garage rock leanings of The Pretty Things (with a healthy dose of Blue Cheer thrown in!). For their second album, Milestones, SRC added new, ambitious sonic elements, creating a high-wire act that now encompassed funk, prog, and heavy rock. Anchored, as always, by the stun-ray lead guitar playing of Gary Quackenbush and keyboards of his brother Glenn, the band finds themselves still able to crush the listener with unforgettable hooks, but now with an added healthy side of sonic theatrics. This new re-issue joins our trio of other late 60s Capitol re-issues, including the original SRC S/T LP, the reverb-drenched debut masterpiece from Gandalf, and Europhia’s Abbey Road-produced genre-hopping A Gift From Euphoria. Now reissued from the original analog master tapes with the original cover artwork, exclusively for RSD 2026.

While both draw their influences from jazz, contemporary classical music, and extended improvisations, they use preparations and extended techniques to bring a sonic vocabulary to their respective instruments that sounds otherworldly. As vocalists, they blend these elements with singer- songwriter and pop influences to create long, flowing sonic arcs encompassing abstract soundscapes, simple songs, angular rhythmic bursts, and more. The result is touching, captivating, and never predictable for the listener. Voices and sounds merge into a unique musical world that is greater than the sum of its parts

"Let Me Trouble" by Deborah Haslam (a pseudonym for Italian singer Elena Ferre) is a true cult classic for
Italo Disco and Cosmic/Balearic enthusiasts.
Originally released in 1984, the track features produc(on by Gianfranco Bortolo, Mauro Farina, and
Giuliano Crivellente. It stands out for its hypno(c and more "down-tempo" atmosphere compared to
commercial Italo Disco, a quality that cemented its status as a staple in Afro and Cosmic DJ sets.
Beyond the original 1984 version, the track enjoyed a "second life" in 1987 when it was remixed with an
Afro-Funk vibe and featured as the B-side of the single "Hot Stuff."
Tracklist:

(DL code included)

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces...

Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often "set" in sober rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling.
If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and "plumb" Fabio Orsi's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.

An album that calls forth urgent desires, bold claims and the right to dream in the face of a reality that stifles hope.
Because Camp Claude never stands still, because the trio always wants more, it ignites with Diane's fire, Mike's freedom and Léo's conviction, and with NEVER SAY NEVER bets on 14 tracks that are electric, powerful and lightning-sharp.
Plural and perfectly eclectic, NEVER SAY NEVER inhabits an intangible musical and temporal space.
Like a mixtape, this new album reveals new sensations with every track, a prayer to be played on repeat, a kind of magic formula made of electro rhythms, retro synths and shoegaze guitars.

'The 1975 return new album, ‘Being Funny In A Foreign Language’, which will be released on 14th October via Dirty Hit.

The band’s fifth studio album was written by Matthew Healy & George Daniel and recorded at Real World Studios in Wiltshire, United Kingdom and Electric Lady Studios in New York.

Formed in Manchester in 2002, The 1975 have established themselves as one of the defining bands of their generation with their distinctive aesthetic, ardent fanbase and unique sonic approach.

The band’s previous album, 2020’s ‘Notes On A Conditional Form’, became their fourth consecutive No. 1 album in the UK. The band were named NME’s ‘Band of the Decade’ in 2020 after being crowned ‘Best Group’ at the BRIT Awards in both 2017 & 2019. Their third studio album, ‘A Brief Inquiry Into Online Relationships’, also won ‘Mastercard British Album of the Year’ at the 2019 ceremony.

Old Skool Hip Hop,Electro & Funk compilation.

Old Skool Hip Hop, Electro & Funk compilation.

Old Skool Hip Hop, Electro & Funk compilation.

Originally released on vinyl in 2012, H2DAIZZO quickly became one of the NYC duo’s most sought-after records, with original copies fetching over $100 on Discogs. Now widely considered a timeless club essential, this deep, minimal house cut returns via a long-awaited repress on Defected Records.

The release is further elevated by three standout remixes, each bringing a distinct perspective: Peggy Gou delivers a signature 2017 rework, slicing and reshaping the groove with her unmistakable flair; Butch injects his 2018 remix with driving, dancefloor-focused energy; and Josh Baker offers a fresh, contemporary take, rounding out the package with a modern club sensibility.

What is Tentacletek? Don't you know? Then listen to the new album by those fellow underwater friendos LOS PULPITOS. The two legendary music producers Felipe Salmon (Dengue Dengue Dengue) and Dirk Leyers (one half of Closer Musik and A08 formerly known as Africaine 808) have spent the last two years in seclusion deep down in their hidden diving station creating a bigger than life wave breaker album! From the very first track, gently gyrating, digitally processed, electro-acoustic sound tentacles spiral into your techno ears. These seducing limbs will suck you directly to all the festival dancefloors of the seven seas. Caribbean 3/4 disco polyrhythms meet state of the art techno UK dubby bass music.

"Mola Mola" floods your body as if you had fallen into the Mississippi and been dragged back to Atlantis by Drexciyans. While the wonderfully deep, monstrous dancehall-like bass of "Lab Lab" describes the metallic burst of a sinking spaceship. The cumbia-dancehall-drum&bass "ii ii ii" effortlessly equalises that pressure. In the Bermuda Triangle, a well-camouflaged "Antennariidae" fishes for its diving listeners with endless deep dub, giving them ice-cold shivers down their spine until all their legs and teeth are rattling voodooesque. "Sirens" sings of West London broken-beat strings while "Squidler" gallops fluidly on a seahorse down the Aquabahn straight to Detroit. "Catfishy"! rides in the wildest water bull in reverse-cowboy rodeo style. "Pannetronica" overflows like an Abyssopelagial pool?

