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With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

This album is a glimpse into the creative outpouring from Todd in September and October of 2025. He returned to the Purple Building in East Nashville to perfect what he called “the sound of country music 10 years from now”. This meant taking his favorite country music tropes, dismantling and reassembling them over stretched-out, swampy grooves with New Orleans-style horns. He was so sure of this sound, feel, and his studio band's pliability that he insisted on recording his vocal and guitar first, with no accompaniment or click track. Todd wanted the band to record after him, so they would HAVE to follow his lead wherever it went. In his mind, he was attempting to write and record a double album. His excitement over the recordings and the push to capture that much material meant that by mid-October, Todd had recorded his vocal, guitar and the band's rhythm section for at least an album’s worth of material, with plans to continue recording. Sadly, Todd passed away before the remaining overdubs and additional songs could be completed. Fortunately all the notes, directions and encouragement he left behind in the form of emails, voice memos and demos provided an extensive roadmap for his band. Following that roadmap as closely as possible, his band was able to complete Todd's last work, My Second Rodeo, Part 1.

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

DPRTNDRP make a long-awaited return to Infernal Sounds with 'Byrnei', a release that's been quietly building anticipation across the 140 scene. Following their acclaimed 'What Ya Mean' EP in 2020, the duo are back with five heavyweight cuts that showcase exactly why they've remained one of dubstep's most respected production outfits for well over a decade.

Opening with the title track, 'Byrnei' wastes no time setting the tone. Rolling with DPRTNDRP's unmistakable swing, weight and groove, it's a certified soundsystem weapon - built to lock dancers into its hypnotic rhythm while delivering devastating low-end pressure.

Next up, 'Jiaozi' shifts into overdrive. A relentless barrage of razor-sharp percussion, cavernous basslines and seismic energy, it's an uncompromising slice of peak-time dubstep designed to hit with maximum impact from the first drop to the last.

'Fury' explores a deeper side of the duo's sound, drawing influence from their dub-focused alias, D-Operation Drop. Rich in space, texture and heavyweight sonics, it perfectly blurs the line between traditional dub and modern 140, combining meditative atmospherics with chest-rattling low-end.

Adding another dimension to the EP, Causa steps in to rework 'Fury', twisting the original into a hypnotic, distorted roller. Layered with his unmistakable wobble-heavy aesthetic, the remix pushes the track into darker territory, delivering an immersive journey of oppressive bass weight and razor-sharp sound design.

Bringing the release to a thunderous close, 'Backfire' is pure, uncompromising pressure. Stripped back, direct and devastatingly effective, it's arguably the heaviest moment on the EP; a no-nonsense soundsystem destroyer that leaves a lasting impression.

From start to finish, 'Byrnei' is a statement of intent. It's a masterclass in weight, groove and precision, reinforcing DPRTNDRP's status as true innovators within the 140 landscape. With five expertly crafted cuts destined for dancefloors and soundsystems worldwide, this is another landmark release from two producers operating firmly at the top of their game.




[d] B2. Fury [Causa Remix]

Welcome to the first release from Tjotjo Records. Presenting: 'System' by Mystical Powa featuring Rapha Pico & Rootsman Sax Vinyl Cut for SOUND SYSTEM!

The first Af Ursin album in a decade, this release features extraordinary Belgian vocalist and performer Bénédicte Davin. »Ad Fontes« is a personal response to the fractured reality of our time. Created in the wake of visible social decay, manipulation, and institutional control, the album serves as a sonic mirror to an era defined by corruption and systemic failure. Instead of preaching political manifestos or claiming to have answers, this work is an intimate personal statement – a silent call to embrace spiritual values as the vital, untainted source of human nature.

