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In 2014, to mark 20-years since the release of their landmark album The Holy Bible, Manic Street Preachers embarked on a sold-out tour playing the record in full. More than a decade later, The Holy Bible Live captures an unforgettable show at London’s Roundhouse, documenting a band revisiting a defining chapter of their history. Out on 23rd October, this deluxe edition features the complete live show on CD and 2LP Blue Marble vinyl, including a special Side D etching, as well as the Director's Cut of Kieran Evans' acclaimed live concert film Be Pure – Be Vigilant – Behave on Blu-Ray. The package also includes a brand-new Steven Wilson mix of the original album on CD, an exclusive 16-page book and a Pennie Smith photo print; making it an essential addition to any Manics collection. Pre-order yours now.

Pronounced Zero (ay ay) RIOT
Shit and Shine go fully CAN on their eleventh album release for Riot Season since their debut way back in 2004.
DEEP SOLID GROOVE REPETITION !!
Fully CAN in the sense that the rhythms are VERY CAN LIKE, but with a modern sharper edge and less flowery decoration. If CAN had a Roland TR-1000 drum machine it might sound a lot like this!
Basically all your favourite bits of krautrock, but sharpened up with modern tools, and it works perfectly! Say it again … DEEP SOLID GROOVE REPETITION !!
It’s definitely danceable, if that’s your thing, but also definitely deeply listenable. Something to put on and fill the space with infectious groove while you wash the dishes or drive your car, have your workout (I’ve heard from several sources $&$ makes excellent workout music) or whatever.
Two long songs on each side of the record. It’s an absolute beauty and actually sounds like shit and shine might be taking things a bit more seriously for a fuckin’ change! BRAVO !!!

Max Cooper delivers the latest instalment in the acclaimed fabric presents series, marking a landmark release as the first tracks to be presented in Spatial Audio. Fusing his signature blend of emotive electronica, immersive sound design and club-focused energy, the project captures Max’s ability to bridge the gap between cutting-edge technology and deeply human storytelling. Featuring exclusive material alongside carefully curated selections, the mix places him alongside previous fabric presents contributors including Daniel Avery, Overmono, Helena Hauff and Mount Kimbie, while pushing the series into new sonic territory.

Leading the accompanying EP is Flecks, a collaboration with LSB that pairs fast drum & bass breaks with Max Cooper’s unmistakable immersive production. Referencing the iconic Hurt You So break, the track fuses old-school jungle influences with a modern, spatial mix, hypnotic synth lines and subtle vocal fragments draw the listener deeper into its expansive soundscape. Also featured is Bredren’s Hash (Max Cooper Remix), a tension-filled drum & bass track built around distorting basslines and constantly evolving movement.

The EP's focus track, AO, sees Max Cooper reunite with Rival Consoles for a more introspective moment. Swapping high-tempo breaks for a slower electronica and house framework, the track unfolds through beautifully detailed percussion, organic rhythmic textures and sweeping synth melodies, culminating in a soaring central passage that showcases the pair's shared gift for emotionally resonant electronic composition.

Released via fabric Records, fabric presents: Max Cooper represents another evolution of the long-running series, a release that is equally at home on immersive listening systems and the dancefloor.

youANDme - pleasCycles EP Driven almost exclusively by a custom-modified Prophet-5 repurposed as a drum machine, youANDme’s Cycles EP pushes analog sound design into unchartered rhythmic territory. Almost every element on the record stems from this unique hardware setup, delivering a raw, hypnotic sonic signature. Vinyl Exclusive on this one, No Represses Planned.

Skarra Mucci, the globally acclaimed Jamaican MC known as the "Dancehall President", partners with Manudigital, one of Europe's top producers, to bring us the full-length album Ragga Blasta.


Following the success of their self-titled EP, the duo doubles down by expanding the concept into a complete 10-track album, delivering a varied, multi-inspired showcase where hybrid beats meet core sound system culture. This project retains the essence of their initial release: the energy of title track Ragga Blasta blending reggae and boom-bap hip-hop, Angel’s ragga beat and intoxicating Likkle Devon sample, alongside the heavy basslines of Freedom Fighter. It also features the more introspective rub-a-dub vibe of Inna Mi Brain, the explosive ska collaboration with Queen Omega on Feel It, and the atmospheric dub of Natty, where Skarra delivers razor-sharp rap flows.


This long-form edition packs an even bigger punch with four brand-new tracks built to shake sound systems and dancefloors alike. Skarra Mucci showcases his technical mastery on Lyrics Machine, a hard-hitting, hip-hop-infused track, while delivering a powerful, anthemic dancehall tune with Nah Fraid No Police. The tracklist further elevates with a legendary feature from Johnny Osbourne on What A La La, before broadening its musical horizons through the festive, hybrid sounds of Rock This Cumbia.

