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The Third Release Of Polarity Is The First Part Of An Album, Composed By Luca Piermattei With 4 New Tracks, Reminiscent Of Old School House, With Techno Acid Influences, And More Emotional Sounds.

Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.

Trentemøller's debut album remains one of the few genre-defining and groundbreaking albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.

Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.

Mannequin's 100th - a comp looking forward featuring an international and serious cast... BIG TIP!
The modern synthwave scene would be significantly poorer without the keen ear and tireless efforts of the Mannequin label run by Alessandro Adriani. Geographically situated within the nerve centers of Rome and Berlin, yet with a musical spirit that easily transcends these boundary lines, Mannequin's back catalog has been an important component in the modular assemblage that makes up electronics-based independent music in the 21st century, and an important reference point for those who need to defend against the lazy accusations that this such is purely retro' in its form and content. Recent accolades and accomplishments - being named Resident Advisor's label of the month' for May of this year, starting the 'Death of the Machines' 12' series, and being given the 'green light' for bi-monthly parties at the Säule room in Berghain - have been earned through Mannequin's unflagging commitment to sonic diversity and Adriani's own realization that the anxious and sharp-edged sounds associated with, say, the Cold War of the 1980s can convey a completely different message today. Adriani says it best when claiming that there is no such thing as 'old' or 'new' music...only the music of now'. With this cogent statement of intent, Mannequin continues to go on exploratory missions to find the best and most relevant aspects of genres like acid, industrial, EBM, post-punk, coldwave and still more.

Which brings us to Mannequin's newest project and 100th release overall: the Waves of the Future double LP compilation, which itself is not a conventional retrospective collection. Case in point - none of the artists appearing on this collection have put out their own releases on Mannequin yet, despite acting as Mannequin's unofficial ambassadors (via DJ sets and other means). This makes the set even more compelling rather than less so, since it shows how Mannequin fits into a larger picture that includes other scene leaders and label owners including Beau Wanzer, Willie Burns (WT Records), Silent Servant (Jealous God) and Ron Morelli (L.I.E.S.). Of equal importance is how Waves of the Future projects a sense of aesthetic resilience and continuity, showcasing just how well the current artists allied with Mannequin employ and re-interpret the sonic lexicon that appears on that label's reissues of 'classic' acts such as Nocturnal Emissions, Bourbonese Qualk, Din A Testbild and Doris Norton.

However, none of this would matter as much if the music itself didn't have strong potential for lighting a blaze in the dark corners of the human imagination, and of course for forcing bodies into motion. Each track here pivots around a couple of key sound elements that seem to set the stage for the next track to come: see the sputtering / chopped ghost voices on Morelli's Charges Won't Stick,' which easily informs the slicing drone and authoritarian beat of Shawn O' Sullivan's Ill Fit,' which then lays down the emotional foundation for the sequencer-powered With You' from An-I & Adriani or the glassy landscape of Illum Sphere's Exhaustion'. Elsewhere, the wired mischief of Not Waving intersects easily with the spherical electro-funk and coded commands of Beau Wanzer. When all the disparate parts of Waves of the Future are soldered together, it perfectly illustrates Mannequin's non-linear philosophy and Adriani's suggestion that Mannequin listeners directly engage with the music rather than trying too hard to analyze or dissect it.

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

Australia's Nightime Drama welcome Steven Tang and label associate Trinity for a new collaborative EP that comes with two originals and remixes by Basic Soul Unit and Daniela La Luz.
Tang has long been serving up space age techno sounds on his own Obsolete Music Technology and the likes of Smallville, and Trinity is a DJ, live act and producer from Sydney who plays key clubs around Europe and releases on Counter Pulse and Coincidence as well as this one.
Innermost Search opens the EP with supple and rubbery drums carrying you off into the cosmos as spaced out pads bring real scale and emotional depth. It's a cinematic house track with vivid imagery. Then comes a remix from Dekmantel's Toronto mainstay Basic Soul Unit that is much more busy and robust. A wide lead synth line sprays about above drums which are much bigger and heavier. It's prime warehouse material to get people marching.
Tang & Trinity's Adrifting Voyage then slips back into a deep, cerebral house groove with oodles of reverb and dubby chords cut though by icy hi hats and transcendental pads. Last of all, Berlin's Daniela a La Luz (who has released on the likes of Cocoon and !K7) remixes this one into a lively, nimble house track with curious melodic riffs and tough drums appealing to both head and heel. It rounds out a fresh and powerful EP of futuristic house music.

