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Brazilian artist Rubel isn’t one to be pigeonholed and typecast into staying in one sound. Casas, the follow-up to his debut album Pearl from 2015, brought a bigger, more epic, and richer production quality to the table. Fusing the worlds of MPB and hip hop, Rubel’s sophomore LP built on the momentum of its predecessor, gaining a Latin-Grammy nomination along the way. Mr Bongo is proud to be giving Casas its first worldwide release on vinyl and CD outside of Brazil and Japan.

The cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.

Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.

One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.

Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.

Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.

In einer Welt voller Lärm und Chaos bietet Harlans Musik eine Rückkehr zur Ruhe. ,Music for Stillness" entfaltet sich langsam und lädt zur Erholung und stillen Präsenz ein. Die Bansuri-Flöte gibt den Ton an; ihr gefühlvoller, gesanglicher Klang webt eine Melodie über Cello und ambienten Klangerlebnissen. Beeinflusst von indischer klassischer Musik, japanischer Kanky Ongaku und westlicher Ambient-Musik lässt das Album dem Zuhörer Raum, selbst zu entscheiden, wie tief er sich darauf einlassen möchte. Die Musik wirft eine einzige Frage auf: Wie könnte Frieden klingen?

Shaped in the shadows and sounds of the legendary Topanga Canyon, California. The debut album from Biita Houdei is buoyed by a magic that feels wildly and beautifully untamed; wild-hearted sentiments that are shaped by the world around it, fascinated by the enchantment of it all, and delivered via a collective (harmony layered) voice that understands the complex nature of what it means to be alive in the here and now.

Produced by Haley Heynderickx, 'This Bed Was Made For Me' is a striking collection of stirring, signature folk songs animated by subtle instrumentation and orchestral flourishes. It feels lived in: vocals weave together in a beautiful harmonic dance, seasons shift, sunshine appears and bold psychedelic colours warm the horizon.

In the early stages of making her debut album, Biita Houdei knew two things: that she wanted the recordings to feel distinctly and palpably warm, and that she would sew a unique patch for every song on the album. The first of those things is subjective, though brightness pours in from all corners of This Bed Was Made For Me. The second became a laborious task she undertook throughout the process, the completion of which is testament to the slow process of it all, to the physical commitment and patience required to make a full work of art.

The patches she crafted during the making of This Bed Was Made For Me became a full quilt, one that now adorns the album’s front cover. Beneath it sits a striking collection of Houdei’s stirring, signature folk songs, brought into fruition with the help of fellow songwriter Haley Heynderickx, in her first lead production role, and the album’s producer/engineer Sahil Ansari. It’s also the first release Biita (pronounced “bee-tah”) is releasing under her newly-taken name, one that was gifted to her by her auntie and means "unique" in the Farsi language. “I proudly take this name,” Biita says of the change. “It makes me feel that much closer to my Persian heritage.”

Recorded across ten back-to-back and full days, the album touches on themes of love and heritage, of taking chances, the preciousness of time and the impact we all have on the world around us. A number of the songs were written in Topanga, California, while Biita settled into a new home as wild fires raged, and as she adjusted to a life which no longer held distinct seasonal changes, far from the Ozark Mountain home she felt so attached to. Such themes reveal themselves in a variety of ways across the album’s fourteen songs, that key sense of warmth retained in the bones of the album whether they are stepping into darkness or seeking out light.

The album feels lived in and alive; dust swirls, seasons shift, sunshine appears and is held. Biita calls it ‘psychedelic’ and there is indeed a sense of that in the world building, in the way the bold colours are always shifting. Formed of fourteen songs, and filling nearly forty-five minutes, This Bed Was Made For Me not only builds a whole world for listeners to inhabit but also implores you to stay a while. This was deliberate, indeed it’s Biita’s wish that listeners give the album dedicated time; to learn its shape, to explore it fully, away from the instant grab of playlists and skewed algorithms.

