quête:es k

Drawing from the larger career spanning 6LP box, comes a shorter/sweeter collection featuring just the highlights! These are the quintessential compositions and timeless classics that shaped Coltrane's career and influence. Essential listening in compact 2LP.

a Side 1: 23:47
c 1.STRAIGHT STREET - John Coltrane [6:21]
[e] 2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[g] 3.BLUE TRAIN - John Coltrane [10:43]
[i] Side 2: [19:45]
[k] 1.MILESTONES - Miles Davis [5:49]
[m] 2.SO WHAT - Miles Davis [9:08]
[o] 3.GIANT STEPS - John Coltrane [4:48]
[q] Side 3: [18:11]
[s] 1.NAIMA - John Coltrane [4:25]
[u] 2.MY FAVORITE THINGS - John Coltrane [13:46]
[w] Side 4: [16:22]
[y] 1.EQUINOX - John Coltrane [8:39]
[xa] 2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

[a] A1.STRAIGHT STREET - John Coltrane [6:21]
[b] A2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[c] A3.BLUE TRAIN - John Coltrane [10:43]
[d] B1.MILESTONES - Miles Davis [5:49]
[e] B2.SO WHAT - Miles Davis [9:08]
[f] B3.GIANT STEPS - John Coltrane [4:48]
[g] C1.NAIMA - John Coltrane [4:25]
[h] C2.MY FAVORITE THINGS - John Coltrane [13:46]
[i] D1.EQUINOX - John Coltrane [8:39]
[j] D2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

[a] A1.STRAIGHT STREET - John Coltrane [6:21]
[b] A2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[c] A3.BLUE TRAIN - John Coltrane [10:43]
[d] B1.MILESTONES - Miles Davis [5:49]
[e] B2.SO WHAT - Miles Davis [9:08]
[f] B3.GIANT STEPS - John Coltrane [4:48]
[g] C1.NAIMA - John Coltrane [4:25]
[h] C2.MY FAVORITE THINGS - John Coltrane [13:46]
[i] D1.EQUINOX - John Coltrane [8:39]
[j] D2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

[a] A1.STRAIGHT STREET - John Coltrane [6:21]
[b] A2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[c] A3.BLUE TRAIN - John Coltrane [10:43]
[d] B1.MILESTONES - Miles Davis [5:49]
[e] B2.SO WHAT - Miles Davis [9:08]
[f] B3.GIANT STEPS - John Coltrane [4:48]
[g] C1.NAIMA - John Coltrane [4:25]
[h] C2.MY FAVORITE THINGS - John Coltrane [13:46]
[i] D1.EQUINOX - John Coltrane [8:39]
[j] D2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

Linda’s Head is the first new album in over a decade by the Pacific Northwest trio of Liz Harris (guitar, vocals), Scott Simmons (bass), and Jed Bindeman (drums) .

Like its predecessor, 2015’s The Original Faces, the album maps a uniquely intimate and potent vision of bedroom dream pop. Theirs is a shoegaze of half-light and silhouettes, attuned to the shadowplay of melody, melancholy, and undertow.

The record’s title is a refraction of meanings: a head in the clouds, a severance, a fictitious landform jutting into the sea. The music is similarly layered, both yearning and weathered, its edges blurred by years in the wild. Lyrics of waves, storms, and escape further shade the songs in subcurrents of desperation and beauty, tinged in the palette of the New Zealand pop underground. But at its core Helen’s chemistry is one of warmth and release, powered by the kinship of old friends in dark times.

Essential. A flawless and wonderful release from a true veteran. Fort Romeau has spent years sharpening his craft, and "Be With U" hits with the polish to show for it. Pulled from his own imprint Romantic Gestures, this is deep, hypnotic house at its most refined: immaculately produced, crisply mastered, and unmistakably his. Pressed on 180g black vinyl.

DAYBREAKERS Records proudly presents ROOT DOWN 30, a celebration of one of Europe's most influential club institutions. Curated by legendary DJ, producer and tastemaker Rainer Trüby, the compilation marks three decades of Root Down, the Freiburg party that has quietly shaped dancefloors, record collections and musical conversations since 1996.

Long before genre boundaries dissolved into today's eclectic club culture, Root Down championed a unique musical vision. Jazz, Brazilian grooves, soulful house, broken beat, Afro-Latin rhythms and future-facing electronic sounds were brought together under one roof, creating a community that became a vital meeting point for adventurous dancers and deep music lovers alike.