Tresor Records announces GODSPEED, a new EP from NVST, out on October 23, 2026. From its origins in the Motor City and through to the themes of interstellar travel, techno has always been a genre focussed on forward movement, a tradition that GODSPEED continues boththrough music and title.

The EP is a collection that brings to mind the spirit of early, non-conformist releases on Tresor, full of hypnotic synth loops, spacious FX, and breakbeats, yet with a crisp and modern sonic palette. Side A embarks with two tracks that combine a low, buzzing bassline with trippy melodies and percussion that ventures close to breaks and electro, while the B-side moves intothe fast lane with driving acid and more regimented drums. Digital bonus track "Firliner" combines both approaches across its seven-and-a-half minutes, as a buzzy bassline and spluttering beat ignite into a steady trance-induction.

The EP title arrived the way the best ones do: not so much chosen as absorbed from the aether, the word kept popping up during the creative process until it became the ideal name for this collection, given its connotation with setting out on a journey.
"You remember the nights where you've been on the floor for hours without realising how much time has passed, the conversations you can't fully recall, or how unexpectedly open you've been to everything around you. The music speaks the language of substance not as a statement, but as a way of describing perception. It's about experimenting with yourself, your body, your hearing, your emotions. About reaching a point where things that once felt permanent suddenly lose their grip, even if only for a moment. These recordings come from that place. They capture moments where movement replaces thought, memories blur into feeling, and vulnerability becomes part of the process. They're documents of a very
specific time, but also of something much more familiar: trying to lose yourself just enough to find a different version of who you are." NVST
This fast-paced forward travel is implicit in the word speed, but once this word indicated power or prosperity so that godspeed is a wish for success, forming an appropriate double meaning for this first full release of NVST on Tresor.

SENSE004 sees Helsinki’s Kaspiann deliver a four-track journey of deep, psychedelic exploration. Blending heavy forest-psy influences with alienating, primitive sound design, the EP creates an immersive atmosphere that pulls listeners straight into the untamed depths of the Finnish woods.

Trixie Whitley returns with 'Folded Time', her first full-length album in seven years and one of her most adventurous and rhythmically driven records to date. Written largely at the kitchen table of her Brooklyn apartment and recorded between Brussels, New York and Montréal, the nine-track album finds Whitley moving freely between rock, soul, R&B and more experimental territory.

Rhythm sits at the heart of 'Folded Time'. Whitley plays drums, bass, guitar and piano herself, with her love of polyrhythms running throughout the record. Heavy, slow-moving drums turn opener 'Carry' into a mantra, 'Fascinating and Fun' grew out of studio improvisation, while on 'Carnaval' Whitley and Cem Misirlioglu face each other behind two drum kits for what she calls a "drum rave". Her unmistakable voice remains at the centre, moving just as easily between restraint and raw power.

Across the album, Whitley looks at motherhood, womanhood, heartbreak, desire and forgiveness, and at how the past continues to shape who we become. It is a record about taking stock without standing still: instinctive and physical, but full of detail.

‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.

There are albums you listen to, and there are albums you live with. ‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.

Across sixteen tracks, Voitek and Greg have created their most creatively ambitious and emotionally open work to date. An album about relationships, friendship and the people and places that shape us. At its heart is a simple idea: music should make you feel something, and sometimes the most meaningful moments are the quiet ones when you finally have time to yourself.

Finally is rooted in the emotional contradictions that make memories so powerful. Inspired by classic American Folk and Soul, its songs are happy and nostalgic; hopeful without pretending that the past doesn’t exist. There is melancholy inside the euphoria and warmth inside the sadness, a constant interplay between looking back and moving forward.

The album begins with the soulful breakbeat glow of 'We’re Gonna Be Alright' featuring Ajii, before moving through the smoky jazz and piano-led intimacy of 'Dance For You' with Miller Blue and the bass-driven energy of 'Sun Goes Down' featuring Charlotte Haining. Closing with the reflective 'Miss You' featuring Mateusz Krautwurst, the record takes in a rich cast of vocalists, musicians and producers, alongside a series of deeply personal Catz ’n Dogz solo productions.

Those collaborations are central to Finally. The album is, in many ways, a celebration of the creative friendships Voitek and Greg have built throughout their journey. Relationships that have allowed them to step outside their comfort zone and rethink what their music can be.

Written and recorded between Madrid, New York, Warsaw and the road, the album finds the duo placing renewed emphasis on songwriting, chord progressions and musical craft. Rather than simply chasing the next track, they took the time to learn, experiment and create something with a sense of permanence.

This is an album for driving without a destination. For watching the sun go down. For remembering somebody you haven’t thought about in years. For those rare stretches of time when there is nowhere else you need to be.

Morcheeba return with the second EP in their Remix The Chaos project - a year long series of releases reworking all the tracks from their 2025 studio album Escape The Chaos. Volume 2 is headlined by London art-rockers Django Django who inject a fresh garage pulse into Hold Me Down and prolific producer Rex The Dog who transforms the Latin subtleties of Dead To Me into an extended electro powerhouse.