Here at Tuff Kong Records we really like to push our boundaries and explore different sounds, we're passionate with music at 360° and so are these guys we have decided to bring to your attention. Dumbo Station is a nu-jazz ensemble out of Roma, Italy that we've met during a live jam with legendary MC Danno of historical roman hip-hop group Colle Der Fomento. They immediately caught our attention and after listening to this masterpiece we decided to collaborate with them and Roman jazz imprint AlfaMusic to release their debut full-length "Tirana Cafè" on limited edition vinyl. The 11 songs featured on their first studio effort will take you on a trip through different soundscapes with the quartet as your guide, joined by Italian talents the such as vocalist Davide Shorty as well as Maurizio Giammarco's sax and Elvio Ghigliordini's flute. These young fellas have managed to merge nu-jazz with soul, funk and modern sounds creating a true masterpiece.

Individually, Justo the MC & maticulous have impressive resumes in the underground hip hop circuit. Justo, who came up under the Gang Starr Foundation, has worked with Lord Finesse, Rockwilder, Marco Polo and DJ Skizz, releasing numerous projects, most recently “Black Ops,” produced entirely by Showbiz of DITC.

maticulous, who came up under Fat Beats NY, has delivered several producer albums and instrumental projects having produced for the likes of MF Doom, Masta Ace, Your Old Droog, Fame Of MOP, Blu, RA the Rugged Man and many more.

After a chance meeting at SiriusXM studios, the duo started to craft what would become “Mind Of A Man.” This album showcases the feeling of Brooklyn hip hop that stands firm on tradition, giving you true school flavor you’ve been missing. Featuring guest appearances by Kev Brown, Rasheed Chappell, DJ Eclipse and Davenport Grimes.
Limited edition of 300 hand-numbered copies, with the first 100 pressed on black / grey A-side B-side vinyl, the remaining 200 pressed on black vinyl.

It’s safe to say that Rochester, NY rapper of Italian descent Pounds’ work ethic is unmatched: he’s constantly on the grind, loud in the lab but quiet on the outside, he wastes no time unlike many other big mouthed rappers these days and then, all of a sudden, he drops a bomb on you. To kick off 2018 in the best of ways, he released a 4-tracks collaboration EP with West Coast producer , 1/2 of Gangrene, Oh No entitled “Borgata”. The record opens up with “Last Supper” and with a clear statement of intent: “Run for your life, my cousin brought a drum and a knife, break my hand on your face I need a bucket of ice” just so you understand where this project is headed since the first song. His style is always direct, without any frills, with his trademark voice spitting gritty crime-themed bars that revolve around drug and the street life that raised him. A “borgata” in Italy is a “hood”, and Pounds, being the definition of an artist that talks the talk and walks the walk, couldn’t pick a better title for this project.

Limited edition vinyl release of 500 hand-numbered copies with etched B-side, black vinyl.

THE EPIC NEW STUDIO ALBUM FROM THE LONG-STANDING JAPANESE METAL PIONEERS, INCLUDING GUEST APPEARANCE FROM OPETH'S MIKAEL AKERFELDT - PRESENTED ON DIGIPACK CD & VINYL LPJapanese metal pioneers Sigh formed in 1989/1990 Their genre- classic Black Metal debut 'Scorn Defeat' arrived in 1993, & with a subsequent journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & ideas throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed on the 2022 album (& first for Peaceville Records), 'Shiki'. This was followed by the remaking of their 'Hangman's Hymn' album as part of the band's 35th anniversary celebrations, in the shape of 'I Saw The World's End: Hangman's Hymn MMXXV' (2025).

BerettaMusic's compilation series is mouthwatering just from reading the names of the artists involved. First up is Detroit mainstay Dez Andres, who opens with 'Ready Disco,' a warm and typically hip-hop-inflected tone that Curiel's 'Keep You That Way' and Evan Rhodes' 'We Go Low' both build on comfortably, with the latter a particularly contagious minimal house shuffler with a bassline that really pops. DJ Cent's 'Malfunction' gets more heavy and threatening with steely drums marching into darkness, before Ryan Sadorus closes with 'Cultivate,' a storming disco-house workout. It's less a scattered various-artists grab bag and more a real document of Detroit's current house scene. Unsurprisingly, then, it is superb.