The Music for this release was a process of literal Catharsis, a purging of a build up of negative thoughts and emotions, but the music is also designed to be confrontational. The intent is to challenge mediocrity, to ask questions about the whole notion of techno as merely a form of debauched escapism. The music also asks questions about destructiveness and apathy. The aim is for something with meaning, as opposed to transience. Our demons are your contentments'

Catharsis is the result of the meeting and collaboration between veteran techno producer 'Heretic' and dark ambient producer 'Emission'.

The project is a quest to explore and purge negative thoughts via music. a modern ascetic experience in the pursuit of inner peace.

Total submission

Total immersion

Destroy the inner voices...

For their 3rd release, Pulse Msc has traveled worldwide from Rennes to Vienna, Copenhagen, and Adelaide to create "Mind Trip", a detonating 4 tracks Lo-fi House EP with multiple influences.

The first track is signed by Subjoi, a young Australian artist well-known in the Lo-fi game. The man delivers "The Way I Feel", a subtle and emotional tune, embellished with devastating kicks which will leave nobody indifferent.

In the second position, there is an important contributor to the French Lo-fi scene, who has a lot of talent and is clearly to monitor: DJ Psychiatre! The guy has released of his imagination "Our Love Is Real", a wonderful piece conducive to escape with varied & nonlinear sonorities and powerful vocals.

Then Slim Hustla, a Danish duo with well-tempered personalities gives a big contribution to the project with "Ghostryda". The track is a sentimental and melancholic ballad, with beautiful vocals which brings the listeners in weightlessness and strays them into a dreamy universe.

To conclude, gutinstinct, an Austrian versatile artist, owner of Dream Raw Recordings ends the EP with "Blue Sea". The tune is a raw and dark dance-floor killer track, which plunges everybody into an abyssal atmosphere. Take a deep breath and enjoy the trip!

The seldomly heard, more emotional side of Mono Junk on Vortex Traks.

After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur's more acoustic, piano-based solo work and Janus's synth-heavy electro pop, with their collaborative electronic project Kiasmos.

By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur's newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.' - Ólafur Arnalds

The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.' - Janus Rasmussen

Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

Office Recordings continues to surprise us. After Baaz' Techno-/Ambient-hybrid on Office 011 the label from Berlin comes up with a stunning new and anonymous project called 'One Day' featuring four also unnamed tracks. The A-side of the record starts off with a with a superb Deep Techno track which tempts us with very emotional pads and a strong kick and bass fundament - an irresistible combination. A2 goes in the same direction but feels like the slightly mellower and softer brother of its predecessor - a little bit moody but still straightforward at the same time. The flip side is dedicated to two freestyle electronic tracks standing in the tradition of the best Warp offerings from their heyday in the 90s. We're talking charming melodies and sparse but elaborate rhythmic patterns. The record comes in a hand stamped and with a lovely artwork also hand made by Office art director Super Quiet. All tracks have been mastered and cut by sound engineering proficient Pole at Scape Mastering.

Mana is producer and composer Daniele Mana from Torino in Italy. His debut EP for Hyperdub, 'Creature', is also the first under his own surname. It's one of his most vivid, personal and confident releases to date. Since 2010, he has been releasing under the moniker Vaghe Stelle, with EPs and two full length albums on labels such as Gang of Ducks, Aisha Devi's Danse Noire, Astro:Dynamics and most recently, Nicolas Jaar's Other People records. He is also a member of One Circle with Lorenzo Senni and soundtracks composer Francesco Fantini. On 'Creature', over eight tracks, he ingests Shostakovitch, Drexciya, Darkthrone, Frank Ocean and Paul Lansky, and refashions them into an almost operatic record - a rich, melodrama of dark tension and excitable in-your-face synth melodies. In using his own name for the first time, he says he is confronting the unfiltered, brutal truth' of his self, compressing tension and anxiety' into a claustrophobic sense of emotional vacuum.' From the skulking clockwork of 'Crystaline,' the rich drifting ambience of 'Sei Nove', to the panicky, rushy rave stabs meets horror theme of 'Running Man', it's lucid, dynamic synth music which uses drums sparingly, but occasionally swirls into little sublime vortices of arpeggiated hyperrhythm. The melodies are bright and pitch bent, swollen by euphoric voltage surges and stuttering, soaring strings in 'Rabbia', plucking wide-screen, heart strings on 'Uno e Solo' and lulling down into the delicate, shimmering prisms of 'Wetlife' and 'Consolations'. While in its own lane, 'Creature' feels totally at home on Hyperdub.