Elsewhere, experimental producer Daedelus takes Cooler Heads into leftfield IDM territory, and regular Morcheeba remixer Merther Hum turns the album title track Escape The Chaos into deep, refined dub.


Ready in equal parts for the dancefloor or your sofa late at night, these bold reinterpretations push Morcheeba’s seminal sound further towards electronic music’s outer edges. Presented on rubber duck yellow vinyl in classic disco bag packaging, Remix The Chaos (Volume 2) is just the latest in a series of unmissable releases from the trip-hop titans.

With his last three records all landing within a calendar year (2024-25), enigmatic Swedish producer Civilistjävel! (aka Tomas Bodén) is on a hot streak of releases, his singular vision increasingly ambitious and expansive. There are few artists working at this level so consistently right now, reinventing, revising and continually developing their language. Following on from 2025’s radically re-worked ‘Versions’ (of Mayssa Jallad’s ‘Marjaa…’), Bodén returns to break further fresh ground with his new album, ‘Älvgång’. Featuring contributions from Soccer Committee, Carrier and guest (aka Jabu’s Jasmine Butt), ‘Älvgång’ foregrounds a more brittle and insistent rhythm-based sound, whilst comprising his most broad-ranging collection of material to date.


‘Älvgång’ grew out of a series of sketches made from late ‘24 and throughout the whole of ‘25 at Stockholm’s renowned EMS Studios, which gave Boden free rein to its extensive collection of vintage analogue equipment and rare modular synthesizers such as the Serge and Buchla systems. As a loose framework of tracks began to take shape, so did a reflection of sorts, on family and foundations, underpinned or influenced by sounds that drifted into Tomas consciousness around this time - ancient Swedish pastoral music, Georgian lithurgical chants, gongs, chimes. An idea settled into place, a dedication to his Grandfather, as the earlier release Fyra Platser (tr. ‘Four Places’) was to his Grandmother. Älvgång is grounded with the sense of time and place of an old family photograph, with the tracks over each side bearing one of two names that are more or less the same location - Strinne was the old name for a this loose collection of villages. These days it is more commonly known as Bjärtrå. Metaphorically speaking, the river runs through both.


Civilistjävel! conjures so many adjectives and descriptors, ‘glacial’ and ‘ambient’ frequently among them - but while not altogether untrue, such terms belie the tension and drama so often present in Tomas’ music. Listening to ‘Älvgång’ is not a passive experience. The eight tracks here feel like a patchwork of memories that bathe in the same ethereal, otherworldly glow of Tarkovsky’s polaroids’.


The machine pulses that dominate this landscape are reigned in and tempered by a human hand; lithe, untethered coils, breathing in and out. ‘Strinne Ett’ sets out with purpose, sensing awe and wonder through the murk, but as the final tone unfurls like a question mark, another chapter begins, unfolding/building like a Tarjei Vesaas novel. These lyrical, abstract miniatures combine to reveal a wider context, fragile humanity standing alone against nature.


Guest appearances on Civilistjävel! records have become a regular occurrence (including recent collaborations with Mayssa Jallad, Laila Sakini, Cucina Povera, Thomas Bush, Eldon + Withdrawn), but are used sparingly and with increasing precision. On ‘Strinne Tre’ Mariska Baars’ (Soccer Committee) voice feels like a balm, a clearing. But as her simple, three-word incantation drifts further into fog, the meaning changes, and her words seem to curdle. Carrier’s beats widen the parameters on ‘Strinne Fyra’, a skittering promise that builds tension then refuses to release it; all false starts, Photek gongs, and trinkling modulars. Jabu’s Jasmine Butt pulls all the threads together for the final track, Thomas Tallis’ ghost walking over offset machine impulses, that work against their own symmetry.


Side two begins inquisitively, scanning bleached, alien surroundings, its sparse pads recalling Aphex Twin’s ‘Selected Ambient works Vol 2’. 'Bjärtrå Två’ picks up the baton from ' Strinne Fyra’ with a ruptured Simmons SDS200 analogue drum synth set free from its shackles, the rhythm eventually slotting into the spaces that were hiding in plain sight. What follows seems like an epiphany; ‘Bjärtrå Tre’ is achingly beautiful, a euphoric, winding ascent that leads to devotional plainsong. ‘Bjärtrå Fyra‘s final unheralded shift feels both tragic and haunting.

From the globally acclaimed spiritual jazz album RUSHIN' (Mono Jazz), "PHAROAH'S MESSAGE" channels the spiritual legacy of Pharoah Sanders and John Coltrane into the present day. At its center is Joe Claussell's expansive alternate remix, where Afro-diasporic ritual, deep house, and jazz mysticism converge. Also featuring Didje Doo, with a Balearic sound and WATH with an Eastern Sound, this release reimagines the spirit of jazz for a new generation of listeners, dancers, and seekers.