Butt Rockin' is the third of the first four studio albums released by The Fabulous Thunderbirds and it features Jimmie Vaughan on guitar with Kim Wilson on vocals and harmonica, Keith Ferguson on bass with Fran Christina on drums Guests include the Roomful Of Blues horn section plus Al Copley and Anson Funderburgh. It is also now available as a 12" blue vinyl edition from the original master tapes - but the vinyl edition does not include the CD bonus tracks.

Their music draws from old folk sources, but it sounds vibrantly alive. On The Holy Coming of the Storm, their debut from 2010, the duo crafts original songwriting and seasoned acoustic musicianship into a timeless blend of old-time, bluegrass, folk and Americana traditions. Now, more than a decade later, these beloved recordings are finally being pressed on vinyl for the very first time in special limited-edition releases. Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen's vocals reflect the warm glow of Eli's voice, it's clear that this duo was made to sing together

Their music draws from old folk sources, but it sounds vibrantly alive. On Our Lady of the Tall Trees , their sophomore release, the duo builds on the sensitive folk of their debut and shows why they are some of the finest roots songwriting of their generation. Now, more than a decade later, these beloved recordings are finally being pressed on vinyl for the very first time in special limited- edition releases. Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen's vocals reflect the warm glow of Eli's voice, it's clear that this duo was made to sing together.

Their music draws from old folk sources, but it sounds vibrantly alive. Produced by Tim O'Brien, I'll Swing My Hammer With Both My Hands is the epic culmination of the duo's original run together. Now, more than a decade later, these beloved recordings are finally being pressed on vinyl for the very first time in special limited- edition releases. Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen's vocals reflect the warm glow of Eli's voice, it's clear that this duo was made to sing together

2026 Repress!

A year after the release of Adriatique’s debut LP, ‘Nude’, Afterlife presents a seven-track remix package to breathe new life into the originals.

The album found Adriatique, the duo of Adrian Shala and Adrian Schweizer, explore a more downtempo, contemplative sound than they were known for. Its profound musicality makes rich source material for a set of dancefloor interpretations, which Tale Of Us have curated together with Adriatique for the label’s 30th release.

First is Tale Of Us and Mathame’s version of ‘Mystery’, where they extend the blissful tones and Jono McCleery’s vocals into a euphoric dancefloor cut. Next Solomun brings some electro flair to the vocoder-led title track, before Kobosil toughens up ‘Tachykardia’ with a warehouse-ready kick drum and twists the serene voice of Delhia De France. Rampa is another new name for Afterlife Recordings; he gives ‘Nude’ a slick, techy overhaul to complete the vinyl release in fine style.

The digital release contains an Agents Of Time epic in their remix of ‘Buchla’s Dreaming’, Johannes Brecht’s shimmering take on ‘Ray Reincarnation’ and a chopped-up remix of Mystery by Isoleé. A diverse, tastefully-executed remix EP which does justice to the quality of Adriatique’s album.

Each Mod Revival has a key album that brings an underground scene into the public domain. 'Scene 26' is the next logical step in showcasing the raw energy that Mod brings to music - established Heavy Soul Records acts SHARP CLASS, THE HORNETS and CIAN DOWNING rub shoulders with many first time on vinyl bands including THE XLNTS with a new anthem, and THE KOPPERS, SCARLETT FEVER and SOUTH STREET keeping the Mod Revival sound going. VELVET TUXEDO bring a 60s edge to proceedings before MODERN SYNDICATE and THE LAST ORDERS show how diverse the Mod sound is. Volume Two coming soon too....