Across thirty years, Root Down has hosted an extraordinary roll call of artists and DJs including Jazzanova, Gilles Peterson, Theo Parrish, Kyoto Jazz Massive, Jimpster, Laurent Garnier, Dixon, Peter Kruder, Richard Dorfmeister and countless others, helping establish Freiburg as an unlikely but essential stop on the global underground music map.

ROOT DOWN 30 captures that spirit perfectly. Handpicked by Trüby, the collection brings together a selection of artists whose music embodies the warmth, sophistication and dancefloor energy that have defined the party since day one. Featuring music and remixes from Jimpster, Osunlade, Da Lata, Jazzanova, Crackazat and more, the compilation moves effortlessly between soulful house, jazz-inflected club music, Brazilian influences, broken beat rhythms and deep electronic grooves.

ROOT DOWN 30 is a snapshot of an enduring musical philosophy. Thirty years after the first Root Down dancefloor came to life in Freiburg, the spirit remains unchanged: open-minded, soulful and rooted in discovery.

ROOT DOWN 30 stands as both a celebration of that remarkable journey.

Released on DAYBREAKERS Records.

Often hailed as 'one of the defining glam rock albums', Mott the Hoople's All the Young Dudes was an influential record upon its release in 1972, and continues to impress listeners to this day.

Produced by David Bowie, the album contains a balanced selection of well-written songs by Ian Hunter and his bandmates. With Bowie on board to add his distinctive style to the songs, the band is on a roll, making this an essential record for '70s rock fans all over the globe.

All the Young Dudes is a limited edition of 1500 individually numbered copies on yellow vinyl.

Jen Cardini & Shonky revive their 20 year old anthem August In Paris with remixes from Kasra V, Jennifer Loveless and Jump Source.

Originally released on Mobilee Records in 2006, Jen Cardini and Shonky’s record ‘August In Paris’ remains a defining statement from the minimal era. Ahead of its time upon release, the record distilled the genre to its essentials, bleeps, hypnotic grooves and impactful vocals, unfolding with the kind of restraint that continues to resonate two decades on.

To mark its 20th anniversary, ‘August In Paris’ returns with three distinctive reinterpretations from Kasra V, Jennifer Loveless and Jump Source plus a re-release of the original coming out on Jen Cardini’s formidable label Correspondant. As well as this Jen Cardini and Shonky will be playing an All Night Long set at Paris nightlife institution Rex Club on 29th August. Look out for merch on the night too.

Speaking about the project Jen Cardini discussed: “It is crazy to think this was two decades ago and that Shonky and I are still touring and sharing our love for music. For the anniversary, we decided to bring this special track to light again’.’

Each remix approaches the source material from a different perspective while preserving the essence of the original.
UK DJ and producer Kasra V leans further into the track’s skeletal framework, blending his signature sultry sonics into this hypnotic chunky groove to produce something entirely new but familiar.

Jennifer Loveless, an unearthed gem when it comes to production, strips things back even further, delivering a rough and tough uncompromising club version primed for sweaty dark dancefloors, it perfectly encapsulates the original without overshadowing it.

Closing the EP, Montreal duo Jump Source, Priori and Patrick Holland, take the record into more left of centre territory. Their version stretches the original into a warped, slow-burning electro excursion, perfectly suited to the blurred edges of the after-hours.

Hailing from Athens, Georgia, Now It’s Overhead is the acclaimed indie rock band fronted by Andy LeMaster. Emerging in the early 2000s alongside the era-defining Saddle Creek scene, LeMaster collaborated with artists including Conor Oberst (Bright Eyes), Michael Stipe (R.E.M.), Orenda Fink (Azure Ray), and Maria Taylor (Azure Ray).

During this period, Now It’s Overhead released three acclaimed full-length albums: Now It’s Overhead (2001), Fall Back Open (2004), and Dark Light Daybreak (2006). Available on vinyl for the first time, these long-awaited editions are essential for listeners and collectors exploring the indie rock landscape of the early 2000s. All three albums have been newly remastered by Andy LeMaster—musician, songwriter, engineer, producer, and visual artist.

The Associated Press described Now It’s Overhead as “a unique brand of organic and synthetic dark pop—made possible by LeMaster’s studio prowess—that remains distinctive even when Conor Oberst and Michael Stipe briefly stop by.”