The Future Bubblers compilation brings together artists from across the Academy cohort and wider applicant community, with sounds spanning jazz, soul, electronic, hip hop, folk, experimental and everything in between. It’s a snapshot of the boundary-pushing talent emerging through the Future Bubblers community. This rollout is designed to put the people who make independent music possible at the heart of the release: listeners who choose to support artists directly, record shops that nurture culture locally, and the community that has grown around Future Bubblers over the last decade.

Australian electronic icon What So Not redefined the boundaries of bass music in 2016 with the seminal Divide & Conquer EP—and now, this moment in dance music history finally gets the treatment it deserves. Celebrating 10 years, this vinyl pressing unleashes the EP’s signature mix of relentless bass and massive, soaring melodies like you’ve never heard them before.

Featuring the timeless sonic architecture of tracks like the explosive title track ‘Divide & Conquer’ and the unforgettable ‘Trust.’ Packed with iconic collaborations with Kimbra, George Maple, BURNS and GANZ, every track on this record holds up as a masterpiece. Drop the needle and re-experience the boundary-pushing energy that established What So Not as a global trailblazer.

It’s rare for a hardcore punk band to make four full-length albums, and rarer still for the fourth album to be the band’s masterpiece. Yet Paratiisi, the fourth album from Helsinki punks Kohti Tuhoa, stands as the undeniable coup de grâce of a catalog overflowing with classic hardcore punk. If you’re already a fan, it’ll comfort you to know Paratiisi leans heavily on the strengths Kohti Tuhoa has possessed since their earliest releases: a timeless sound that combines UK82 drive and hooks with dramatic metal flourishes; a captivating vocalist with the perfect balance of grit and clarity, who can both howl like a banshee and carry a tune; and a particularly Finnish way with a driving, medium-fast tempo. But for all the continuities with Kohti Tuhoa’s excellent previous records, Paratiisi almost feels like the work of a new band. The riffs and choruses that anchor the album are impossibly catchy; Paratiisi bulges with huge moments that practically force you to air guitar and sing along (even if you don’t speak a word of Finnish), the band’s peerless chops and the rich and clear recording driving these climaxes to dizzying highs. But while the hooks are memorable, there isn’t a moment on Paratiisi that feels dumbed-down or overly familiar.

In fact, the album feels notably ambitious, pulling influences from across punk’s historical and aesthetic breadth and digesting them seamlessly into Kohti Tuhoa’s distinctive sound. The lyrics (don’t worry: English translations are included!) meet the same high bar as the music. They’re direct, assertive, and punk, but they’re also subtle and insightful, whether they’re tackling huge issues like microplastics or sharing a very personal account of a sexual assault and its aftermath. And then there’s Paratiisi’s most unexpected moment, “Eliitin Psykopatia,” a free punk freakout in the tradition of “Why (Reprise)” and “L.A. Blues.” If Kohti Tuhoa’s brief foray into free jazz tries your patience, though, don’t worry, because after three minutes of building tension, they reward you with what is bound to be the best riff of 2026, a clash of chords potent enough to blow holes through walls the world over. Paratiisi is the sound of one hardcore punk’s most exciting bands at the height of their powers.

Naarm/Melbourne-based artist Now Always Fades returns with Coalesce, the follow-up to his widely acclaimed 2025 album Into The Doldrums. The project of Xavier Bacash, Coalesce sees the musician evolving his modernised approach to downtempo and trip-hop, genres in which he has been heralded as a leading new voice amid their growing popularity. Across the record, NAF's musical and thematic universe expands with the return and addition of a series of new vocal collaborators, speaking to the versatility of a voice as a contextual instrument. In doing so, throughout 'Coalesce', he continues to develop a kind of sonic consistency that focuses on shared emotion above all else. In pursuing those feelings, Now Always Fades finds himself alongside a series of strong and soulful voices: Alia Seror-O'Neill, otherwise known as Alias Error; Lili Hall; and Olive Kimoto, NTS Radio host and singer behind influential 90s band Locust. Throughout the record, each vocalist finds themselves on tracks entirely for them, and in doing so, the NAF project provides everyone involved, and the listener, with something sonically new but emotionally familiar at every turn.

Tokyo-based producer aus debuts on Squama with his new album Mere Meer.
Grounded in the question of how a specific environment can emerge through voice and memory, rather than through recording of an objective reality, the album stands in the tradition of modern Japanese Ambient and Kankyo Ongaku.
aus is the solo project of composer, producer, and curator Yasuhiko Fukuzono. His music is characterized by a precise combination of cinematic strings, acoustic instrumentation, and concrete sound design derived from everyday life.
In recent years, he released music on EM Records, WRWTFWW and his own flau imprint. As a remixer, he put his touch on tracks by Matthew Herbert, Tenniscoats and Craig Armstrong, among others.
His sonic research also extends beyond traditional formats into spatial sound installations and site-specific works, collaborating with experimental figures like Ulla, Li Yilei, and Hinako Omori for institutions such as the Tokyo National Museum.