Gidge is a production duo consisting of Jonatan Nilsson and Ludvig Stolterman. Based in the northern parts of Sweden, Gidge quickly built a solid fan base with releases of their albums Autumn Bells, LNLNN and Lulin. The music of Gidge seems to affect their audience in an emotional way, which eventually resulted in the duo taking the top spot as Best New Artist at XLR8R's readers poll, as well as having the 3LPs ending up on numerous end of year lists. Their main source of inspiration is the vast, snow-covered woodlands of the North. Gidge have for instance recorded all of their percussions in the forest, using only the sticks and rocks that can be found there. 'For Seoul' though came about after the duo went on a trip through Asia, and spent a number of days in the South Korean capital. They fell in love with Seoul, and later on created this two-part hymn for the giant city. Applescal created a remix for the track, which you can listen on the b side.

Snuff Trax is thrilled to announce that Andrew Soul is back with his big love for house music on this new record. The - Wide Range Of Experiences EP' features four tracks full of irresistible grooves, driving beats and sweet melodies. You can even catch up with Klaudia bringing fantastic and emotional vocals on the opening track - Strange Feelings'. Enjoy the music!

D-Floor is ready to come back on vinyl with the new EP by NiCe7.
From the title track 'Running man', with catchy vocal hook, to the
more emotional 'Red on sand', this release marks a new series from the talented italian duo. Analog synths, house grooves and old samples working together in both mixes.

&apos's music veers between abstract, experimental compositions and more beat driven tracks, all held together by a defined aesthetic of sonic impurities and random patterns thrown up by algorithmic computations. In &apos's music compositional decisions are not merely reliant on himself but also on a range of processes from constrained randomness to full fledged neural networks. That is to say, the 'instruments' he creates have -to a certain extent- a mind of their own. There will always be a dynamic between the musician and something else that triggers, proposes or decides what will happen to the music.It is exactly from this human-machine interaction that &apos extrapolates his musical ideas that are both intricate and detailed while never losing an overall sense of emotional value.
His first solo project 'Lichtdrank' is a selection of four tracks made during his time studying Sonology at The Hague's Royal Conservatory and the time following. It is the third and final installment of bepotel's startupLabel trilogy. Previously, he has released music together with Walrus and Sagat under several musical projects like smaakwaterval and bepotel. The artwork of the Lichtdrank EP is based on screenshots from an interactive multiplayer video game where the musical universe of &apos can be explored.

2x12" Vinyl + full cover artwork

One of the world's most in demand DJs and producers, Noir has been responsible for some of the most poignant - as well as explosive moments in clubland's recent history. Arguably best known for his huge dancefloor bomb 'Around', Noir now drops his debut studio album, a project that has been nearly half a decade in the making.'Around', a sexy, synthesizer-tinted groove featuring vocalist Hayze dominated dancefloors across the world for close to two years, making Noir a household name across clubland. And it's still as popular as ever - the Solomon Vox remix of 'Around' has amassed more than 12 million views on YouTube.

As well as 'Around', Noir includes further club hits 'Around feat. Hayze', 'My Fault feat. HRRSN' and current single 'Black feat. Caitlin', evidencing Noir's desire to work with a variety of vocalists to create something far 7 weightier than simply a collection of club tracks. Noir is about telling stories, boating 12 completely unique productions that chart the artist's evolution over the course of his expansive career. With many of its cuts moving away from the strict four-to-the-floor parameters of house music production, the horizons of Noir stretch way beyond the dancefloor. Taking cues from a range of artists from Depeche Mode to Kraftwerk, and Massive Attack to Timbaland - all of whom have heavily influenced Noir's aesthetic - Noir is an emotionally charged and

utterly engrossing body of work. Says Noir of working on the album: 'The album has been in the making since I started working on 'Around' back in 2010, so for me it's a body of work that spans nearly 5 years, with changes to productions, melodies and moods before I was happy with the final tracks. 'What you hear on the album is the culmination of all the music and influences I grew up and have lived with over the years: it is absolutely my identity and honestly represents my musical passions. Unlike many 'dance' albums that are little more than a collection of thrown-together club tracks, Noir combines tirelessly creative songwriting with multi-faceted production that reveals fresh delights with every listen: a timeless release from a truly singular artist.