LOS PULPITOS debut album is a wonderfully playful and stringent, excellently produced electronic concept album. The 10 tracks are unrivalled in their merciless yet extremely balanced bassiness.

(Mirko Hecktor)

Molécule is a French artist, musician and sound explorer whose radical approach consists in going on expeditions to record nature in situ and transforming these raw materials into music.

On board a fishing trawler in the Atlantic Ocean, he created 60°43' Nord using the brutal sounds of a raging sea and the daily life of sailors. In Greenland, he composed -22.7°C deep within the ice pack, capturing silence, polar winds and the cracking of the ice itself. In Nazaré, he immersed himself in the world of giant waves, translating the ocean's raw energy into sound.
Positioned at the crossroads of technology, environmental concerns and sonic creation, Molécule embraces an innovative and committed artistic vision. Constantly pushing technical boundaries, he designs and experiments with advanced recording and production systems to expand the possibilities of sound capture.
At a time when many artists are shaped by standardized formats, Molécule stands apart through an authentic, immersive practice rooted in real-life experience. His work is built directly in contact with the elements and the places he inhabits, resulting in a singular body of work shaped by the physical reality of the world. This project presents a selection of studio productions developed in parallel with Molécule's soundfield recording expeditions. Here, he unveils five unreleased tracks, revealing his techno DNA in its most rough and raw form.
Designed for the dancefloor, these high-impact productions feature sharp BPMs and stripped-back energy, released on Lumière Noire, the label founded by Chloé.

Jeff Cascaro's previous albums have already highlighted the jazzy side of his sound. With his latest record, ‘Broadway and Beyond,’ the artist has now gone one step further. Wonderful, airy grooves allow the singer to shine with the finest vocal nuances. Everything is relaxed and tastefully arranged, the songs have swing and are soulful. Once again, it is his incredibly versatile voice that evokes the atmosphere of the old New York nightclubs. Jeff Cascaro takes us to Broadway and shows us what else there is to marvel at beyond it.

180g Vinyl

The album features the group playing Gary McFarland arrangements of Kuhn's compositions, accompanied by a string section on several tracks, with Kuhn delivering stream of consciousness lyrics in an unplanned and largely improvised fashion in the studio. However, that wasn't the only surprising aspect to the session. Airto Moreira's appearance was more by chance than design, he having just popped by the studio, again, unplanned. The 'Steve Kuhn' album is all the stronger for these extemporaneous and serendipitous elements and showcases a band at the top of their game; tight and funky yet relaxed and flowing like molten gold, with stabs and washes of keyboard from Kuhn. Splashes of free playing enter the session, but the band never stray too far from a melodic and harmonious centre of gravity. Kuhn's deft keyboard skills provide melodic embroidery to the impressive rhythmic textures and tonal colours of Carter, Cobham and Moreira. As if the music wasn't enough, the album is given extra significance by the fact that, within a few months of the recording, McFarland would die after being mysteriously poisoned by methadone in a New York bar. In a sense, it is a valedictory album from McFarland, channeled by Kuhn and the band. It's among the hardest of Kuhn's albums to find so this reissue is most welcome. Luxuriate in the glow of Kuhn's Fender Rhodes and the pliant funky bass of Ron Carter; immerse yourself in the percussive interplay of Moreira and Cobham, a pairing that has rarely sounded so good. This is such an exquisite album; you will lose yourself in its delicate power and find yourself coming back to it again and again. "It's a beautiful picture, and it helped me to comprehend things, life a bit, you know. And as I'm thinking about it, I hope it does that for whoever listens to it too." - Thundercat, Musician Details: Heavyweight Vinyl 45 RPM Cut / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer / 30x60 cm insert printed on 300 gram DNS paper with interview to Steve Kuhn by Tony Higgins.

“100 M.P.H.”, Vardis' debut album, recorded live at London's Electric Ballroom and released in 1980 by Logo Records, is now considered one of the milestones of the immortal NWOBHM. However, Vardis' roots go back to 1977, when they formed in Wakefield under their original name, Quo Vadis. The trio quickly began recording demos, followed by their first 7“ EP ”100 M.P.H.," which was released in 1979 on Redball Records and is now considered a valuable collector's item. In addition to the raw, almost punk-like original versions of “100 M.P.H.,” “Blue Rock,” “Destiny,” and “The World's Insane,” “100 M.P.H. '79 Revisited” compiles five other early recordings by Vardis. The audio data for “100 M.P.H. '79 Revisited” was restored and mastered by Patrick W. Engel at his Temple Of Disharmony in September 2025. The CD version of “100 M.P.H. '79 Revisited” includes exclusive versions of “Blue Rock,” “Dirty Money,” and “The World's Insane,” recorded at Ohm Studios in July 1978.

Havukruunu's KUU ERKYLÄN YLLÄ reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their highly sought after 2021 EP KUU ERKYLÄN YLLÄ back on the market in April 2026. Statement from the band: "There has been a lot of rumors and mystery surrounding the album cover art for Kuu Erkylän Yllä EP. Why was the album cover art different on the cassette version and the Vinyl/CD version at the time of release? The most well-known theory is probably that the original cover art was destroyed with an axe, which is why "the blue cover" ended up only on the cassette release and the damaged artwork could no longer be transferred to the CD/Vinyl versions. We completely deny this rumor: "the blue cover" was not destroyed with an axe, but was run over by a car, and we also confirm that "the blue cover" was not even the original cover art. The original cover art has now been found from the archives and the reissue published by Svart has now been made for the first time ever with the cover art that the release was originally intended to have." The Quorthonian homemade assault Kuu Erkylän Yllä contains Havukruunu‘s earliest and, at the time on recording, latest compositions combined, reworked and finished finally to do justice for the original vision of the band. Journey to the pitch-black star-night of Erkylä, where the Night Tower stands ever vigilant under the sign….. Presented for the first time with the original, previously unused album art by Heidi Kosenius, Kuu Erkylän Yllä is available now on new limited vinyl colours and housed in a gatefold sleeve. Kuu Erkylän Yllä was performed during first four full moons of MMXXI by Stefa - Voice, Guitars, Synth Bootleg-Henkka – Guitars Sinisalo - Electric Bass Guitar Kostajainen - 125 INTERCITY EXPRESS