Much of the album consists of sketches made with synthesizer and voice. Sampled from social media clips, field recordings or a heavily processed version of Fukuzono's own vocals, the voice became a central element of the record. "I have long been interested in the relationship between words and melody.", aus says. In his former work as a speech therapist, he witnessed patients with severe dementia or aphasia, who all of a sudden could recall lyrics when they were sung with familiar melodies. An experience that left a deep impression on him.
During the Covid years, when hearing voices of friends and family sometimes was the only way to feel connected to the outside world, aus began reflecting on the connection between voice and environment. "Every voice represents an encounter with a person, but it's also an encounter with a place."
Unable to travel as freely as before, that limitation became part of his method: rather than just recording actual field material capturing the real world, he would write and perform melodies that simulate a sense of place - an imagined room, an imagined street.
"My interest lies not in the dichotomy between artificial and environmental sounds, but in how they collectively shape a single perceptual field."
By observing and mapping our world, aus creates his own and his new record is a prime example of that process.

Phenomena begins with two artistic voices that seem to speak different languages. Barcelona-based producer R-010 (Lucas Rojo) approaches composition through rhythm, space and electronic transformation; Madrid-born vocalist and multidisciplinary artist Venerandi through texture, breath and the expressive possibilities of the human voice. By the time the album reaches its final moments, that distinction has quietly disappeared.

Rather than functioning as a meeting point between two individual practices, Phenomena gradually
becomes a third language—one that belongs to neither artist alone. Voice no longer sits above the music
but moves inside it, dissolving into layers of synthesis, percussion and guitar until performance itself
becomes another malleable sound source. Likewise, electronic production never behaves as a fixed
environment; it constantly adapts, absorbs and responds, allowing acoustic gestures and digital
manipulation to reshape one another in real time.

This continuous transformation defines the record more than any particular genre ever could. Echoes of trip hop, bass music, psychedelia and experimental electronics drift across its surface, yet they are never
presented as stylistic markers. Instead, they appear as temporary states within an ecosystem that remains
in constant motion, where dense rhythmic passages collapse into suspended atmospheres and moments
of stillness carry as much weight as those driven by pulse.

The presence of Matteo Caro (guitar and percussion), Pablo Gorostiaga (guitar) and Alessio Rodolico
(percussion) further expands this dialogue. Their contributions are not decorative additions but structural
ones, gradually dissolving the distinction between composition, improvisation and production. Instruments
emerge, mutate and disappear inside the same sonic fabric, making it increasingly difficult to distinguish
what was performed from what was transformed.

With Phenomena, Lapsus Records presents a work that feels less interested in crossing genres than in
questioning the borders between artistic identities themselves. The album never asks the listener to decide
where the human ends and the machine begins. Instead, it quietly suggests that, after enough careful
listening, the question itself may no longer matter.

After some years of (non)hiatus, Contagious are back with a new album that
furthers the evolution of their uncompromising sound. The album features the high
caliber talents of guests: Valentina Magaletti, Sofia Jernberg and Andrea Belfi.
“Being” is conceived around the different activities pursued by the band since the
release of their first (self-titled) album. Members: Sabine Erklenz, Andrea
Neumann and Mieko Suzuki have been concentrating on performing, composing
and organizing their own event series “Partners in Crime” at Morphine Raum,
Berlin.

This series is an ongoing process of inviting musicians to collaborate, share
and record new material - unrestricted by genre or anything else. It was during
these sessions, “Being" was conceived and recorded. Inspired by the wide range
of lifeforms found in nature, the track titles are once again dedicated to species
that challenge binary notions of sex.

The album conveys the band’s brutal approach to improvised processing - tense
buildups, powerful grooves and delicate release. Contagious’ signature sound
very much suits the wild vocal extensions by Sofia Jernberg, obsessive drum
patterns by Valentina Magaletti and the Moondog-esque, hypnotic percussion of
Andrea Belfi, all of whom offer powerful contributions to a tracks on the LP.

The overall result is a blissful and loving punch in the stomach

TAR048 Chaz Moloney - Tar 48 - TH Tar Hallow The room exhales.The tunes work in the low. Moloney locks the loops. The floor feels low to the dancers, everyone dives higher. A1 - Chaz Moloney - Behind The Red Curtains A2 - Chaz Moloney - Irritation Realm B1 - Chaz Moloney - We're Going There B2 - Chaz Moloney - Look Into My Soul And Tell Me What You See

Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.


A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.


This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.


Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.

Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.


A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.


This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.


Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.