While there have been countless performances, recordings and releases of Glass's works, this is the first time that an entire album is devoted to new studio recordings of his original film scores. Over the past decades Philip Glass has become a household name in contemporary music thanks to his prolific activity and output across many music genres, including operas, concertos, symphonies and music for theatre. He has also systematically sought out collaborations with musicians and artists from all over the world. Due to his highly idiosyncratic and distinctive style, the American composer has been considered one of the frontrunners of minimalism in music, even though he himself regards his work rather as music with repetitive structures, in a continual search to integrate harmony, melody and rhythm into a single musical expression. In 2025 he received the World Soundtrack Lifetime Achievement Award for his contribution to the art of film music.

Scottish musician Kay Logan (aka Helena Celle) self-released the prescient collection of oddball aleatoric bangers "Copy Music" in 2021, before pulling it from circulation. With the help of London imprint SWIMS, this cult album is now remastered and available on vinyl for the first time, under the new name "Endless Waltz". This will be the final Helena Celle album.

Raised on a diet of industrial queer pioneers Coil and Throbbing Gristle, occultish physics (John Dee, Aleister Crowley) and Frank Zappa, Kay's work has toyed and probed at the fringes of outsider art and technology for over ten years. Her 2016 album "If I Can't Handle Me At My Best..." established Celle's unique sonic language of unrepeatably gnarled techno, coaxed from a bewildering array of disintegrating midi controllers, Markov chains, and whatever else came to hand.

"Endless Waltz" pursues this formula to its bizarre conclusion: 18 fever loops of algorithmically crumpled dance music, pulled through a cheese cloth of obscure '90s computer game palettes and pop froth wordplay. Some of these delirious vignettes evoke a rudimentary AI regurgitating Captain Beefheart scores. Others, as one fan put it, are "sort of like if 'Commercial Album'-era Residents did an album on Rephlex". Enjoy the trip.

Recommended if you like Rezzett, Beau Wanzer, Hype Williams...

Repress with regular picture sleeve (no gatefold) and without booklet!!


Since the last two years FloFilz played in the first league of european beat-producers. With his smooth jazz samples he catches them all: his 46.000 (!) Soundcloud-Fans, the "Beatgeeks" from Berlin, the "Rapkids" from the Splash Festival and the Boiler Room in London. With "Cenário" FloFilz continues his musically city-trip, which started in Paris with "Metronom" in 2014. For his new album he travelled with the photographer Robert Winter to Lisbon. The impressions from the trip FloFilz put into 16 new tracks, on two of them he gets support by jazzsinger Olivia Wendlandt (Relaén).
The "Cenário" LP comes in a perfect package with an effortful produced gatefoldcover including a 12 page photobooklet. The LP is limited to 2.000 copies.

Nach drei Jahren und zehendtausend Höllen entfesseln SPIRIT POSSESSION am 2. Oktober ihr drittes Album in voller Länge: „Cathedral Speech“.
Sieben angreifende Labyrinthe weitreichenden Black Heavy Metals, bei denen alle Turmspitzen nach unten zeigen.
Wo „Of the Sign…“ aus dem Jahr 2023 noch einen messerscharfen Blick auf unberechenbare, abenteuerliche Hymnen warf, erweckt „Cathedral Speech“ die bisher stechendste, am stärksten deragierte und erzählerisch epischste Form von SPIRIT POSSESSION. Spiralförmige Gitarrenstürme und explosive Schlagzeug-Hämmerungen kanalisieren Black-/Death-Metal-Angriffe der ersten Welle im selben Atemzug mit ausladenden 70er-Jahre-Kompositionen.
Mit vier Schritten in den Wahnsinn, gefolgt von einer seitenlangen Suite, sind dies bösartige elektrische Gesänge, ebenso hochragend wie gotteslästerlich.

Besetzung: S. Peacock (Black Curse / Ulthar / Mastery) an Saiten und Gesang sowie A. Spungin (Ormus) an Schlagzeug und handgefertigten Synthesizern. Aufgenommen in den Tiefen des S•P-Dungeons und gemischt von Colin Marston in den New Menegroth, The Thousand Caves. Cover-Artwork von Luciana Lupe Vasconselos.