Havukruunu's KUU ERKYLÄN YLLÄ reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their highly sought after 2021 EP KUU ERKYLÄN YLLÄ back on the market in April 2026. Statement from the band: "There has been a lot of rumors and mystery surrounding the album cover art for Kuu Erkylän Yllä EP. Why was the album cover art different on the cassette version and the Vinyl/CD version at the time of release? The most well-known theory is probably that the original cover art was destroyed with an axe, which is why "the blue cover" ended up only on the cassette release and the damaged artwork could no longer be transferred to the CD/Vinyl versions. We completely deny this rumor: "the blue cover" was not destroyed with an axe, but was run over by a car, and we also confirm that "the blue cover" was not even the original cover art. The original cover art has now been found from the archives and the reissue published by Svart has now been made for the first time ever with the cover art that the release was originally intended to have." The Quorthonian homemade assault Kuu Erkylän Yllä contains Havukruunu‘s earliest and, at the time on recording, latest compositions combined, reworked and finished finally to do justice for the original vision of the band. Journey to the pitch-black star-night of Erkylä, where the Night Tower stands ever vigilant under the sign….. Presented for the first time with the original, previously unused album art by Heidi Kosenius, Kuu Erkylän Yllä is available now on new limited vinyl colours and housed in a gatefold sleeve. Kuu Erkylän Yllä was performed during first four full moons of MMXXI by Stefa - Voice, Guitars, Synth Bootleg-Henkka – Guitars Sinisalo - Electric Bass Guitar Kostajainen - 125 INTERCITY EXPRESS

Nickodemus is a globally respected DJ and producer who has been touring nonstop since the mid-1990s, consistently drawing capacity crowds at clubs and festivals worldwide. As a producer, he has released five acclaimed albums (Soul & Science, A Long Engagement, Endangered Species, Sun People and Moon People) and curated eleven volumes of the influential Turntables on the Hudson compilation series. His work bridges hip-hop, house, jazz, and global sounds, highlighted by collaborations and cultural milestones including the Jungle Brothers' genre-defining legacy and the enduring house-rap classic "I'll House You" with Todd Terry. Nickodemus' hit "Mi Swing Es Tropical" (with Quantic & the Candela All-Stars) has surpassed 50 million streams and featured prominently in the film Chef. He has received extensive international press (Billboard, Rolling Stone, The FADER, Paste) and widespread radio support from tastemakers such as Gilles Peterson, BBC 6 Music, KCRW, and KEXP.


b B1: Monk-One Remix feat. Monk-One


b B1: Monk-One Remix [feat. Monk-One]


[b] B1: Monk-One Remix [feat. Monk-One]


[b] B1 | Monk-One Remix [feat Monk-One]

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric.

The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present.

Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos.

The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

WRWTFWW Records is proud to present THE GENTLE PEOPLE - Soundtracks for Living (Expanded Edition), ?the ultimate Lounge/Chill Out classic from 1997, reborn! Available as a limited edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve.

When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely… blissful and heavenly," as one contemporary review put it. Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's Soundtracks for Living: a record that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People - Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink - began in early-90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. Their debut on Rephlex was the single "Journey", later blessed with a shimmering Aphex Twin remix that pushed their sugar-coated sound even further into outer space.

This Expanded Edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived.

Crucially, "Journey" appears here in its original version, Gentle Instrumental and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene.

Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe - a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

In an era that often reduces the 90s to big-room bangers and grunge guitars, Soundtracks for Living remains a quietly subversive reminder that the decade was also about imagination, camp, softness and utopian possibility. As later writers have noted, The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.
In conjunction with this release, WRWTFWW has also unearthed The Gentle People's Peel Sessions, a 4-track EP from their 1997 BBC on-air performance, available on vinyl for the first time ever !

M83 ist seit über zwanzig Jahren eine wichtige Größe in der elektronischen Musik und hat sich durch seine einzigartige Fähigkeit, synthetische Emotionen und cineastische Größe zu verbinden, einen Namen gemacht. Von Hurry Up, We’re Dreaming bis zu seinen zahlreichen Werken für den Film hat Anthony Gonzalez eine starke Verbindung zwischen moderner Popmusik und Autorenfilmen geschaffen.
Mit RESURRECTION präsentiert er nach A Necessary Escape seinen zweiten Soundtrack des Jahres. Dieses neue Werk begleitet den Science-Fiction-Film von Bi Gan, der im offiziellen Wettbewerb von Cannes 2025 ausgewählt und mit dem Sonderpreis der Jury ausgezeichnet wurde.

Das von M83 komponierte, interpretierte und aufgenommene Album umfasst 10 Instrumentaltitel
+ 2 Bonustitel, die luftige elektronische Texturen und orchestrale Kompositionen miteinander verbinden.