Accompanying these reissues, Now It’s Overhead is also releasing new music for the first time in nearly twenty years. The five-song EP, in the beginning, arrives digitally on September 18, 2026.

Hailing from Athens, Georgia, Now It’s Overhead is the acclaimed indie rock band fronted by Andy LeMaster. Emerging in the early 2000s alongside the era-defining Saddle Creek scene, LeMaster collaborated with artists including Conor Oberst (Bright Eyes), Michael Stipe (R.E.M.), Orenda Fink (Azure Ray), and Maria Taylor (Azure Ray).

During this period, Now It’s Overhead released three acclaimed full-length albums: Now It’s Overhead (2001), Fall Back Open (2004), and Dark Light Daybreak (2006). Available on vinyl for the first time, these long-awaited editions are essential for listeners and collectors exploring the indie rock landscape of the early 2000s. All three albums have been newly remastered by Andy LeMaster—musician, songwriter, engineer, producer, and visual artist.

The Associated Press described Now It’s Overhead as “a unique brand of organic and synthetic dark pop—made possible by LeMaster’s studio prowess—that remains distinctive even when Conor Oberst and Michael Stipe briefly stop by.”

Accompanying these reissues, Now It’s Overhead is also releasing new music for the first time in nearly twenty years. The five-song EP, in the beginning, arrives digitally on September 18, 2026.

Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.

Neuaufgelegt! Hebt das Glas mit mir und gemeinsam trinken wir "Auf die Liebe und auf die Sehnsucht"! Das sechste Studioalbum aus dem Jahr 2013 gilt zurecht schlichtweg als Klassiker und hatte erheblichen Anteil am heutigen - nennen wir es ruhig - "Phänomenen OXO86". Mit ihrem einzigartigen Stil aus Gute-Laune Ohrwürmern gepaart mit subtilem Wortwitz, Punkrock, Bläsern und Sänger Willi's knochentrocken-verschmitztem Gesang, haben die Bernauer seitdem ein Alleinstellungsmerkmal weit über die üblichen Szenegrenzen hinaus. Millionen Streams der Album-Songs mit Hits wie "Bier und Reggae", "Samba Skinheads", "Saus und Braus" bis hin zum Titelsong zeigen dies deutlich. Die Vinyl-Auflagen von "Auf die Liebe und auf die Sehnsucht" sind allesamt in kurzer Zeit vergriffen gewesen und derzeit fast nur zu horrenden Sammlerpreisen erhältlich. Doppel-Vinyl mit dem Original-Album sowie der Kinderlieder-Bonus EP "If the Kids Are United" auf Seite C und wunderschönem Etching des beliebten Anker-Logos auf Seite D! Selbstredend auf 180g Vinyl, in schwarz oder trans-yellow/gold splatter, limitiert auf insgesamt 500 Exemplare!

Neuaufgelegt! Hebt das Glas mit mir und gemeinsam trinken wir "Auf die Liebe und auf die Sehnsucht"! Das sechste Studioalbum aus dem Jahr 2013 gilt zurecht schlichtweg als Klassiker und hatte erheblichen Anteil am heutigen - nennen wir es ruhig - "Phänomenen OXO86". Mit ihrem einzigartigen Stil aus Gute-Laune Ohrwürmern gepaart mit subtilem Wortwitz, Punkrock, Bläsern und Sänger Willi's knochentrocken-verschmitztem Gesang, haben die Bernauer seitdem ein Alleinstellungsmerkmal weit über die üblichen Szenegrenzen hinaus. Millionen Streams der Album-Songs mit Hits wie "Bier und Reggae", "Samba Skinheads", "Saus und Braus" bis hin zum Titelsong zeigen dies deutlich. Die Vinyl-Auflagen von "Auf die Liebe und auf die Sehnsucht" sind allesamt in kurzer Zeit vergriffen gewesen und derzeit fast nur zu horrenden Sammlerpreisen erhältlich. Doppel-Vinyl mit dem Original-Album sowie der Kinderlieder-Bonus EP "If the Kids Are United" auf Seite C und wunderschönem Etching des beliebten Anker-Logos auf Seite D! Selbstredend auf 180g Vinyl, in schwarz oder trans-yellow/gold splatter, limitiert auf insgesamt 500 Exemplare!