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

Do you know what time it is? It’s Prime Time, the new EP on Punctuality from mischievous French duo Pureblast . Marking the label’s twelfth release, the record serves as a bold statement of intent from the Parisian pair and demonstrates why they’re quickly earning a reputation as one of France’s most exciting live acts.

Across the EP’s five tracks, Pureblast weave together a broad spectrum of influences while remaining deeply rooted in the duo’s singular vision. Every cut is fat, pumping, gritty and playful, ready to turn heads and hips on the dancefloor.

Side-stepping easy genre classifications, Prime Time is modern rolling prog at its most energetic. Tightly wound low-end, pummelling drums and restless basslines drive each track forward with purpose, while sa+ga’s vocals are manipulated and distorted to humanoid perfection. The result is something distinctly personal beneath the machine funk: robotic yet seductive, gritty yet playful.

Deep listeners will spot nods to tranced up breakbeats, Ray of Light-era big beat, Detroit electro and contemporary UK techno with psy-fluenced synth swirls and texture. Far from pastiche, these influences are absorbed into the Pureblast machine and transformed into something entirely their own.

Gritty, pumping, sexy and playful. It’s Pureblast, it’s Prime Time.
credits

Not many can match V.I.V.E.K when it comes to pushing sound system culture.

With over two decades worth of releases, dances and low-end pressure, the Southall-born, System Music label owner announces the imminent arrival of his debut album, ‘The Escape To Nowhere’.

Spanning eight deep and meditative tracks, ‘The Escape To Nowhere’ is a fully realised exploration of dubwise tradition, reimagined through V.I.V.E.K’s unmistakable expert approach and unbound from one specific genre

Drawing from a lifetime immersed in bassweight heritage and club-ready experimentation, the record distils his musical journey into a fully formed and immersive statement, featuring the haunting vocals of Dandelion and Dego Ranking, experimental percussion and a meticulously sculpted low-end design.

‘The Escape To Nowhere’ will mark the 50th release on System Music, a landmark that underscores both the label and artist’s enduring commitment to forward-thinking bass music firmly rooted in culture and craft.

The third and final full-length, double album from the Elephant 6 Recording Co. co-founders. Their first record in 27 years from the Athens, GA band. A legend is a heavy thing to carry. It has been 27 years since the last album by The Olivia Tremor Control. In that time, they have influenced countless bands, been the subject of documentaries and biographies, and now, finally, improbably, there is a third Olivia Tremor Control album. In the 1990s, The Olivia Tremor Control released two albums of experimental and psychedelic pop genius, Music from the Unrealized Script: Dusk at Cubist Castle (1996), and Black Foliage: Animation Music Vol. 1 (1999). As founding members of the Elephant 6 collective, they redefined the US underground scene, injecting bright paisley colors and sonic adventure into a scene weighed down by grim irony and a fear of pretension. Work began on the album as far back as 2005 but progress was slowed by other projects, other responsibilities, but in 2010, the band of Hart, Doss, John Fernandes, Pete Erchick, Eric Harris, and Derek Almstead began to record. By 2011 The Olivia Tremor Control had reemerged as a fully active band and added AJ Griffin to the lineup as well as touring members Scott Spillane and Robbie Cucchario. The band was now recording constantly and were fast on their way to completing the album. Then in the summer of 2012, Bill Doss suddenly, tragically passed away. With everyone still in shock and grieving, work on The Same Place came to a halt. Every attempt to resume the project stalled until 2023, when, after watching the Elephant 6 Documentary, Athens producer/musician Jason NeSmith came on board to help. In 2024, with the album nearly finished, Will Hart unexpectedly passed away. Drawing on Will's extensive collections of notes, The Same Place was finally completed by the surviving band members, the broader Elephant 6 community, and producers Derek Almstead, Jason NeSmith, and Ron Kwasman. The Same Place does everything The Olivia Tremor Control ever did well. It also does it better, and goes further, than anyone could have imagined was possible.

The Brussels-based collective re#encounter will release its debut album, Angels and Demons at Play, on September 18, 2026, via W.E.R.F. records. With gnawa grooves, cumbia, griot storytelling, Afro-Caribbean rhythms, and ecstatic jazz improvisations, the nine-piece ensemble crafts a distinctive, spiritual, and above all, danceable jazz idiom.

At the heart of the album lies trance. Hicham Bilali's gnawa, Kaito Winse's relentless energy, Paula León's cumbia roots, and the spellbinding jazz improvisations of Lúcia Pires and Joos Vandueren intertwine with Falk Schrauwen's Afro-Caribbean rhythms. Together with Robbe Latré, Ismaïl Akharraz, Ayoub Boufous, and Anaïs Moffarts, they create a musical encounter where differences are not erased but harnessed as a creative force.

On Angels and Demons at Play, Hicham Bilali's gnawa grooves enter into dialogue with the voices of Kaito Winse and Paula León. They weave stories from the griot and cumbia traditions-tales of ancestors, cosmic journeys, and djinns. Flute, saxophone, and trumpet craft soundscapes and melodies rooted in existing traditions, while drums, percussion, and bass drive the whole forward with tight, hypnotic rhythms.