Inexplicably, yet true, Lexx returns to International Feel with a record that lives exactly where his music feels most at home. In Between State is a gentle navigation between memory and motion, between what has passed and what is still quietly unfolding. It is reflective without nostalgia, uplifting without force. A record that trusts the listener to drift.
Another Beach opens as a meditation on time and possibility. It looks back with warmth but keeps its gaze fixed on the horizon. A reminder that nothing is fixed, everything moves, and somewhere ahead there is always another sunset waiting on another shore.
Unison follows as a celebration of togetherness. Open-hearted and weightless, it captures the simple magic of shared moments with friends, music traveling across a room, and the quiet certainty that joy multiplies when experienced collectively.
The title track In Between State settles into that suspended hour where day dissolves into night. Inspired by early 90s electronica yet unmistakably Balearic in spirit, it drifts forward with a subtle psychedelic glow, neither arriving nor
departing, just perfectly hovering in place.
Closing the journey, Durchs Hinterland rolls steadily outward into open space. Born from long rides through backwoods and side roads, it moves with hypnotic momentum and the calm rhythm of forward motion. Endorphins rise, thoughts loosen, and the landscape begins to breathe with you.
Four tracks, quietly luminous. Music for transition, companionship, and the spaces in between. Lexx remains exactly where he should be.

With Zera, Len Faki returns to Figure with a tightly focused EP that moves between raw, driving functionality and more open, atmospheric moments. Across five tracks, he explores variations in groove, tone and energy, balancing direct, floor-ready structures with a more fluid and spacious approach.

Opening cut Maschine Girl locks into a restless, forward-driving groove. Crisp percussion and a tightly coiled low end create immediate momentum, while sharp synth fragments and metallic accents add a nervous edge. The track stays stripped and efficient, letting its steady build and controlled tension carry the energy.
Kobold follows with a darker and more twisted tone. Warped synth figures weave through a heavy rhythmic backbone, giving the track a slightly mischievous character while maintaining a firm, heads-down drive. The interplay between tonal movement and grounded percussion keeps the groove dynamic without breaking its focus.
Closing the A-side, Maschine Girl (Version) revisits the opener from a different angle. Elements are tightened and subtly rebalanced, shifting the emphasis further toward rhythm and direct impact. More reduced and tool-like in nature, it pushes the groove forward with a sharper, club-ready feel.
On the flip, Zera unfolds with a broader sense of space. Hypnotic synth movement and layered atmospheres sit atop a firm low-end framework, gradually building intensity while maintaining a deep, immersive flow. The track thrives on its slow development, drawing the listener further into its evolving structure.
Rounding out the release, Zera (Hardspace Mix) reimagines the original with a heavier, more physical approach. The groove becomes more pronounced and the rhythmic pressure more direct, tightening the structure into a denser, floor-driven tool that emphasises impact and propulsion.
With Zera, Len Faki delivers a cohesive and wide-ranging release that connects raw, driving tools with more expansive, early morning-leaning grooves — further reflecting the breadth and versatility that has defined his output in recent years.

Bright morning. To noon and into afternoon. To dusk and the inky night.

A major new exhibition of Mammo’s music spread across a triple disc, twelve track album. Call it a compendium or summary, a network of sparking neurons and painted landscapes in techno.

It folds in all the aspects of his other identities (self-)released over the last few years into an ultimate package ~ Heaven Smile, A∞x, CoA-A, E35, Puddlerunner; really any other project Fabiano has assumed an identity under. It all finds its way into the code and format of Lateral in some way or another.

Here the ground is given for the listener to hear just how much range and individual language there is in the music he’s been making. Fully immersive, inventive and detailed while also elegant and light of touch. It’s quite a package from one of the most talented techno producers right now, gesturing towards different genres and novel ideas in beautiful and intuitive fashion.

Break the pack down for your preferred disc of the day if you like. It’s designed with that modularity in mind. Disc one sparkles with vitality and a buoyancy. The middle disc has more drive and harder bites that you may want to amplify and split out to slot in a DJ bag. Sides five and six move into deeper, dreamier and more emotional techno in twilight. Each one is a little distinct and has its own orbit.

But give it your full attention on the turntable platter too. A listen from beginning to end. There’s lovely dynamics and interplays in the narrative, and its a remarkable new body of work to let your time dilate to.

Mastered and cut by Rashad Becker.

Art by Mammo.Works.

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

'Matsuli Music is proud to announce the first vinyl reissue of Philip Tabane’s Sangoma ("Spiritual Healer") since its 1978 release. Remastered from the original tapes with lacquers cut by Frank Merrit and pressed on 180g heavyweight vinyl at Pallas in Germany, this definitive edition re-asserts the power of one of South Africa’s landmark recordings. Featuring new liner notes by cultural critic Kwanele Sosibo and artwork restoration by Siemon Allen, Sangoma returns in full force through an extended Malombo line-up, fronted by Tabane's spellbinding guitar - ancestral, timeless, and unbound.
'Philip Tabane (1934–2018), the mercurial guitar genius of South African music, forged a sound that was as rooted in the spirit world as it was in daily life. With the Malombo Jazzmen of the 1960s, Tabane disrupted Western notions of “jazz,” bringing the resonant rhythm of cowhide malombo drums into the foreground. While outsiders and the uninitiated often reached for labels like “primitive yet sophisticated,” Tabane and his collaborators named it more truthfully: “music of the spirit.”
'By the time of Sangoma, Tabane stood at a crossroads. Fresh from a period of three years’ touring in the United States where he graced the Newport Jazz Festival, and played alongside Miles Davis, Herbie Hancock, Pharoah Sanders and others, he brushed off comparisons with characteristic self-assurance: “No, I don’t play like Miles. Miles plays like me.” Back home in South Africa, and with a newly signed international distribution deal with WEA Records, he harnessed this momentum into a larger band setting, capturing a rare intensity.
'The result was Sangoma—an album that bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks such as “Sangoma,” “Hi Congo,” and “Keya Bereka” are not simply performances but living testaments, songs that would remain in his repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move—urgent, restless, uncontainable. As he announces on the second track, “Maskanta wa tsamaya” (“something that kicks ass”).
More than four decades on, Sangoma is both an historical document and a timeless invocation. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures—raw, electric, and unbowed.'