Juxtaposing acid-tipped breakbeats with influences of acoustic behaviour in nature, Sully unveils a debut release for Critical Music with two-track 12” ‘Flux’ b/w ‘Chatter’. Sully says: "‘Flux’ and ‘Chatter’ were another attempt to take the groove and feel of the breakbeats I've been previously working with and build them from the ground up. The aim was to find space for the tonal elements to breathe and end up in a place I'd not been to before." Birdsong became an unexpected reference point during the writing process, with Sully using synthesis to analyse and recreate natural calls as compositional material. The resulting dialogue between acoustic behaviour and digital sound generation forms part of the release's underlying methodology rather than a surface aesthetic. "The contrast and contradiction of the organic world captured by digital processes is always a pull for me," Sully explains. "It never fails to inspire." Jack Stevens aka Sully has spent much of the last two decades developing a body of work that sits slightly outside the obvious cycles of revival that have shaped UK bass music. While his records draw from established rhythmic forms, they rarely settle within a single tradition, instead examining the shared characteristics between them. His releases have consistently explored the points where 2-step swing, breakbeat construction, and jungle's rhythmic vocabulary begin to overlap. Sully’s records retain a relevance that extends beyond the moment of their release, continuing to circulate through DJ sets and specialist record collections. This 12” adds another chapter to a catalogue defined by sustained investigation into rhythm, texture and soundsystem music.

It’s one thing to edit a song; extending sections, taking parts out, even adding a kick. Karizma uses his Knevrm!nd moniker to completely re-imagine tracks, producing completely new music and re-arranging vocals to create something completely different.

After building up a substantial catalogue of these in demand cuts we thought it was time to make some available on vinyl for the first time.

Knevrm!nd Vol.1 comes blasting out of the gate with four essential jams from the vault.

TIM HECKER’s latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality.

Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

While the title of the piece “Hatred of Music” might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckerʼs continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears.

This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.

RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK.

4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”

4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”

NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."

NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."

WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’

Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.

While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.

Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.

It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.

Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.

Are you into sophisticated pop music, Music from Memory, Dark Entries, and/or the general concept of a rock supergroup? Then the fifth release from Bar Part Time, LS Plus - If You Call My Name is one you'll probably want to pick up. The 2026 California Balearic equivalent of the Traveling Wilburies, LS Plus is made up of:
- Izaak and Anya from Loveshadow
- Phil Cho of Puli and SY3
- B.P.T. label boss Jeremy Castillo
- Diego Herrera of No You and Melody As Truth
The combination makes for the breeziest release you're likely to hear this year. It also features a US Dub Mix by Herrera himself for all you nighttime music listeners. Essential listening for people who are into Mood Hut, PPU, or drinking wine outside on a perfect summer night.

Texan beatmaker Flobama continues his Astrophonica journey with the four-track EP ‘Soundboy’s Return’, exploring fuzzy Jungle/Hip-Hop crossovers with the help of the now-iconic Amigo software. The results so far have been full of character and depth, marking the emergence of a distinct artistic identity. Now more than ever, a unique sonic palette feels essential—and Flobama has one in bucketloads. From the first pad, chord or whiff of a breakbeat, his sound is instantly recognisable: a fresh, modern take on a classic formula.

Per Hammar returns to his own Dirty Hands imprint with the four-track ‘Ontario EP’, once again showcasing his raw, robust and groove-led style.

Swedish producer and DJ Per Hammar has steadily carved out a reputation as one of the most distinctive voices in contemporary underground electronic music. As the founder of the acclaimed Dirty Hands imprint, Hammar has built a platform synonymous with deep, groove-led and uncompromising club music, while other productions have found homes on some of the scene's most respected labels including Sushitech, Kalahari Oyster Cult and Craigie Knowes. Here we see him returning to his own home and delivering stripped-back late-night tools, psychedelic excursions and deep, hypnotic dancefloor journeys. Hammar consistently balances functionality with personality, a quality that has established him as one of Europe's most respected underground talents.

Title cut ‘Ontario’ leads with Per laying down crisp, crunchy drums alongside dubby bass tones, fluttering stab sequences and intricate modulations, all delicately ebbing and flowing throughout the composition. ‘Off Disk’ follows, fusing organic percussive elements with weighty sub-bass, shifting synth flourishes and bubbling, delayed melodies that steadily unfold across the groove.

On the flip side, ‘Oops All Sixes’ shifts into more acid-tinged House territory, built around a squelchy acid bass hook and saturated drums, while sporadic, expansive delays and hypnotic reverberations drift atop the track’s raw, loopy foundation. ‘Airex’ concludes the release by diving deeper, stripping things back to oscillating percussion, a snaking low-end pulse and airy chords.