“Many of my favourite albums didn’t reveal themselves instantly to me,” Biita, now based in the Catskill Mountains of New York, explains. “Some did, of course, but I had to work to understand the full scope of the piece as a whole. I encourage people to dive deeper into everything that they choose to consume. It is not my intention to sound pretentious, but instead, I am trying harder to explain the gratitude I have for being able to craft every part of this album— using my hands, my brain, my voice, my visions. To me, it is an all encompassing work of art,” she continues. “Making the quilt was laborious. Taking the cover photo was laborious. No shortcuts, but rather a manual and tangible approach. I am thankful for the time it took.”

Nicole McCabe und Savannah Harris tun sich für ihre allererste Zusammenarbeit bei "All Together Now" zusammen. Ihr Album im Vollformat ist eine raffinierte, kraftvolle Interpretation des modernen Jazz im Jahr 2026. Das Album wurde über einen Zeitraum von zwei Monaten im Sommer 2025 aufgenommen und entstand sowohl in Los Angeles als auch in Brooklyn beide Orte haben die allgemeine Stimmung und den Sound der Musik geprägt. McCabe und Harris haben sich stetig einen Ruf als zwei der besten Musikerinnen auf ihren jeweiligen Instrumenten erarbeitet. McCabe am Altsaxophon und Harris am Schlagzeug werden in der Jazzwelt gleichermaßen als virtuose Instrumentalistinnen und Komponistinnen gefeiert. All Together Now" bringt diese Elemente besonders gut zur Geltung. Jeder ihrer musikalischen Stimmen ist unverwechselbar individuell und ergänzt dennoch die musikalische Gesamtrichtung des Albums. Beide finden ihre Momente, in denen sie die Führung übernehmen, während sie sich zu anderen Zeiten gegenseitig unterstützen, um einen wirklich bemerkenswerten Einblick in das Schaffen dieser beiden Künstler zu schaffen. Der Eröffnungstrack des Albums, Monstera", entführt den Hörer in eine Welt aus wirbelnden Saxophonmelodien und hellen, akzentuierenden Schlagzeugklängen. McCabe und Harris legen sofort den Grundstein für das, was auf dem Album noch kommen wird. Im Verlauf des ersten Songs offenbart sich immer mehr von jedem der Künstler als würde man in einer Kunstgalerie von Raum zu Raum schlendern. Textur, Farbe und die gesamte Ästhetik der Welt dieses Albums nehmen Gestalt an. Wenn der zweite Song All Together Now" einsetzt, steigt die Energie und der Dialog zwischen den beiden Musikern erreicht seinen Höhepunkt. Lonely People" zeigt McCabes unglaubliches Gespür für Melodien, während Harris den dynamischen Bogen des Stücks prägt und vorantreibt. Jeder Song auf All Together Now" hat seine ganz eigene Persönlichkeit, was insgesamt zu einem wunderschön intimen und ungemein kraftvollen Album führt.

Coloured Vinyl. Harsh Reality - the fourth studio album by Seattle's The Drowns - is an unapologetically political punk record, coming this September from Pirates Press Records. Recorded at The Blasting Room in Fort Collins, CO by punk rock legend Bill Stevenson (Descendents, Black Flag) and mixed by Jason Livermore (Teenage Bottlerocket), this collection of 13 new songs fuses everything fans have loved about the band's previous sonic experimentation and focuses it into laser-tight melodic songwriting firmly rooted in punk rock, but with the potential to reach listeners from all walks of life. Singer-guitarist Rev Peters, singer-bassist Andy Wylie, and drummer Jake Margolis largely bashed out the tracks themselves, with the exception of additional guitar work on "Vengeance" by Zach Blair (Rise Against, Only Crime, GWAR), and a touch of accordion on "3rd & Pike" courtesy of Matt Hensley (A-100s, Flogging Molly). While the title of lead single "Relentless" could easily refer to The Drowns' infamously non-stop touring regimen, it refers instead to something far more humanitarian: the crushing weight of capitalism on the working poor. The song acknowledges the toll it takes on one's mental health, struggling day in & day out with no breaks only to be left farther & farther behind. "I wish life would just give it a rest", laments Rev. The album contains its fair share of venom, however, like all great political punk in the tradition of The Clash or Stiff Little Fingers, the lyrics prioritize people over polemic, reaching out with compassion in an age where it is in distressingly short supply. "I'm sure that we could change it all if we only had a heart", implores Andy on "Have a Heart". This is life-affirming music for hard times, made for everyone that could sorely use it right now, and a record poised to give the band's hard-earned position as a fan-favorite in the global punk scene an even greater trajectory. For a band that has won over fans around the globe, record by record and show by show, it is a big statement, but simply put: Harsh Reality is The Drowns at the top of their game.