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

'A few months after recording Us, Lancaster recorded Mother Africa along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.
On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of We The Blessed, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions.
When Gilson’s composition Mother Africa begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking… Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims… The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. We the blessed, is apt listening to this again today!'

Disco-house fusionist Risk Assessment rounds off another successful year with a third and final EP of 2025. Braithwaite deals a near perfect hand on 'Play Your Cards', where excerpts from a Loleatta Holloway/Salsoul Orchestra style maximalist disco hit rise above a chunky, bass-heavy groove, before reaching for elements from a jaunty, piano-heavy disco number on the rolling and ear-catching 'Juicy Smollett'. Elsewhere, 'Testing Testing' is a gargantuan disco-house extravaganza full of sampled horns, rubbery bass, stellar orchestration and urgent male vocals, while 'Baby Call Me' sees him re-imagine a smooth and colourful 80s soul jam as a tactile and funky house workout.

Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

For his new full-length on Second End Records, Lyon-based artist Jonnnah turns deeply inward. Conceived as a form of therapy, as much as a reflection and a testimony, the record retraces a process of introspection and confrontation with one’s own history, looking back at origins, DNA, and the invisible ties that connect us to our ancestors, while opening paths toward new connections.

The double-sided structure of the album makes this journey tangible. The first side lingers in uncertainty : opaque atmospheres, fragmented rhythms, and restless textures mirror the doubts, questions, and fragile states of self-analysis. The second side, in contrast, embraces clarity and resolution, dense yet luminous soundscapes where reconciliation and acceptance take shape, culminating in The Blue Comet, a piece charged with finality and revelation.

Opening with the multipart suite N-zero, symbolizing the beginning of therapy, and closing with O-one, evoking the soul’s original purity, the record traces a complete emotional and spiritual cycle. Between them, the third edition of Insomnia Never Ends once again portrays the struggle between sleep and the irresistible pull of musical distraction, a fragile tension that runs through the album as a whole.

The record condenses Jonnnah’s language into something rawer and more direct. Layers of dub and dub sonic resonate against ethereal ambient passages, while techno impulses maintain tension and forward motion. Each piece feels at once intimate and expansive, designed as much for solitary listening as for collective experience.

A new chapter in Jonnnah’s trajectory, the album is a document of transformation : from shadow to light, from questioning to acceptance.

Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.

Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.

Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.

Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”

- Nick Klein, January 2026

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

Minor Notes continues to explore and open up the world of Russia's underground electronic scene. The new vinyl release is a collection of original works by the highly experienced Kaluga-based music producer Chivee Gres. The record perfectly showcases the sound of Deep House and Jackin, showcasing Nikita's subtle sampling, masterful arrangement, and deep knowledge of production techniques. This music is made for the dancefloor: Side A is the perfect companion to any warmap, while Side B will brighten up primetime with its bouncy sound.

Argentinian newbie Guile bossing it on the debut proper.
 
Moving mad from the off. Real ones will have been acquainted via last year’s ‘Access’ EP cameo, otherwise, you better get to know. 

Fellow ‘Access’ alumni Boss Priester and DJ Life tore it up with their respective solo EPs, and not to be outdone, Guile is taking on all comers. Expect some of the rudest incursions on the label to date rubbing shoulders with unreservedly utopian gear. 

Some shades of Rolando, AKA The Aztec Mystic, as the anthemic potential shines through on ‘Funky Rain’. Elsewhere, he’s fronting up with Euro-centric party-starters, third portal acid prog and 808 breakbeat menace. Dancefloor wreckers front to back.
 
Having only emerged in 2024, the hit-rate over such a short period is nothing short of prolific. Big flex.

Latency presents Nexus, the new solo album by virtuoso Iranian percussionist Mohammad Reza Mortazavi, out October 4 on vinyl and digital. Covert art by Jordan Belson.

Mohammad Reza Mortazavi (b. 1979, Iran) is known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques and extended vocabulary. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instrument. Since then, his music has continued to evolve, embracing new forms and vocabularies beyond tradition.

Following his acclaimed 2019 release Ritme Jaavdanegi, Nexus marks Mortazavi’s return to Latency with a full-length album recorded entirely in Berlin. The record introduces new elements into his sound: voice, effects, and treatments never before used in his discography. These experiments serve not as departures but as further extensions of his ongoing exploration of rhythm, resonance, and transformation. The album opens with Zendegi (“Life”), a piece inspired by the chant “Woman, Life, Freedom.” Mortazavi broke down its underlying rhythm and used it to build a new compositional structure, offered as a gesture to his homeland and beyond. Nexus refers to a point of connection or intersection, a meeting place where different energies, times, and spaces converge and transform.

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

2025 European press. Originally pressed in limited copies on a Thai LP (2023) - Comes with download code.

‘Araya Lam’ marks the third album from The Paradise Bangkok Molam International Band. Following their releases ‘21st Century Molam’ and ‘Planet Lam’, the band delves even deeper into the roots of Isan music, collaborating with traditional musicians on vocals as well as instruments like the Pong-Lang, Pi, and Sor. Each element adds a fresh dimension to the band’s distinctive reinterpretation of Molam.

The album also sees the band expanding their sonic horizons — nodding to New York post-punk on ‘Zud Rang Ma’, and drawing inspiration from the musical traditions across the Indian Ocean on ‘Psych Lam Kor’.