Sometimes, there is a certain attention for a new artist and you can actually feel that this one is about to go through the roof. This is exactly the feeling we have with Few Nolder right now. With releases and tracks on Boso, Suol, Cloud Vision and not to forget his little summer hit - IF' on Connaisseur in late August, the Vilnius resident has caught quite some attention over the last months. Now, he completes this successful and busy year with his frst full EP on Connaisseur called - Moli', featuring three new lovely tracks. One of Few Nolder's talents is to compose state-of-the-art music which also has a timeless approach. The a-side - Twin' is one of those tracks. Sounds and melodies which stick in your mind straight away and an on point buildup make - Twin' one of those universal tunes which can be played in every moment. - Sonar' on b1 is a bit more reduced and raw. Played at the right moment it is a heavy hitter, with its memorable break and the big synth theme. On b2 you will fnd the title track and maybe also the hidden hit of the release. The bittersweet - Moli" is a delicate extravaganza with big melodies and emotions.
The artwork is as always by Danish artist Sjulle

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

First part of a trilogy, Unforeseen Alliances is a meeting of the French artist Voiski aka Kartei (DEMENT3D, Silicate records, WT records) and the duo Deception Plan, Doryan Javan based in Paris and R. Hernandez (Historia and Violencia, Droid Behaviour) based in Los Angeles. The techno in its purest expression - On the A side, Voiski delivers a very strong deep techno track, perfect balance between mechanical drums and hypnotic melody : emotionally intense !!

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.

Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.

Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.

Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.


Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

Tomu DJ’s debut on CST Imprint shares ten atmospheric wistful ruminations on being, living, and the spiritual undercurrents that alchemize these experiences into song. Hazy memories recalled through glitchy lush lullabies, moving through whispered skittery percussive states into warm melodic vocal confessions. Playful yet exacting productions ebb and flow between pensive indietronica pop interspersed with blissful club tracks that swing from ambient, drum and bass, breaks and house for the dancers. A sanguine daydream, to be free.

Her fourth album since 2021 but first on vinyl, Tomu’s deceptively simple compositions bely complex emotions. Minimal, every element just so, nothing unnecessary. Her ability to create ideal environments for collaboration on full display.

Includes download code and riso-printed insert.

Logistic Records proudly presents a special 30 years anniversary repress of one of its most iconic releases: “Brainstew” by Tom Ellis. Originally released in 2010 and instantly recognized for its unique blend of hypnotic melodies, raw basslines and the unmistakable voice of Suz, “Brainstew” quickly became a standout track — unclassified, emotional and deeply immersive. Revisited by UK legend Baby Ford, the remix delivers a deep, stripped-back and hypnotic version built for the dancefloor. This anniversary repress also includes a previously unreleased take: “Brainstew (Little Nest Mix)”, a deeper and more introspective version by Tom Ellis. A cult track, reissued and expanded.

""Early Morning"" is the result of an intimate, personal experience within Mexican territories. It unfolds as an open-ended narrative, suspended in vast and indefinite environments where sound merges with the landscape.
Trumpet and electric keyboard act as the central forces within the composition, guiding its emotional core. Around them, additional elements are woven in through subtle interventions-reinforcing, dissolving, and reshaping the piece. The result is a form rich in suspense, positioned between electroacoustics and contemporary experimental music, maintaining a strong focus on timbre, spatial perception, and the relationship between acoustic sources and real-time processing. Jacopo Buda (born in 1994) is a trumpeter, composer, and sound artist. In addition to his work as a musician, he is an artistic director for experimental music festivals within the Italian underground scene and has been the co-curator, alongside Demetrio Cecchitelli, of The Cave hosted by Casa Madiba (Rimini) since 2021.

The Suicide Handbook is Ryan Adams’ most elusive and mythic recordings. The album is a raw and intimate collection of songs that captures the songwriter at his most unguarded. Recorded at the beginning of his solo career and long circulating only through bootlegs, the album has earned a legendary status among die-hard fans and fans of the americana genre alike for its stark stripped-back beauty.
Acoustic arrangements and hushed, late-night vocals, these songs feel like private confessions set to tape. Adams leans into themes of heartbreak, isolation, and emotional vulnerability, delivering recordings that are as fragile as they are compelling. There’s an immediacy here that sets The Suicide Handbook apart from his studio releases. These are the original recordings in their rawest and un-touched form.
Released officially for the first time, experience the record as a cohesive piece, bringing warmth and depth to its lo-fi origins. The analogue format enhances every subtle nuance, from the quiet creak of strings to the tremble in Adams’ voice.
For longtime fans and collectors alike, The Suicide Handbook stands as a haunting, deeply personal snapshot of an artist laying everything bare—an essential addition to the Ryan Adams collection.