Grammy-nominated German producer and DJ, Mousse T is set to headline the next installment of Defected's celebrated House Masters vinyl series with a sprawling three-LP retrospective of his remix career. Spanning six sides of wax, the collection pulls together two decades of dancefloor alchemy, tracing his signature style from disco- inflected house to breakbeat- tinged funk and back again. Including four brand new "Shizzle" and "Re-Rub" productions that are exclusive to this compilation and one remix that has previously never been released on vinyl before, makes this a particularly essential release, offering vinyl access to mixes that may otherwise circulate only in DJ pools or digital crates. House Masters Mousse T. features classic and fresh takes on the likes of Dennis Ferrer, Martin Solveig, Moloko, Camelphat, Spiller, Shakedown and many more, cementing Mousse's reputation as one of house music's most versatile and prolific talents.

A heavy, club-focused tribute vinyl. The MONOLOG mixes lead with live instrumentation, shifting from sultry-house "BUTTER' to heavy Afrobeat "STARTIN". The flip features a peak-time powerhouse "WHO'S BAD" and the techno weapon "MIRROR". Built for the selector's essential crates.

Carl Cox drags Renegade Soundwave’s “The Phantom” back onto the dancefloor with a fierce, high-pressure rewire built for peak-time systems. Running at 130BPM, the mix combines pounding techno kicks, snapping breakbeats and metallic percussion with dark, rolling bass and flashes of rave-era synth energy. Chopped vocal chants and distorted samples cut through the rhythm, steadily increasing the tension before the track erupts into a relentless, warehouse-sized groove. Raw, physical and deliberately uncompromising, it preserves the original’s rebellious industrial spirit while giving it the weight, momentum and modern production power of a full-blooded Carl Cox club weapon.

Mr C breaks into Renegade Soundwave’s “Probably a Robbery” and escapes with a hypnotic, acid-soaked rewire designed for the darker reaches of the dancefloor. Opening with clipped percussion and shadowy vocal fragments, the track gradually locks into a muscular groove as a snarling 303 line twists, bubbles and mutates across the mix. Layers of machine-funk rhythm, metallic drums and psychedelic electronics steadily intensify, creating a raw tension that rarely lets up. Spacious enough to draw DJs deep into the journey but relentlessly physical when it hits full force, this is classic British electronic mischief rebuilt as a tripped-out, late-night acid workout.

r.hitect opens a new chapter with a refined vinyl release that signals both evolution and intention. Exploring subtle textures, intricate rhythms, and a deeper, more introspective sound, this record marks a shift toward a more personal sonic identity.

The release also introduces Croquis, a new label concept focused on capturing music in its purest form — raw, spontaneous, and essential. More than just a label, Croquis is a space for stripped-back expression and meaningful sound.

This vinyl sets the tone for what’s to come: minimal, emotional, and deeply authentic.

Early DJ Support: Moxie, Grant Dell, and Saoirse

HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.

HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.

Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.

‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.

‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.

Liberation Front is a statement of pure intent from Sydney, Australia's TO THE GRAVE. Brutal and uncompromising in both sound and message, TO THE GRAVE create ugly music for uglier times. They rage against animal cruelty and environmental destruction, translating their death metal-infused deathcore into something unforgettable and utterly uncompromising. From the breakdown-laden assault of opener "MEAT THE HUMANS", Liberation Front is a suffocating return to form for the veganism-espousing quintet. While recent releases explored more hardcore-oriented territory, this album embraces deathcore at its most savage and relentless. Lead single "EYESTALK ABLATIONS" is a devastating statement, accompanied by a video every bit as violent and unforgettable as the music itself. Over the past 15 years, TO THE GRAVE have established themselves among the leading names of Australia's emerging deathcore scene, sharing stages with fellow Australians Thy Art Is Murder as well as international heavyweights including Lorna Shore. The band continues to tour extensively throughout Europe and North America, returning to the US and Canada in Fall 2026 alongside Crown Magnetar. Liberation Front is more than an album—it is a musical and lyrical call to arms, designed not only to rage against the machine but to educate, provoke and challenge listeners on every level.

Living legend Daniel Decker, musician and author, creates the soundtrack for the inner civil war of his generation.

Living legend Daniel Decker, musician and author, creates the soundtrack for the inner civil war of his generation.