VRIL returns to Delsin with KRUX. The crucial point, the moment where everything converges. On KRUX, a new direction was chosen, built on the strong foundation of VRIL's dub-driven sound. For the first time, VRIL presents multiple artist collaborations on his new album. Working closely with friends and fellow musicians has been a crucial part of shaping KRUX where five collaborations with Aurora Halal, Verraco, Rene Wise, AZARI and ATEQ form the core of a 13-track journey. Framed once again by the visionary artwork of Daniel Martin Diaz, KRUX captures a moment of convergence: between generations, humans and machines. Fusing past, present and future into a singular moment.

The Rotterdam producer duo Vesuvio Vortex and DJ Seutek first connected through a shared love for records, long listening sessions, and spontaneous DJ sets at his record store.

One evening, Seutek recited his poem ‘Ruimte Zat’ (In Space There’s Space Enough). The reaction was immediate: this had to become a record. That same night, the vocals were recorded and the music began to take shape.

The result is a melancholic piece driven by his unmistakable voice, weaving spoken word through ’80s-inspired sounds. Raw and unmistakably Rotterdam, ‘Ruimte Zat’ finds hope in uncertainty while keeping its eyes on the horizon.

Join the trip with some breakbeat euphoria by HAAK. on the flip. Ga mee op reis!

LAKEJ returns to Eclectic Limited with Scan and Survey, his first solo EP for the label. Across the release, hypnotic rhythms, deep techno textures and finely tuned electronic atmospheres come together in a focused study of movement, space and sound. Following his previous appearance on Eclectic Limited, LAKEJ takes the project into a more personal direction, delivering a precise and immersive set built for both the dancefloor and deeper listening.

Chase & Status announce their forthcoming album Generic Everything, out 9th October 2026, alongside new single “Gone Too Far” featuring Debbie. The 10-track project brings together an expansive cast of collaborators including J Hus, Little Simz, Skrillex, Giggs, D Double E, Blanco, IRAH, Col3trane and more, continuing the duo’s long-standing ability to connect scenes, generations and sounds across British music.

Generic Everything follows a landmark period for Chase & Status, which has seen “Baddadan” spend over 15 weeks in the UK Top 10 and achieve Platinum status, while “BACKBONE” featuring Stormzy became their first ever UK Number One single. Alongside a BRIT Award for British Producer of the Year, a record-breaking sold-out UK arena tour and their Milton Keynes National Bowl takeover, the duo continue to operate at a career-defining level more than two decades in.

Built around the idea of resisting creative conformity in a world increasingly shaped by algorithms, endless content and more, Generic Everything sees Chase & Status once again refusing to be confined by genre.


Moving between rave, rap, soundsystem culture and electronic music, the album pairs their unmistakable production with some of the most distinctive voices in UK music and beyond, capturing a duo still driven by the instinct to keep evolving, collaborating and pushing their sound forward.

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Monolink and CIOZ bring a stripped-back electronic edge to Crosstown Rebels with ‘Don’t Talk To Me’. The German multi-instrumentalist makes his Crosstown Rebels debut alongside Italy’s CIOZ, with OMRI. also returning to the label on remix duties. There are few artists in electronic music quite like Monolink. Moving naturally between singer-songwriter, producer and live performer, his music gives as much weight to voice, melody and narrative as it does to electronic production. For ‘Don’t Talk To Me’, he joins Bergamo-born, Berlin-based CIOZ, whose own work is driven by rich musicality and a willingness to move beyond convention. The link-up makes for an intriguing signing to Damian Lazarus’ Crosstown Rebels, bringing together two different approaches to electronic music without either losing their identity.