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

Building up from his multiple appearances on the label, one of our closest producers, Luca Durán, makes his full studio album debut on TraTra. This work is meant to showcase the vast world of influences the diasporic experience comes with: his rhythm-driven tracks coexist in high contrast, but fluidly, with the experimental and textures of his european school of sound. The title itself works amongst these two edges of Luca's aesthetic existence, the softness from the flight of a Mariposa with the harsh hit of a death blow.

Killing Mariposas is filled with seemingly clashing techniques, field recordings, acoustic instruments, and analogue synthesis, which converge with modern and forward-thinking production tools to build heavily layered music. Constructing an emotional narration from the contemplative to the euphoric. A sort of contextual shapeshifter, with hints of cumbia, grasps of reggaetón and dembow, but always submerged deeply in a windy and fragmented memory.

This whole project gets rounded up by the packed lineup of collaborators, both vocal features and production partners. Astute minds from distinct internet niches: Kelman Durán, Gavsborg, Iceboy Violet, Debit, Rosa Pistola, BEBE YANA, Kamohelo & Kacha.

One true reflection of Luca's production abilities and sonic poetry.

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

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

Lavender marble 12" vinyl




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

Hidden Sounds Record store – with the help of Emotional Recordings – launches the Dark Times label with the first of two club orientated EPs from Canadian brother-production duo Lex and Rew MacCrimmon and their project Alkahest.

Released on their own Post Contemporary label between 1994 – 1996, Alkahest contrasted with the spacious electronica of their influential and still on-going project, Legion Of Green Men.

Growing up in suburban city life in Burlington, Ontario, the MacCrimmon brothers’ interest in music and collecting records started early, always looking for interesting sounds in new places. With a limited local music scene or record stores, the alternative and college radio stations were the only way to discover new music or the type of music they sought.

The German electronic sounds of Kraftwerk, Klaus Schulze and Tangerine Dream were early obsessions, alongside Neu, Cluster (& Eno) and the post punk and synth pop emanating from Britain. The Flying Lizards, John Foxx / Ultravox, Gary Numan and The Normal were favourites, before diving into the 80s industrial experiments of Cabaret Voltaire, Severed Heads, Nurse With Wound and Throbbing Gristle.

Making their own music soon followed, first experimenting with 4 track cassette and digital delay, drum machines and synths soon followed, steadily building their own studio. All these influences merged in the early 90s with the dawn of house and techno and the progression to start the Post Contemporary label launched in 1992.

With the project Legion Of Green Men achieving early success, their diversion with Alkahest explored a post-industrial techno hybrid. Unsubtle, night music, the rhythm and sonic textures are more prominent over melody.

Contact High covers this Alkahest sound, from the 133 bpm trippy, psychedelics of opener Black Tabs, the acid breaks of Ground Zero or the charging nature of closing Séance 333, where all bets are off – together this 4 track EP perfectly captures the early spirit of Canada’s electronic music scene finding its place in dance culture, from the raves of the Toronto’s outer rim to the beaches of Anjuna.

However, in the title cut Contact High, there is something else happening, as electronic dub is explored, where the space in the music, between the beats, is as important at what happens on the surface. A love of this ethereal feeling would lead the brothers to head further in this direction and here is a perfect example of that early journey.

Hackney based Hidden Sounds Records launches – with support from Emotional Recordings – it’s Dark Times label by diving in the the music of Alkahest, a short-lived project from Canadian brother-production duo Lex and Rew MacCrimmon.

For the second EP, the Twisted Up release is re-examined, with a tweaked track list to represent the times and how their sound continues in relevance today. Released in 2 years (1994-1996), Alkahest was the darker side of the MacCrimmon’s productions and allowed them to focus on twisted, psychedelic electronics, away from their main Legion Of Green Men project.

Self-described music obsessives from a young age – lying under a home-made harpsichord, with their heads in the resonator box was an early indication of a love outside the norm. Experiments with forks and pencils on strings – totally unaware of the likes John Cage – highlighted an interest in sound from unusual places.

Anything with a synth notably grabbed their attention, going to the public library to take out BBC Sound Effects and Morton Subotnick albums, sat alongside contacting European mail order catalogues, to grow their knowledge and record collections.

As early productions formed, working under the sound production name of Incarnate, their love of art was just as influential as music. The likes of M.C. Escher, Salvador Dali, Bridget Riley and the Op Art movement, was all part of brothers in their progression to form the Post Contemporary label in 1992.