"Based in Thiers (63), Ernest Bergez, also known as Sourdure, has been walking a tightrope for the past ten years, combining a spirit of experimentation with a personal, handcrafted approach to traditional music. Affirming and transfiguring the ""Sourdure-esque"" aesthetic, Outredore unfolds a surprising array of discoveries in Occitan and French: hallucinatory laments, oblique rhapsodies, and carnivalesque odes.


A generous and respectful invitation to build unexpected bridges between disparate sonic worlds, the album extrapolates the modal vocabulary specific to traditional Occitan music, blending it with stylistic elements from around the Mediterranean. Carried by a voice more raw than ever and caught in the ebb and flow of a troubled era, Outredore's songs explore the relationship between the personal and the political.


Vulnerable, faltering and visceral, Outredore evokes a nova cançon occitana that has traded folk guitars for electronic machinery."

Kaoru Watanabe veröffentlicht mit The Arch ein Soloalbum, das in Zusammenarbeit mit dem Produzenten William Brittelle und Executive Producer Shahzad Ismaily im Rahmen des Open-Residency-Programms von Figure 8 entstanden ist. Auf zehn Stücken verbindet Watanabe traditionelle japanische Instrumente wie Shinobue- und Ryuteki-Flöten, Taiko-Trommeln, Narimono-Percussion und Koto mit Jazzimprovisationen sowie akustischen und elektronischen Klangquellen. Neben den traditionellen Instrumenten kommen unter anderem Klavier, Synthesizer, Tenorsaxophon, Sopran- und Altflöten sowie Harfe zum Einsatz, die Watanabe selbst spielt. Das Album bewegt sich zwischen unterschiedlichen klanglichen und stilistischen Ansätzen und verbindet traditionelle Elemente mit zeitgenössischer Komposition und Improvisation.

"Fuera del cielo" (1975) is an art rock/space jazz masterpiece infused with prog scents from one of the true legends of Argentinian rock. The sounds of floating acoustic pianos, organ and harpsichord, basslines and even bandoneon combine with Litto's own voice and create a unique blend of deep and delicate beauty. 'La Balsa' was the first Argentine massive rock hit. In 1967 Los Gatos became the most famous local rock band with this song. At the front, as composer and singer, was Litto Nebbia. Although this milestone has remained eternally linked to Nebbia's name, almost eclipsing the rest of his work, it is really his solo career that unveils the artist's overwhelming talent and his determination to create music freely, regardless of commercial considerations. It is an album to be filed next to the highly acclaimed "Bazar de los milagros" and "Cosas que no quieren morir", released the following year, creating an outstanding body of work that represents Nebbia's talent at its best. Nebbia's genius transcends beyond the Southern Hemisphere. The international scene of DJs and vinyl collectors shows signs of its taste for Litto Nebbia recordings, now highly sought after in their original editions, probably as part of a rediscovery of little-explored global sounds, within a journey through music always hungry for exciting new sounds. First time vinyl reissue, remastered sound.