By looking back to their roots while continuing to push boundaries, ‘Araya Lam’ represents the next chapter in the ever-evolving journey of The Paradise Bangkok Molam International Band.

Evighet proudly unveils its fifth release, EVIGHET005, featuring the Sky City EP by Dave N.A., the prolific producer from Yerevan known for his refined sound design and emotionally resonant compositions. With a catalog that spans labels such as Typeless Records and Uppers & Downers, his work continues to bridge precision and sensitivity, exploring the borders between rhythmic architecture and ambient introspection. On Sky City EP, Dave N.A. constructs an intricate sonic landscape where lush atmospheres coexist with fractured breaks and IDM-inspired rhythms. Rooted in the traditions of Jungle and Breakbeat yet unbound by genre, each piece reveals a narrative built from texture, movement and space. His music invites reflection while maintaining a dynamic forward energy, evoking the sense of motion through memory and dreamlike transitions. A central moment in the release is “Bloom”, which features a collaboration with Hayk Karoyi on flute. His performance adds an organic depth and melodic fluidity, weaving through electronic layers with warmth and clarity. The result is a delicate interplay between human breath and machine pulse, blurring the boundary between the natural and the synthetic. Sky City EP marks a new chapter for Evighet, reaffirming the label’s dedication to sound as a medium of exploration and storytelling. Through this release, Dave N.A. captures both emotional immediacy and compositional detail, expanding the label’s evolving narrative with a vision that feels deeply personal yet universally resonant.

e A5 Harbour (At Hotel2tango) [feat. Elizabeth Glenn-Copeland]





[e] A5 | Harbour (At Hotel2tango) [feat Elizabeth Glenn-Copeland]

2026 repress

On his sixth album, The Arc of Tension, the Berlin based DJ, label owner and producer OLIVER KOLETZKI yet again presents his remarkable vision of contemporary electronic music, while he assumes the role of a storyteller. The Arc of Tension speaks to its listener as a singular, self contained work, which communicates by way of its natural flow and arc of suspense. The latter is mirrored not only in the multifarious narrative of the actual album, but can also be understood as evidence for its creator's long musical history. While Koletzki focussed on a diverse range of vocal collaborations on his previous long players, he now moves on to a different form of storytelling, rooted in the quiet confidence of a veteran musician, as well as the hectic lifestyle of a globally in demand DJ. The Arc of Tension is the psychonautic journey through the various continents of Oliver's consciousness. The quiet chirps and warbles, which initially unfold on the opener 'A Tribe Called Kotori', thus act as a loose associative bridge to 'Der Muckenschwarm', Oliver's big breakthrough hit of 2005. The first minutes of the album leave no room for doubt - we are immediately locked into an autobiographical world of sound that knows how to captivate from the get go. The dreamy, exotic timbres of the downbeat tracks 'By My Side', Tankwa Town' and 'Byron Bay' penetrate our minds in a subtle yet purposeful manner. But soon the tension tightens and organic sounds one by one evolve towards a sterner, electronic cadence.

2026 Repress

Juan Atkins and Moritz von Oswald - the two indispensable protagonists of the Electric Garden - plug back into the wilderness.
Transport' - the new full length effort of the Borderland collaborative project - brings together a new set of studio-refined sequences aimed at colonizing some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not 'on the grid'.

The Detroit-Berlin axis triangulates to a third point which, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz which cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making.

The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for sixty seconds in every minute.

[c] 3She Lives (In a Time of Her Own) [mono Version]
















[t] 10Postures (Leave Your Body Behind) [stereo Version]

Limited 12" sampler for the forthcoming Curses compilation: As much musical memoir as compilation of often impossible-to-find tracks, 'Next Wave Acid Punx TROIS' has joined the dots between industrial, post punk and EBM from the 70s and 80s with the emerging rave scene of the 90s and proven that this spirit is still alive by unearthing some of the best unreleased dark disco, techno and electro produced today. Extended versions only!

Gal Costa’s 1969 self-titled album stands as one of the
boldest statements of the Tropicália movement. Blending
psychedelic rock, experimental arrangements, and Brazilian
popular music with fearless originality, the album showcases
Costa’s powerful, expressive voice at its most adventurous.
Featuring contributions from major Tropicália figures such as
Caetano Veloso and Gilberto Gil, its mix of sweetness and
sonic daring helped redefine contemporary Brazilian music,
cementing Gal Costa as a groundbreaking and influential artist.

Following the recent worldwide success of “Otsukare SUMMER,” the analog edition of HALCALI’s debut album “HALCALI BACON,” originally released in 2003,
is now set for release 22 years later. The name “HALCALI” comes from combining the two members’ names, “HALCA” and “YUCALI.”
The album was fully produced by O.T.F, the production team of RYO-Z and DJ FUMIYA from RIP SLYME.
“HALCALI BACON” includes a diverse lineup of tracks such as “Otsukare SUMMER,” produced by Tomoyuki Tanaka (FPM)—a song that has surpassed 4.5 billion
views on TikTok and is generating global buzz—and their debut track “Tandem.” After more than two decades, the HALCALI wave is once again ready to sweep
the world

Freaky Chakra hails from San Francisco and is a local legend with a vast discography that has roots back in the early 90s and fetches mad prices on second-hand markets. This is a new one from him that shows off his take on tech, starting with 'Discotechno' which is a bubbly number with rubbery bass and aquatic synth globules. 'Foreign Element' is a heavy dubby stomper with a fat-ass groove and 'Space Jam' then takes off with more cosmic synth smears and delicate motifs drifting above a more muffled rhythm. 'Backflash' shuts down with a wonky back and forth and more late-night grit. A fresh sound from this venerated veteran.