With this, re#encounter aligns itself with the spiritual jazz idiom of artists like Sun Ra, Pharoah Sanders, Kahil El'Zabar's Ethnic Heritage Ensemble, and Shabaka Hutchings, but always from a distinctly Brussels-based perspective. The result is a homegrown form of Afrofuturism: music that draws on deep cultural roots while simultaneously looking ahead.

Continuing M-Plant's Perpetual Masters series, October sees the vinyl release of Robert Hood's "Red Passion I".

"Red Passion I" was original released in 1999 on his Duet label featuring three tracks of Minimal Techno at its most hypnotic and effective, stripped back to the essentials. It layers taut rhythms, subtle modulation and deep Detroit groove. Hood's mastery lies in making tiny shifts feel monumental, creating sustained tension and movement without excess.

A timeless example of minimalism achieving maximum impact, which is now remastered for 2026 by Thomas P. Heckmann.

Limitierte Auflage von weltweit 666 Exemplaren. Dale Crover sieht Neil Young sehr ähnlich so sehr, dass Neil ihn selbst engagiert hat, um die, ähm, junge Version von sich selbst im legendären Harvest Moon"-Video zu spielen. Es ist schwer, sich jemanden vorzustellen, der besser geeignet wäre, den Song zu covern als Crover, dank seiner Präsenz im Video und seiner langen Karriere als Solokünstler sowie seiner 43-jährigen Zugehörigkeit als Schlagzeuger bei den Melvins, dieser Rock-Institution aus dem Pazifischen Nordwesten. Crovers Version von Harvest Moon" eröffnet seine neue EP Get Yer Ba-Ba's Out" und geht nahtlos über in eine Interpretation des Melvins-Klassikers The Bit" aus dem Album Stag", denn Crover hat den Gitarrenpart geschrieben er ist in der gleichen Tonart, und warum auch nicht? Die EP enthält außerdem Akustikversionen von drei Songs aus Crovers Soloalbum Glossolalia" (Doug Yuletide", Rings" und Jane"), einen aus dem 2021 erschienenen Rat-A-Tat-Tat!" (I Can't Help You There") und den brandneuen Titelsong. Diese intime Inszenierung von Crovers Songs steht hier im Kontrast zum elektrischen, mit Gastmusikern gespickten Glossolalia", aber man kann diese Musik kaum als ausgemustert" bezeichnen. Es fühlt sich eher wie eine Weiterentwicklung des glam-beeinflussten Power-Pop an, den Crover seit The Fickle Finger of Fate" aus dem Jahr 2017 produziert. Die Arrangements von Produzent Toshi Kasai füllen den verfügbaren Leerrum mit Slide-Gitarre, Maultrommel, verschiedenen Glocken und anderen Idiophonen. Der Geist von Crovers Musik war noch nie deutlicher ein rastloses Verlangen, Neuland zu erkunden, kombiniert mit einer tiefen Liebe zum Rock 'n' Roll, dieselbe, die die Melvins zu einer der interessantesten und einflussreichsten Bands ihrer Generation gemacht hat.

Breakbeat Paradise Recordings proudly welcomes back one of the undisputed heavyweights of the international funk and breaks scene, Basement Freaks, for another scorching edition of the Toxic Funk series.

The brainchild of Greek producer George Fotiadis, Basement Freaks has spent more than two decades building a worldwide reputation for infectious grooves, heavyweight beats and dancefloor-destroying funk. With releases on labels including Jalapeño Records, Bombastic Jam, Good Groove Records and many more, Basement Freaks has become a staple in DJ sets around the globe and one of the most respected names in modern funk.

Opening the release is Got That Funky Stuff, an irresistible slice of raw party funk packed with chunky breakbeats, killer basslines and soulful samples that are guaranteed to get any crowd moving. Flipping over, Life For Dat Sweet Ting keeps the energy flowing with another irresistible groove, combining vintage funk flavors, rolling drums and signature Basement Freaks swagger into a certified dancefloor weapon.

Whether you're a funk DJ, breakbeat selector or simply a lover of timeless grooves, Toxic Funk Vol. 25 delivers two expertly crafted cuts that showcase why Basement Freaks remains at the very top of the global Nu Funk scene. Another essential 7-inch for collectors and DJs alike, and another dose of pure funk from Breakbeat Paradise Recordings.

Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.

Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.

Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.

Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.

Tears|Ov are Terces Wale (aka D. Wale), L.E. Allen and Lottie Lou Poulet. For real money and in no particular order, they also work odd jobs as digital caterers, shrinking heads, doing laundry and looking up stuff online.