Following the DIY ethos of the music they had long been buying, their “indie ethic” influences all coalesced in the label, not conforming to one sound or tempo, placed them within the electronic music coming from Canada, but also, out on their own.

Twisted Up expands the Alkahest sound, the title cut a stomping anthem, it’s unrelenting drums and lifting strings a call to arms. The compelling Shake arrives, acid techno rewiring synapsis, dub static between the beats.

On the flip, Twisted Another is just that, a reversion excursion, pushing the psychedelic synthesis to the forefront, stabs call and respond. Closing the EP with the perfectly titled, Kiss My Acid, a journey of industrial bang, reflexed, Alkahest showing their sound is pulsating, widescreen overtures.

Jan Kincl, a Croatian producer, DJ and live performer with releases on BBE Records, Far Out Recordings, Sonar Kollektiv, and Get Physical, returns to his own Cycle Records with "Lights Out", the label's sixth release. Written and produced at Cycle Studio in Zagreb, it arrives in Main and Alternative mixes. The remixes come from Trinidadian Deep, a deep house producer and DJ mentored by Ron Trent, with releases on Neroli, Vision Recordings, Toto and Makin' Moves, as well as his own Native Bush - Many Moods of Music imprint. "An appropriate title. This is definitely a tune you want to hear when you closes your eyes on the dance floor, the vibe gets deep and you the lights go down." - said DJ Kemit. Intergalactic Gary called the record "Deep, atmospheric and emotional", while DJ Lady D summed up the contrast at the heart of the release: "Love the original, gives classic house vibes and TD offers a modern deep take." Early supporters include DJ Deep, Volcov, Ian Friday, DJ Kemit, Intergalactic Gary, Michael Reinboth, DJ Lady D, Bill Brewster (NTS Radio), Iron Curtis, Delfonic, ?me, Rohan Rakhit (Worldwide FM), Laani (Rinse FM / Worldwide FM / Jazz re:freshed) and Sebastian Hampf (ByteFM), among others.

Some records are about rhythm. Others are about atmosphere. Hidden Soul EP exists somewhere in between -- a collection of electronic transmissions where intricate programming, analogue textures, melody, breaks and acid come together in a constantly shifting landscape. For their debut on Analogical Force, The 89th Passenger delivers five tracks that move between detailed electronic structures, hypnotic rhythms and deeply atmospheric passages. Beneath the machines and intricate programming, there is an unmistakable sense of melancholy, giving the record a depth that goes beyond its electronic foundations. Hidden Soul EP moves between intricate electronics and abstraction, reaching unexpected emotional heights while maintaining a strong sense of sonic depth and physicality. A record for close listening, late-night journeys and those moments when machines become something more than machines.

Belgian artist Jennifur announces MAZDA, an album inspired by long car rides, emotional transitions, and the strange beauty of existing between places, people, and versions of yourself.

Musically, MAZDA moves fluidly between genres and emotional textures, blending electronic love songs, indie rock structures, UK bass influences, cinematic electronica, and flashes of classical composition.

The project began when Jennifur's brother sent him a playlist called MAZDA, filled with songs their father used to play in the car. What started as a nostalgia gesture quickly became the emotional blueprint for the album.

While writing MAZDA, Jennifur realized he was unknowingly creating the soundtrack to a fictional romcom film that existed only in his imagination. Rather than avoiding clichés like love, heartbreak, growing older, or transition, he chose to embrace them wholeheartedly.

"In a car, you exist in a kind of in-between space," Jennifur explains. "You've left something behind, but you haven't arrived yet. That feeling became the entire record."

The album opener, From A to B, sets the emotional framework for the entire project. Its extended introduction mirrors the exact moment you pull out of your street and realisethat something new has begun.

Highlights include "I Need You To Hold On", written for Jennifur's brother as a message of encouragement. The song "I Once Had a Dream Where I Could Fly" originated from a conversation with his father about recurring dreams of flying. Meanwhile, "From The Sideline" confronts a quieter existential fear, becoming a coming-of-age anthem for anyone who suddenly realizes they have become more of a spectator than an active participant in their own life.

Tracks like "In The Sun" bring a softer, almost cinematic intimacy to the album. Written around the image of spending one final Sunday at the seaside with someone who is seriously ill, the song captures the beauty and fragility of fleeting moments. The closing track "The Dialogue Before We Left" serves as the emotional final scene of the album.

"For me, it's the moment after a long drive when you turn off the engine but stay seated for a minute," Jennifur explains. "You realise something happened. You listened to my story, and we travelled from A to B together."

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.