2026 Repress

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

Das im März 1983 veröffentlichte Album *Magical Ring* ist das siebte Studioalbum der irischen FolkGruppe Clannad und markiert einen entscheidenden Wendepunkt in der Entwicklung der Band – weg
vom traditionellen keltischen Folk hin zu jenem atmosphärischen Klang, der später einen Großteil ihres
internationalen Erfolgs ausmachen sollte. Das Album verbindet Lieder in irischer Sprache, traditionelle
Melodien und eine moderne Produktion zu einem facettenreichen und stimmungsvollen Hörerlebnis.
Der herausragende Titel des Albums, das eindringliche „Theme from Harry’s Game“, entwickelte sich
zu Clannads Durchbruchshit; er erreichte Platz 5 der britischen Single-Charts und machte ein breiteres
Publikum mit dem unverwechselbaren Sound der Band bekannt.
Zu den weiteren bemerkenswerten Stücken zählen „Newgrange“ – ein bei Fans beliebter Song, der den
ätherischen Gesang und die vielschichtigen Arrangements der Band zur Geltung bringt – sowie „I See
Red“, eine seltene Coverversion, die ebenfalls als Single in die Charts gelangte. Das Album selbst erreichte
Platz 26 der britischen Album-Charts; es war Clannads erster großer kommerzieller Erfolg und legte den
Grundstein für spätere Klassiker wie *Legend* und *Macalla*.

„The Age Of Everything“ ist Johnny Marrs fünftes Studioalbum. Geschrieben in London, live auf Tour an
der Ostküste Nordamerikas weiterentwickelt und in Manchester aufgenommen, fängt das Album die Energie
und die Spannungen der Stadt ein. Es ist scharf, schnell und dynamisch – voller Ideen und Möglichkeiten.
„Dies ist das Album, das am stärksten befreiend gewirkt hat. Der Titel kam mir schon früh in den
Sinn und entwickelte sich zu einer Idee, der ich mich nicht entziehen konnte. Er schien genau das Gefühl
auf den Punkt zu bringen, das meiner Meinung nach viele Menschen haben. Er umfasst alles, ist aber nicht
zwangsläufig eine negative Aussage. Die Technologie löst in unserer Kultur ein Gefühl der Überforderung
aus, doch betrachtet man die Dinge aus einem anderen Blickwinkel, eröffnet sich auch ein Gefühl von
Möglichkeiten.“ – Johnny Marr

Die norwegische Punkband Aktiv Dödshjelp aus Oslo hat sich in den vergangenen Jahren in Ihrer Heimat
durch ihre explosiven Liveshows und nicht zuletzt durch ihre supermelodiösen Songs mit witzigen und
ironischen Texten einen hervorragenden Ruf erspielt. In den 17 Jahren seit ihrer Gründung im Jahre 2007
ist die Band pausenlos im Inland und Ausland getourt und präsentiert nun ihr zweites Album! Aktiv
Dödshjelp haben ihren Sound seit ihrem letzten Album ”Send Dudes” (das in 2025 für den norwegischen
Grammy als bestes Rockalbum nominiert war) perfektioniert und liefern auf dem neuen Album ”The Nasty
Piece” den perfekten Mix aus Punk und Rock. Wer auf norwegische Bands wie Turbonegro, The Good
The Bad and The Zugly und Kvelertak steht, wird Aktiv Dödshjelp lieben!
Für die neue Platte holte sich die Band diesmal Produzent Bendik Markovic Toming-Weston (brenn, TØFL,
Fred again.…) ins Boot, der laut der Band ”eine echte Pop-Hure” ist.
Natürlich haben es nur die stärksten Songs auf The Nasty Piece geschafft. Das Album enthält außerdem
die bereits veröffentlichten Singles „Jakter en Løve“, „Kjøttkverna“ und „Hun som sitter fast“ und mit
”Lazer Tag” den besten Turbonegro-Song, den Turbonegro nie geschrieben haben.