The year that NOW’s story began, and where we started our ‘Yearbook’ series back in 2021. An incredible year in Pop music, and a fabulous selection of the years’ hits have featured on that first ‘Yearbook’, and on the ‘80-84 Final’ as part of our appreciation of 1983. Those tracks were generally the bigger hits of the year, with their Chart achievement a factor in their inclusion. However, that’s not the whole story, and our celebration of 1983 wouldn’t be complete without shining a light on some of the year’s singles that have been compiled much less frequently over the past 40 years. Welcome to the THE VAULT for 1983…Some of the tracks were Top 40 hits, some missed the Chart completely, and some were huge in the U.S. and not in the U.K. – but all are part of the wonderful Pop story of 1983. Released as 80 tracks across 4-CDs, available as a standard 4CD and as a a special edition 4CD in ‘hardback book’ packaging featuring a 28-page track by track guide, original singles artwork and a quiz and 45 tracks across 3-LPs, pressed on stunning translucent red vinyl -

Francesco Skip's debut EP delivers a focused, club-ready sound that draws from contemporary UK club music while embracing the simplicity and raw energy of early 2000s techno and dubstep. Each track explores a different underground electronic direction and highlights include 'Ocean Explorer' with late-90s techno vibes and swingy dub stabs, 'Kronplatz', which is a dark, bouncy bass journey, 'Hondra B' a stripped-down jungle and drum & bass tool, and 'Wrong Glidez', a post-dubstep homage with 2-step drums. This great debut is also well mastered with bass depth and mid and high texture for loud deployment on peak-time systems.

With our 12th anniversary approaching, we invited Dutch artist Human Space Machine, who delivered Perception Field, a five track EP built around the idea that perception is never fixed.
Across a wide tempo range, the record explores how the same material can shift depending on focus and context. Foreground and background exchange roles. Subtle textures and negative space shape the impact as much as the main rhythmic elements. Perception Field approaches club music as something fluid and responsive, where meaning forms through the act of listening itself. It’s an impressive showcase from an artist that shows once again he’s capable of merging layers of his excellent sound design with deeper feelings.

With our 12th anniversary approaching, we invited Dutch artist Human Space Machine, who delivered Perception Field, a five track EP built around the idea that perception is never fixed.
Across a wide tempo range, the record explores how the same material can shift depending on focus and context. Foreground and background exchange roles. Subtle textures and negative space shape the impact as much as the main rhythmic elements. Perception Field approaches club music as something fluid and responsive, where meaning forms through the act of listening itself. It’s an impressive showcase from an artist that shows once again he’s capable of merging layers of his excellent sound design with deeper feelings.

Transversales is very glad to announce the release of « Mémoire Magnétique, vol.3 » spanning 1967-1971, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.

The third volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

Remastered high-resolution audio transferred directly from the original master tapes.
Deluxe Edition with OBI

DETROIT PRESSED, OFFICIAL RE-MASTER

Classic Juan Atkins electro tracks from 1985 and still stunning. On the flip the D-mix from NO UFO'S.. Must have!!

2026 Repress

The Aztecs return. UR receives the message. The Aztecs and the Hermanos make the transition from the guitar player. Natives didn’t take the robbery of Mother Earth’s land or her culture lightly. A new warrior culture, the Electronics did not back down when a war broke out with the programmers over this production. Those who know were avenged for the transgression. Strong beautiful music with a stronger beautiful spirit. A first in the history of music: big can lose. Hear it and feel the power of the cats that still prowl the streets of Detroit.

BODYSYSTEM is the solo project of Finlay McCarthy (synth player for Glasgow art-pop innovators Walt Disco). "Flowerbed" is his debut EP on KIN-TU Records, blending melodic electronics, skittering breakbeats, rave textures, and emotionally charged songwriting.

The EP includes collaborations with Tiger Cohen-Towell (Divorce) and Pearling, bringing two distinct vocal turns to the record. "I’m Still Available" lands as a yearning pop-dance cut with restless breakbeats and rave pressure, while "When I See You" (feat. Pearling) leans into a luminous, emotionally warm club feel. The EP closes out the KIN-TU003 campaign and marks a strong debut statement from a Glasgow artist already known for his work in Walt Disco.

"PRONTO" is the debut album by ARYA, an Italian-Venezuelan artist who grew up in Milan. ARYA arrives with this first full-length album after the EPs
Peace of Mind (2021) and Punto Zero (2023), collaborations (Mahmood, Venerus, Ghemon, Dardust, Calibro35, and many others), and an intense live
activity, which have made her one of the most interesting voices on the Italian neo-soul/R&B scene.
Born from a personal journey of therapy and awareness, "PRONTO" takes shape as a concept album, transforming the emotional investigation into a
coherent and layered musical narrative. The title captures the meaning of the project: "Pronto" is a word that crosses all the languages present on the
album—Italian, English, and Spanish—taking on different meanings ("subito," "presto"), and is also the first word uttered in the intro. A term that introduces the listener to a space of availability, anticipation, and presence.
The entire album was produced by Claudio La Rocca (Sup Nasa), a key figure in building the project's sonic identity. Giuseppe Seccia, Matteo D'Ignazi,
Martina Tedesco, Tiziano Codoro, Stefano De Vivo, and Giulia Gentile also contributed to the album, recording the instrumental parts and contributing
to the arrangements and production of some tracks.
With "PRONTO," ARYA takes the listener on a journey through different levels of her emotional history, until the elevator starts moving again and leaves room for a new possibility of balance.
ARYA (AryaDelgado) is an Italian-Venezuelan artist born in Milan in 1994. Daughter of salsa singer Orlando Watussi, she grew up surrounded by music
and quickly developed a sensibility that blends Latin roots, nu-soul, and contemporary R&B, with a strong focus on the emotional and narrative dimensions of her writing. In 2021, she released her debut EP, Peace of Mind, followed in 2023 by Punto Zero. These releases attracted press attention
and led to collaborations with artists such as Mahmood, Venerus, Ghemon, Dardust, and Calibro35. Over the years, she has consolidated an increasingly recognizable presence, alternating songwriting, solo production, and an intense live schedule in Italy and abroad. In 2024, she accompanied Mahmood on tour and released the single, "Si Potesse Tornare." In 2025, La Noche En Que Te Fuiste and Onda were released, songs that marked the
beginning of a new artistic chapter and anticipated the release of “PRONTO,” her debut album, released in February 2026. An intimate and layered
work, which focuses on vulnerability as a language and confirms ARYA as one of the most personal and aware voices of the new Italian soul scene.