‘Don’t Talk To Me’ is deliberately pared back, pairing Monolink’s voice and songwriting with sparse textures and gently shifting melodies. Rather than building towards a conventional dancefloor payoff, the track unfolds with a quieter sense of tension, sitting somewhere between alternative songwriting and electronic voyage. An artist whose productions and remixes have quickly made him a recurring presence in the Crosstown Rebels universe, OMRI. takes the track deeper with his remix, adding darker, hypnotic qualities while preserving the original’s restraint. ‘Wasting Time’ closes the release with another sweeping collaboration, built around subtle melodic details and captivating synth flourishes.

The collaboration marks Monolink’s first outing on Crosstown, adding to an impressive career that has seen him craft his distinctive sound via Berlin-based imprint Embassy One and on labels like Cercle Records. Performances have taken that music from Burning Man and Montreux Jazz Festival to Day Zero Bali, where he joined Damian Lazarus for its first edition, as well as sets alongside Lazarus at Club Space, Zamna and more around the world. Meanwhile, CIOZ brings his own expansive approach back to the label, with material also landing via Monaberry, Frau Blau and Stil vor Talent, plus remixes for Diplo, Oliver Koletzki, Patrice Bäumel and the Crosstown head honcho. With both artists comfortable moving between emotional depth and dancefloor function, ‘Don’t Talk To Me’ gives that shared instinct plenty of room to breathe.

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

UU015.

FIVE YEARS OF UNKNOWN - UNTITLED.

OUR FIRST EVER 2 × 12" LP.

180G HEAVYWEIGHT BLACK VINYL PRESSED AT RECORD INDUSTRY.

MATTE BLACK REVERSE-BOARD GATEFOLD SLEEVE WITH AN EMBOSSED UU LOGO.

DIE-CUT INNER WINDOWS. BLACK PAPER INNER SLEEVES. CMYK CENTRE LABELS.

INDIVIDUALLY SHRINK-WRAPPED.

Following the sensory adventure of Tancade, in which Gaspar Claus led his listeners to a secret beach, somewhere between friends’ parties and summer sun, a new territory opens up. With Cells, he offers an even more expansive journey: an inner journey as much as a cosmic shift, a plunge to the point of origin, where life is invented.


True to his sole instrument, the cello, Gaspar multiplies its sound to the point of abstraction. This new work seeks to reach the primordial moment of the first cell division: a tiny, infinite moment when everything was still possible. On stage, he has built a shelter, a refuge-cell, a porous space where the visible and the invisible respond to one another. Lights, electronic breath, uncertain presences—everything conspires to confront the audience with its own dizzying presence in the world.
On the album, this architecture unfolds across ten “musical cells.” Each piece observes the same phenomenon: the cello allows itself to be absorbed, dissolved, stretched, or replicated by the machines. Sometimes preserved, often transformed, the instrument becomes living matter, an unstable organism, capable of emitting both electronic landscapes and archaic beats. A rich, luminous album, imbued with an almost healing energy, Cells might seem more electronic than Tancade. Yet every sound that makes it up comes from the cello— transformed, filtered, and reworked through a series of successive transformations. This is music that doesn’t merely describe life: it re-enacts it, cell by cell.

On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.

Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.

It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."

This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.

On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.

As the first release of Flux Code Recordings, Ferplay brings us this 4 tracks EP called “Electric Waves”.

Blending trance and breakbeat elements, acid sequences and punchy old-school drums, each track captures the energy of the 90s underground electronic music spirit.

Flux Code Recordings is a record label inspired by old-school and underground electronic music, exploring styles such as trance, breakbeat, acid and more.

It is born from the concept of music as a living language, an ever-changing code and a continuous flow of rhythms and melodies in constant evolution.

Flux Code channels the raw energy and the rave spirit of the underground electronic music culture, connecting past roots with future sonic pathways.