Recordings on ECM vereint, wie Pitchfork es formuliert hat, „einige der herausragendsten Werke des
Minimalismus-Komponisten Steve Reich, darunter die maßgebliche Aufnahme seines unbestrittenen Meisterwerks Music for 18 Musicians“. Die Sammlung umfasst die drei Steve-Reich-Alben, die zwischen 1978
und 1982 auf dem Label veröffentlicht wurden. Sie erscheinen als originalgetreue Faksimile-Ausgaben in
einem hochwertigen Kartonschuber mit einem Booklet, das Fotos aus dem Archiv sowie Manuskriptseiten
und Liner Notes von Paul Griffths enthält. Direkt von den originalen analogen Masterbändern gefertigt
(AAA) lassen die drei Vinyl-Ausgaben diese wegweisenden Aufnahmen, die längst zum Kanon der zeitgenössischen Musik gehören, in ihrer ursprünglichen Klangqualität neu strahlen. Die drei Alben enthalten
die Werke Music for 18 Musicians, Octet, Music for a Large Ensemble, Violin Phase und Tehillim und
dokumentieren somit die einflussreiche frühe Schaffensphase des Komponisten sowie seine künstlerische
Entwicklung über einen Zeitraum von fünfzehn Jahren. Die Box erscheint anlässlich des 90. Geburtstags
von Steve Reich im Oktober 2026.
“About the famed ECM Recordings, much has already been written. Suffce to say that they confirm
that Reich could convey the pulse and spirit of American urban life as brilliantly as Gershwin did 30 years
earlier. Even the unity that arises from out of phase quasi-chaos is revelatory. Recorded 1976–1981, the
works’ emphasis on percussive sounds makes for anything but soothing background listening. It’s all fabulous stuff. Although listening to multiple works in one sitting could possibly induce numbness – taken one
at a time, they are as exhilarating as they are essential.” – Jason Victor Serinus, Stereophile Magazine

Tenorsaxofonist Booker Ervin (1930-1970) wurde in den späten 1950er Jahren durch seine seine Zusammenarbeit mit Charles Mingus bekannt. Er war ein unverwechselbarer Solist mit einem kraftvollen Klang
und einer von Blues und Gospel geprägten Phrasierung. Eines seiner besten Werke als Bandleader war
das Album “Structurally Sound”, das er im Dezember 1966 mit einem Quintett engagierter Modernisten -
darunter der junge Trompeter Charles Tolliver- für das Label Pacific Jazz aufnahm. Es entstand bei einer
seiner letzten Aufnahmesessions und ist ein eindrucksvoller Beweis dafür, wie er seinen Stil in den Jahren
vor seinem viel zu frühen Tod weiterentwickelt hatte.

Nach seinem vielbeachteten Album My American Story – North setzt Starpianist Daniil Trifonov seine Reise
durch die Amerikas fort. Mit Mi Historia Americana – Sur richtet er den Blick auf Südamerika und die
Karibik mit einem Programm, das beliebtes Repertoire des Kontinents mit neuen Entdeckungen Trifonovs
verbindet.
Zu hören sind unter anderem Klavierwerke von Gabriela Lena Frank, Ginastera, Guarnieri, Lecuona und
Villa-Lobos, dazu Trifonovs eigener Tango. Zwei orchestrale Werke mit dem São Paulo Symphony Orchestra erweitern das Album um Ary Barrosos populäres Aquarela do Brasil und die Weltersteinspielung von
Osvaldo Golijovs farbenprächtigen Cuadros del Sur.
Dabei spannt Trifonov einen Bogen von Brasilien über Kuba und die Dominikanische Republik bis nach
Peru und Argentinien und formt daraus ein vielschichtiges musikalisches Panorama. Zugleich gewinnt das
Album durch Trifonovs enge Verbindung zur Region eine persönliche Dimension, die dieser musikalischen
Entdeckungsreise besondere Bedeutung verleiht.

Nach seinem vielbeachteten Album My American Story – North setzt Starpianist Daniil Trifonov seine Reise
durch die Amerikas fort. Mit Mi Historia Americana – Sur richtet er den Blick auf Südamerika und die
Karibik mit einem Programm, das beliebtes Repertoire des Kontinents mit neuen Entdeckungen Trifonovs
verbindet.
Zu hören sind unter anderem Klavierwerke von Gabriela Lena Frank, Ginastera, Guarnieri, Lecuona und
Villa-Lobos, dazu Trifonovs eigener Tango. Zwei orchestrale Werke mit dem São Paulo Symphony Orchestra erweitern das Album um Ary Barrosos populäres Aquarela do Brasil und die Weltersteinspielung von
Osvaldo Golijovs farbenprächtigen Cuadros del Sur.
Dabei spannt Trifonov einen Bogen von Brasilien über Kuba und die Dominikanische Republik bis nach
Peru und Argentinien und formt daraus ein vielschichtiges musikalisches Panorama. Zugleich gewinnt das
Album durch Trifonovs enge Verbindung zur Region eine persönliche Dimension, die dieser musikalischen
Entdeckungsreise besondere Bedeutung verleiht.