Swirl-Vinyl. Diese 10-Jahre-Jubiläumsausgabe erscheint in einer neuen Gatefold-Hülle mit aktualisierten Fotos, Texten und Liner Notes. Disc eins enthält das Originalalbum in voller Länge, und die brandneue zweite Disc bietet die seltene B-Seite ,Nail In Your Hand", eine überarbeitete Version von ,Heaviside" mit der Künstlerin Wisp am Gesang sowie sieben bisher unveröffentlichte Demo-Versionen von Songs aus dem zweiten Album von Citizen. Vor zehn Jahren veröffentlichten Citizen ,Everybody Is Going to Heaven" - ein Album, das einen mutigen Wendepunkt in ihrer Karriere markierte. Nach dem Durchbruchserfolg von ,Youth" hätte die Band einfach ihren bisherigen Kurs beibehalten können. Stattdessen setzten sie noch stärker auf dunklere Texturen, schwerere Stimmungen und einen furchtlosen Sinn für Experimente. Das 2015 veröffentlichte ,Everybody Is Going to Heaven" erweiterte den Sound von Citizen über ihre Emo- und Post-Hardcore-Wurzeln hinaus und verwebte Elemente aus Grunge und Alternative Rock. Tracks wie ,Cement" und ,Stain" fingen eine rohe, unruhige Energie ein, die sich mit Sterblichkeit, Depression und Identität mit einer Ehrlichkeit auseinandersetzte, die bis heute nachhallt. Es war kein Album, das zum einfachen Hören gemacht war - es war auf Dauer angelegt. Jetzt, ein Jahrzehnt später, steht ,Everybody Is Going to Heaven" als entscheidender Moment in der Entwicklung von Citizen - ein Album, das sowohl die Band als auch ihr Publikum herausforderte und dazu beitrug, die furchtlosen, Genre-übergreifenden Künstler zu formen, zu denen sie geworden sind. Auch beim 10-jährigen Jubiläum bleibt Citizen eine Band, die sich ganz dem Wachstum verschrieben hat und sich weigert, sich auf einen einzigen Sound oder eine bestimmte Ära festlegen zu lassen. ,Everybody Is Going to Heaven" hat nicht nur markiert, wo sie standen; es hat den Weg für alles geebnet, was danach kam.

Released in 2002, Games and Hell marked an early chapter in Toxic Twin’s output, capturing the raw, hardware-driven sound of Berlin’s early 2000s electronic underground.

Minimal, direct, and rooted in a time when the scene was still forming.

Nearly 25 years later, Games is reissued and expanded to six tracks, including previously unreleased material from the same era, via Relic.

Infinity EP is Devilish Affair at its core: deep house music crafted with elegance, a soundtrack for late-night minds and uncertain times. Devilish Affair returns with its sixth vinyl chapter: Infinity EP, a deeply personal and elegant statement from Alex V.
Born in Barcelona and shaped by the late-90s deep house spirit, Alex has spent decades refining a sound that feels both timeless and intimate, music built on warmth, subtle swing, and an unmistakable sense of romance.

Well here we are unbelievably 50 years on from year zero 1976, when the world stood still at the birth of Punk Rock. To celebrate this monumental occasion Mal-One has worked up a new song called God Save Us All From Misery and to accompany this fine effort he has also worked up alternative versions to what could be the best first 4 singles released by any band. The first four singles released by the Sex Pistols. He has produced his own takes on these classic singles with.. Someone Dropped a Bomb In The UK (Anarchy In U.K.), God Save The King (God Save The Queen), Mal-One’s Out To Lunch (Pretty Vacant) and Holiday In Someone Else’s Misery (Holidays In The Sun). So creating this rocking 5 track 12” E.P. Hope you enjoy the results and here’s to another 50 years… God save Us All…

Compare the best of British jazz circa 1963 with American sounds from labels such as Prestige, Tangerine and World Pacific. This album captures the period when rhythm and blues is emerging as the dominant club sound, forcing Soho jazz clubs to change their music policy in order to survive. On the British side, you’ve got Ronnie Scott’s arrangement of Last Minute Bossa Nova; Bang!, taken from Dick Morrissey Quartet’s first session for the BBC’s World Service, recorded around the time of the release of their first album Have You Heard? The version here is take two. You can hear take one along with the rest of the eleven-track session on R&B18 Jazz For Moderns.
Early In The Morning is a Ginger Baker/Jack Bruce arrangement of the traditional work song realized as a repeated blues riff, and is the first ever recording that is recognizably British Blues. Graham Bond features on alto sax along with Bruce and Baker together as members of the Johnny Burch Octet heard playing live at a BBC staff party from March 1963. Side Two features Jazz Stateside, such as West Coast guitarist Johnny Hartsman, Gene Ammons veering into proto jazz-funk on Jungle Soul, aka Ca' Purange plus a couple of top notch Hammond workouts from Terrell Prude and Charles Kynard.