Quaid + Shepherd’s “The Preset” 12” is a multi-mix single/release pushing and evolving the confines of the present funk sound. This London duo, which is composed of producer Quaid and vocalist Shepherd (who have been long-time collaborators), dives especially deep with these four banging club mixes of “The Preset”, channeled through the lens of 80s boogie-funk. Quaid explains that “early 80's boogie funk has always been a massive inspiration and a huge part of my day-to-day listening experience”, and these 4 mixes of “The Preset” serve to honor a “drum machine soul” tradition, while keeping the production and feel fresh for the dance-floor and the context of today. This release is stacked full of epic alternate mixes for listeners and DJs to experience: Most notably, there is a “Sysex” Mix from Atlanta’s elusive abstract boogie-funk producer Moon B (his first new production to release after a multi-year hiatus), which delves into his intangibly unique slanky-funk sound. Also included on the B side are the hypnotic and more uptempo “Wet Dreems” Mix and a “Dirty Dub” Mix from Quaid that truly leans into the quirky synth leads, crispy drum programming and heavy rolling bass.

Born and raised in Oklahoma City, Jason Scott & The High Heat return with their boldest statement yet on Play Boy, a gritty, swagger-filled collection that pushes the band's signature blend of heartland rock, Americana soul, and country grit into new territory Following the breakout success of American Grin and viral momentum surrounding "Too Good Too Bad," Play Boy captures the chaos, charm, and late-night recklessness that have made the band one of the most exciting rising acts in roots-driven country music. Fueled by razor-sharp songwriting, lived-in storytelling, and the electrifying chemistry that's earned them stages alongside acts like Morgan Wallen, Wyatt Flores, and 49 Winchester, Play Boy leans into the band's wild side without losing the honesty and substance at the core of their music. Equal parts dive-bar confession, desert highway soundtrack, and modern outlaw anthem, the album reflects a band fully embracing who they are: loud, fearless, and impossible to box in.

Issued on Crystal Clear vinyl is Max Richter’s emotive and minimal score to Damon Lindelof’s TV series about a post-apocalyptic global event where 2%

of the world’s population disappears without explanation. Richter’s approach explores the feelings of the protagonist’s family, the Garveys, through intimate,

small scale music. He tackles this psychological landscape by bringing a ritual quality to the score, while themes of departure and loss are represented by

a sense of sonic decay, relying on the instrumentation of a few sustained tones on pianos, harps and celesta.

Max Richter is a classically trained composer that defies boundaries. Trained at the Royal Academy of Music and finishing his studies under the tutelage

of avant-garde composer Luciano Berio in Florence, Richter’s career has followed many paths. His musical output ranges from ballets

(Wayne MacGregor’s Infra), reinventions of classical works (Vivaldi’s Four Seasons), collaborations with The Future Sound Of London, Roni Size and

Vashti Bunyan to writing scores for film and TV (Waltz With Bashir, Lost and Found, Last Days on Mars) and solo work.

“An amazing new project…” Tony Minvielle, Jazz FM

“A lush, heatwave-friendly piece of dancefloor innovation…” Clash Magazine


First Word Records is delighted to bring you the debut EP from Ships of the Pharaohs.


Ships of the Pharaohs are a London-based collective led by producer Last Nubian, who’s had releases in his own right on labels like CoOp Presents, Eglo Records & Touching Bass. Blending jazz, soul, bossa nova, d&b and house-influenced grooves, the band also consists of vocalist Achanté, keys player Goldbar & bassist, Dougan.

The 7-track EP kicks off with the high-energy, vitamin D-saturated lead single ‘Sun is Rising’, featuring the guest vocals of brilliant Berlin-based singer Red Bird, who appears on three tracks on this project (‘For You’ and ‘Seasons’). ‘Can’t Quit’ follows on a smooth soulful house/bruk tempo, and invites in the thought-provoking spoken word prose of AKEEM. ‘Seasons’, ‘For You’ and recent single ‘Joys’ add another element to the band’s eclectic take on fusion, leaning heavily into the bossa side of the quartet’s influences. The latter track sees Achanté’s soulful harmonies gracefully float across a warm bed of keys, percussion, guitar picks & synth strings. We take a short jazzy breather on the ‘Interlude’ cut, featuring the resplendent sax of multi-talented Norwegian artist, Bror Havnes, who also features on the outro cut ‘One’ - this one seeing the crew ride out with a sonic salute to jungle/d&b, closing this first opus from the group with the energy levels remaining high.