Nearly ten years after Nocturne, Girls in Hawaii make a major comeback with Eldorado, a fifth album marking a new chapter in the history of one of Belgian indie rock"s most iconic bands. Driven by radiant, deeply human songs, Eldorado recaptures the very essence of Girls in Hawaii: instantly memorable melodies, raw emotion, and that unique balance between fragility and power. Inspired by the spirit of great 1990s indie records - from Pavement and Grandaddy to Radiohead - the album blends pop clarity, collective energy, and elegant melancholy. Written and recorded with a deliberately artisanal approach, Eldorado celebrates the rediscovered joy of creating together. It is a soulful, sincere, and timeless record that reaffirms Girls in Hawaii"s unique place in the European music landscape.

[GER Seit ihrer Gründung im Jahr 2014 haben sich These Wicked Rivers zu einer der fesselndsten Bands der aktuellen Rock-Revivals in Großbritannien entwickelt. Die aus Derby stammende Gruppe schöpft aus dem reichen Erbe von Rocklegenden und Blues-Größen und hat sich mit ihrem unverwechselbaren, vom Blues geprägten modernen Rock einen Namen gemacht. Dank ihrer Live-Auftritte, die oft eine fast spirituelle Tiefe erreichen, und ihres zeitlosen Songwritings hat die Band in den letzten Jahren enorm an Fahrt aufgenommen. Ausverkaufte Konzerte in Großbritannien, den Niederlanden, Frankreich und Deutschland sowie der große Kritikererfolg ihres zweiten Studioalbums "Force of Nature" (Platz 3 der UK-Rockcharts) haben ihren Ruf als Live-Act, den man unbedingt gesehen haben muss, gefestigt. Das Jahr 2026 verspricht ein Meilenstein für das Quintett zu werden: Im Herbst erscheint ihr mit Spannung erwartetes drittes Album "Fire and Folklore". Aufgenommen wurde das Werk in der Heimatstadt der Band, Belper in Derbyshire, im Heimstudio von Andy Sneap. Unter der Regie des Grammy-Preisträgers Sneap (Judas Priest, Saxon, Megadeth) und Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) ist das bisher ausgereifteste Album der Band entstanden. "Fire and Folklore" geht über den typischen ,Wizard-Blues-Rock"-Sound hinaus und erschließt neue klangliche Territorien; dabei werden Country-Einflüsse und Southern-Rock-Flair integriert, ohne den für die Band charakteristischen Groove und Soul zu verlieren. Zudem ist die aus Derby stammende Country-Hoffnung Kezia Gill als Gastmusikerin auf dem Album vertreten. Geliebt von einer rasant wachsenden Schaar von Fans und ausgestattet mit einem Album, das den Sprung auf die großen internationalen Bühnen anvisiert, stehen These Wicked Rivers bereit, neue Höhen zu erklimmen. Seid dabei, klingt klasse. CD mit zwei Bonustracks, LP als Purple oder Black Vinyl! Established in 2014, These Wicked Rivers have emerged as one of the UK's most compelling forces in the recent rock resurgence. Hailing from Derby and drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years. Sold-out shows across the UK, the Netherlands, France and Germany have cemented their reputation as a must-see act, bolstered by the critical acclaim of their second studio album 'Force of Nature' (#3 UK Rock Chart). 2026 is set to mark a landmark chapter for the quintet, with their hotly-anticipated third album 'Fire and Folklore' set for release in autumn 2026. The record was recorded in the band's hometown of Belper in Derbyshire, at Andy Sneap's home studio. With the Grammy-winning Sneap (Judas Priest, Saxon, Megadeth) and Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) at the helm, it's the band 's most accomplished record to date. Expanding beyond their signature wizard-blues rock sound, Fire and Folklore pushes into new sonic territory, blending in shades of country and Southern spirit while retaining the groove and soul that defines the band. The record also features a special guest appearance from fellow Derby artist, country starlet Kezia Gill. Loved dearly by a rapidly growing "Family" of fans, and armed with a homegrown record with its sights set firmly on the global stage, These Wicked Rivers are poised to reach new heights. Jump on in and enjoy! CD contains two bonustracks, LP comes in Purple or Black Vinyl!