2026 Repress

Hailing from the ancient Russian city of Tambov, on the banks of the Tsna River, the youngest member of the Trip family Vladimir Dubyshkin emerges for a potent debut solo EP. cheerful pessimist is an engaging package of highly anticipated deep, swirling techno tracks that many will recognise from label head Nina Kraviz's DJ sets. Diving straight into the core of a peak time set, Vladimir unleashes five formidable doses of unrestrained energy. Swollen sub bass and thumping percussion forge an unmistakable sense of physicality, whilst spiralling, a melodic leads run circles around the listener. Cheerful pessimist wastes no time warming up, plunging head first into the belly of the beast. A thrilling debut and an essential release for lovers of vibrant techno.

Rare groove is a world of many rare grooves, and this 7" is among them. It has been taken from Coming Right At You, the sole album by Chicago guitarist Danny Leake's nine-piece outfit 100% Pure Poison, which was originally released exclusively in the UK in 1974. 'Windy C' has spent decades as one of the genre's most revered cuts - it's sophisticated, soulful and endlessly sampled and the flip's 'No More City, No More Country' is just as beloved among diggers and is prized for its irresistible rhythm and distinctive percussion break. This is the first time it has ever appeared in its full-length form.

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation) This edition was remastered to analog perfection from the legendary Stefan Betke (POLE) sonically sculpting the original work into a true masterpiece - this album has never sounded so alive! This is truly a multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Marianas Trench. This edition features two cuts, "A Night To Remember" (as featured on Richie Hawtin's ENTER: Ibiza 4XCD mix) & "Under The Ocean" from the original 2009 edition of the album. The remaining tracks were selected from CD2 including "Tswana Dub" (Phase90 Restructure) as featured on Deadbeat's classic mix "Radio Rothko" on NYC's theAgriculture. Also included is a "live" (recorded from the house booth) performance at "dub echoes" in NYC (a screening for the feature film).

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

Long overdue reissue of classic Scottish ambient techno banger ‘Mindweeds’, originally released in 1993 on the Pure-affiliated T&B Vinyl label run by Keith McIvor (JD Twitch) and Andy Watson (Brainstorm). With a Discogs demand ratio at about 300 have : 2000 want, and used prices peaking at over £100, now seems to be the right time for a re-release.

State of Flux were Roger Elliott and Dave Clark (aka Sparky, LUMA, Truffle Club and main man behind Kübler-Ross). They first met at Glasgow’s Strathclyde University in 1990, bonding over a shared love of weasel racing, German sausages and “man-duos” like The KLF and The Shamen. Dave was fully pubescent and already had a synth and drum machine, while Roger – a late developer – bought “another cheap synth, a Commodore Amiga for sequencing and a tiny mixer with no EQ”. For two long years they concentrated hard on “churning out unlistenable pish”, admittedly clueless about what they were trying to do.

Then – out of nowhere in the summer of 1992 – a flatmate’s Jello Biafra spoken word CD (‘I Blow Minds For A Living’) provided the inspiration to unlock the spark of dynamite that set the raving world on fire. Sampled using a Walkman* cassette** tape*** on playback (a decision the pair soon came to regret every time the track was subsequently performed live), Jello’s pilfered rant would soon become the crucial glue that held together the burgeoning kaleidoscopic helicopter spliff that is ‘Mindweeds’, loaded as it was – and indeed still is – with a veritably seething morass of cheeky electronic blims, nasal filter cheese and gay Caledonian spunk.

* a vintage portable listening device roughly the size of 4 iPhones stacked on top of one another and weighing the same as a small tub of yoghurt

** a plastic cartridge enclosing 2 miniature spools of magnetically coated, polyester-type plastic film (magnetic tape), notoriously convenient for pirating copyright material and secreting in one’s underpants for transporting between illicit market trader stalls

*** thin ribbon coated with ferromagnetic particles, usually ferric oxide but also chromium dioxide, "pseudochrome" ferricobalt or iron-cobalt-nickel “metal” formulations – with the latter types sounding marginally less crap

Playing demos of the track to friends, one thing led to another and a copy arrived with Twitch. Meeting the legends behind Pure in late 1992, a release was scheduled for summer 1993… but not before a promotional live gig in February of that year, supporting their heroes The Black Dog. Confessing that they “didn’t have a clue how to play live”, the duo played it safe, “went to a studio near Edinburgh airport to record the ‘live’ show” and then “mimed it off a DAT” at the gig, “standing in front of unplugged synths”. Soon after this, they recorded the full EP at Finitribe’s ‘Finiflex’ studio in Leith, Edinburgh and the record came out as planned that summer – the same week as Underworld’s ‘Rez’.