Tears|Ov write: ‘A life on hold! The corporate apology embedded in bad quality, insincere, trashy, patronising hold music it can have no meaning in this stage of Capitalism. There isn’t time - and humility is a waste of money. Still they joke and try to keep us calm, patient and satisfied. This was the starting point for “A Life on Hold” by Tears|Ov - Which quickly drifted into further musings on a collective life that feels forever two steps forward and x-steps back. We wait on hold and reach the top of the queue only for the line to go dead.

Tears|Ov are interested in the ready-made of mainstream media, particularly, the lies, the rub, the promises and the taken for granted. We are the blood plasma of the I in the screens embrace. We seek to find ourselves in that reflection, our real selves – if they even exist – just because it’s kinda fun. You may have seen us on TV, in the bargain basement music section, or some venue in your local area. We take the opportunities the Universe provides.” – Tears|Ov, London, 20 June 2026

Underoath reinvents the balance between chaos and harmony with each successive release. Their compositions, conjured from creative tension, become iconoclastic anthems. Even when the band almost combusts, the crackling energy coalesces into something deeply resonant for millions.

Each time they have a chance to do something safe, Underoath challenges themselves instead, with integrity and attitude. Their pair of gold albums and three Grammy nominations stand in stark defiance of the idea of commercial compromise. The Underoath catalog weaponizes noise, aggression, and ambiance as skillfully as melody.

They're Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wisner (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment. The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the screamo scene of the mid-2000s. The record went gold in 2011.

With Dogma, Hamburg-based metalcore innovators Half Me take their sound to an even darker and more uncompromising level. Building on the success of their acclaimed debut Soma, the band delivers a relentless blend of crushing riffs, hardcore aggression, industrial textures and raw emotional intensity. Featuring the previously released singles "Weather Eye", "Built On Your Blood" and "Fear Is The New Belief", Dogma is a concise yet devastating statement that cements Half Me as one of the most exciting new forces in modern heavy music.

With Dogma, Hamburg-based metalcore innovators Half Me take their sound to an even darker and more uncompromising level. Building on the success of their acclaimed debut Soma, the band delivers a relentless blend of crushing riffs, hardcore aggression, industrial textures and raw emotional intensity. Featuring the previously released singles "Weather Eye", "Built On Your Blood" and "Fear Is The New Belief", Dogma is a concise yet devastating statement that cements Half Me as one of the most exciting new forces in modern heavy music.

Hector Gannet have always known that place and music are inseparable. For songwriter and guitarist Aaron Duff, North Shields high on England’s north east coast, shaped by fishing, shipbuilding, and the sea, is not just a backdrop but a source. Everything flows from it: the imagery, the politics, the particular stoicism of people who absorb more than their share and keep moving anyway.

‘The Great Shakedown’, their third album, is where that source runs deepest. Featuring bold brass arrangements alongside choir and church bells recorded live at the 17th-century Christ Church in North Shields, the album is Hector Gannet’s most ambitious and most searching work. The brass is a constant throughout: driving the Dexys-style urgency of the title track, lounging through the jazz-tinged Big White Telephone, surging euphorically through singles The Mother Tongue and Seven Signs.

The singles capture something essential about the album, euphoric on the surface, quietly devastating underneath. Beneath its propulsive brass lies an examination of stoicism as both armour and wound, of shared language used to avoid saying the very things that need to be said. It’s a quality that runs through the whole record, which looks at human history and art, the ordinary and the extraordinary, the actions of those in power and the communities who live with the consequences. It is both communal and euphoric - a powerful rallying cry for people at a time when we need it most.

Brussels composer and organist Sander De Keere debuts on Phantom Limb with evocative, elegant new works for solo church organ The Manual Stop, mosaicking patterns of minimalism, IDM, electronic, and sacred music with utmost symbiosis and reverence for the instrument. Recorded entirely on a centuries-old Contius baroque organ at the historic St. Catharina Church in the town of Wondelgem (Ghent, Belgium), The Manual Stop is described by Sander De Keere as “an homage to the organ’s ancient craftsmanship and sonic experiment in itself.” While remaining in keen veneration to the instrument, its heritage, and its spiritual gravitas, De Keere’s works employ the church organ as the centrepiece of a broad compositional superstructure coloured by the influence of many contrasting music.

“Kjorstad is an intriguing musician. He’s fascinated by the world, its history and future, nature and sound.”
Songlines

“Routinely blurs lines between folk, jazz, free improvisation, experimental, and contemporary music. Impressive, elusive, superb. I’m never less than spellbound.”
the Quietus

“Just as likely to appeal to followers of classical, folk and improvised music as to the jazz fraternity…A deep listening experience. Enchanting.”
Jazz Journal

Norwegian multi-instrumentalist Hans P. Kjorstad debuts on Phantom Limb (following works with Sam Gendel and Ernst Reijseger) with new album Inn, a nuanced, lower case, orchestra-in-miniature full of curiosity, charm, and sensitive mastery of its form."