Tre Wright (aka Last Nubian) explains “Our debut EP is a reflection of who we are, both individually and as a collective. Drawing inspiration from jazz, jungle, bossa nova, house, r&b and the music that's shaped us, we've explored our own interpretation of these sounds and how they come together in a way that feels true to us. It gave us the space to experiment without boundaries, trust our instincts, and create something that genuinely reflects where we are creatively right now.”


Originally conceived to perform Last Nubian material live for a Touching Bass showcase at We Out Here festival in 2023, the project soon took on a life of its own, as the group effort unleashed a unique chemistry & sound of its own merit. Thereafter followed numerous sessions in a studio-converted bedroom of a Brixton flat, developing this new sound. The finishing touches were taken care of at the infamous Total Refreshment Centre in North London, resulting in the formation of captivating new original material, which appears across this first extended release.

Ships of the Pharaohs have additionally performed live across London at Brick Lane Jazz Festival, House of KOKO, Jazz on Wick Festival, Peckham Levels, 91 Living Room & GROW in Hackney. Developing their powerful stage presence has gone hand in hand with the creation of their own material.

The initial singles from this project received praise & support from a variety of DJs, press outlets & tastemakers from the worlds of jazz, soul and clubland, including Shy One (NTS), Tony Minvielle (Jazz FM), Rohan Rakhit (Worldwide FM), Somewhere Soul & Clash Magazine to name a few.


With sonics somewhat reminiscent of Acid Jazz legends Incognito, merged with the class of Nuyorican Soul, and the dynamic fluidity of 4Hero, the 4-piece have cooked up a set of style & flavours uniquely their own, fresh for modern dances, incorporating organic improvisation with more contemporary club sounds.

The Ships of the Pharaohs are about to set sail for what is sure to be an exciting journey ahead.

‘Part 1’ will be released on 12” vinyl & all digital platforms on September 18th 2026.

Saxophonist Patrick Shiroishi and drummer Jason Nazary present their new album, "here i am no i". The release marks their duo debut for We Jazz Records, adding to an expanding release catalog also including Nazary"s solo album Spring Collection (2021). "here i am no i" is a free-flowing body of work with continuous forward-motion, building on the acoustic duo setting and expands with electronics and voice landing somewhere beyond genre. Dedicated to jaimie branch, the album is a spontaneous product of trying to come to terms with the unimaginable loss of a close friend. Patrick Shiroishi is a Japanese-American multi-instrumentalist, composer & poet based in Los Angeles. His solo work has appeared on labels such as Sub Pop, Touch, American Dreams and Otherly Love. Jason Nazary is a Brooklyn-based drummer and producer, whose work has previously appeared on the We Jazz label on the solo album Spring Collection and on New Monuments by Amirtha Kidambi"s Elder Ones. RIYL: Patrick Shiroishi, Jason Nazary, Anteloper, jaimie branch, Y-OTIS, Koma Saxo, Jon Hassell.

Channeling his honed sample craft towards the ominous portent of modern times, Romare returns with his fifth album Oblivion, with the previous 3 out of 4 LP's appearing on Ninja Tune. Across a suite of downtempo, broken beat, bubbling grooves and brooding reveries Archie Fairhurst threads a narrative that wrestles with the big questions of the present moment — the tipping points of the planet and technology, the fight for social justice and the power structures that govern our existence. While his trademark source material continues to cast a long line back through recorded history, this is Romare at his most contextual.