The record received high praise, appeared in many big-name DJ charts, sold out very quickly and was repressed within a few weeks, selling several thousand copies by the end of 1993 – no mean feat in an era when people had to use landline phones ****, faxes ***** or good old-fashioned carrier pigeons ****** to ascertain literally anything about the outside world, what was cool, where to buy the cool shit, or how to meet people and have fun.

**** a fixed communication device that connects to a telephone network using physical wires, cables, or a stationary base unit tied to a specific geographic address, using a handset incorporating a mouthpiece featuring a small metal disk and carbon grains, converting sound pressure from the human voice into a flow of electrical waves caused by these grains being squeezed together, before the variable signal is transmitted down DC voltage-powered copper wire and rerouted by a central exchange to arrive at the earpiece magnet of the target receiver’s handset, moving a small speaker cone accordingly so the message is intelligible WITHOUT THE PERSON SPEAKING ACTUALLY BEING PRESENT

***** as above, but for the d/Deaf

****** flying vermin riddled with diseases and capable of surviving nuclear armageddon

Soon Roger and Dave became sick of the Walkman being the only instrument played live in their set: with their new found fame and riches, they invested in a case for their Amiga to transport it around Scotland, while also putting in the hours on how to pretend to play live better with a sequencer and synths that were FINALLY plugged in. Following the release of ‘The Mercury EP' in April 1994, they embarked on a full tour of the UK and even managed to part ways and end the band by June that year.

This reissue includes the two original mixes of ‘Mindweeds’ recorded at Finiflex (‘Original’ and engineer ‘Fred's Fancy’), the original cassette demo (mastered directly from the actual recording sent to Twitch & Brainstorm in 1992) and a live version recorded at the Birmingham club night 'Oscillate' in April 1994.

Sankora presents "Luna Sobre El Mar" on Sankora Records

Marking the very first release on Sankora Records, Belgian duo Sankora introduces its musical identity with Luna Sobre El Mar, an inspiring debut that captures the essence of contemporary Afro House.

Blending African rhythms, Latin influences and organic electronic textures, Luna Sobre El Mar unfolds through warm percussion, hypnotic grooves and an unforgettable melody that lingers long after the music fades. On the flip side, Padà Wá offers a deeper, more percussive journey, driven by infectious rhythms, organic textures and soulful energy.

Faithful to the vision of Sankora Records, this debut release celebrates musical storytelling, cultural influences and the universal language of rhythm. Pressed on a stunning Red Gold & Black Marbled vinyl, it marks the beginning of an exciting new chapter for both the label and the duo.

Français

Sankora présente "Luna Sobre El Mar" sur Sankora Records

Première sortie de Sankora Records, le duo belge Sankora dévoile son identité musicale avec Luna Sobre El Mar, une première réalisation qui capture toute l'essence de l'Afro House contemporaine.

Mêlant rythmes africains, influences latines et textures électroniques organiques, Luna Sobre El Mar séduit par ses percussions chaleureuses, ses grooves hypnotiques et une mélodie envoûtante qui reste immédiatement en tête. En face B, Padà Wá propose une approche plus profonde et percussive, portée par une énergie organique et des rythmes irrésistibles.

Fidèle à la vision de Sankora Records, cette première sortie célèbre le métissage musical, l'émotion et le langage universel du rythme. Pressée sur un superbe vinyle Red Gold & Black Marbled, elle marque le début d'une nouvelle aventure prometteuse pour le label comme pour le duo.