Nothing is placed by accident. 'Machines' hums its throbbing 4/4 pulse along to a German language recital of Johann Wolfgang von Goethe's 'Blessed Longing' — an enduring reflection on the human condition that rings true from way back in the 19th Century when it was written. 'Computer Love' slinks into a sumptuous trip-hop lull laced with sci-fi flourishes sculpted from samples of old computer documentaries — a bittersweet romantic backdrop to our complicated situationship with the devices in our lives. 'Take Us' goes one step further on its hard-stepping boom-bap strut as a subtle tale of possession by screens unfolds around Romare's signature strain of technicolour mutant funk.

There is space for optimism in the message on Oblivion as well — the strength of the suffragettes as a benchmark for social justice and activism amidst the speakeasy slink of ‘Deeds, Not Words', and spring-loaded acid house joint 'Change' pointing to the need for positive action in the face of imminent calamity.

The artwork for the album follows Fairhurst's thought process, drawing on Edvard Munch's iconic 'The Scream' along with Philippe Halsman and Salvador Dali’s ‘Voluptuous Death’ to help render the ideas of the album visually.

The wild ride of Oblivion races towards a final beguiling opiate on 'The Last Lullaby' — the perfect sedative after the rush of information and emotion that comes with a full-length trip through Romare's vivid, uniquely creative world of sound.

Kareen Lomax macht Musik für alle, die sich auf dem Weg zur Selbstliebe befinden, ohne ein Ruder, mit dem sie die Richtung bestimmen können. Ihre unverkennbare Stimme war bereits auf Blockbuster-Hits von Diplo und Rudimental zu hören. Auf ihrem Debütalbum „NAJI“, das Anklänge von Neo-Soul, Alternative R&B und Indie enthält, richtet sie das Rampenlicht auf sich selbst. Produziert von Daoud (Kehlani, J. Cole, Lizzo), ist „NAJI“ ein Zeugnis von Lomax’ Trauer und davon, wie diese sie dazu zwang, sich ihrer Vergangenheit und Gegenwart zu stellen.

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

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

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


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

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

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





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

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

Product Text:

When we go searching for a Black avant-garde, we have to be prepared to look in unexpected places. The route to a Black avant-garde involves walking down – what some might consider – peculiar highways. Where they see strangeness, a road leading them nowhere, we see nothing but beauty. The paths Darren Cunningham went down, the highways he took to make Actress, are a chapter in the story of the Black avant-garde. Cunningham the footballer. Cunningham the Wulfrunian. Cunningham the ex-footballer. Cunningham the DJ. Cunningham the Londoner. Cunningham the producer. Cunningham the painter. Cunningham the writer. Cunningham the composer. This is where the Black avant-garde in Britain is made. This is where you have to go to find it.

Across an expansive discography of more than ten LPs, Actress has created his own arcane language of hermetic references and inter-dimensional electronic composition.

Radical Frame arrives 18 years since debut album Hazyville, and it feels like an apotheosis. The image realised. We get the full gamut of Actress signatures. Short bursts of broken down music. Tiny sketches of zoomed-in sound. Refracted dance floor heat. And we get more.

Perhaps Radical Frame is a container for everything that Cunningham has built so far. A frame he is handing over to the next in line. The next artist to make their own way in the Black British avant-garde.



Wenn wir nach einer schwarzen Avantgarde suchen, müssen wir bereit sein, an unerwarteten Orten zu suchen. Der Weg zu einer schwarzen Avantgarde führt - wie manche finden mögen - über ungewöhnliche Pfade: wo sie Fremdheit sehen, einem Weg, der nirgendwohin führt, sehen wir nichts als Schönheit. Die Wege, die Darren Cunningham beschritt, die Highways, die er befuhr, um Actress zu erschaffen, sind ein Kapitel in der Geschichte der schwarzen Avantgarde. Cunningham, der Fußballer. Cunningham, der Wulfrunianer (Anm.: Einwohner von Wolverhampton). Cunningham, der Ex-Fußballer. Cunningham, der DJ. Cunningham, der Londoner. Cunningham, der Produzent. Cunningham, der Maler. Cunningham, der Schriftsteller. Cunningham, der Komponist. Hier entsteht die schwarze Avantgarde in Großbritannien. Hier muss man hingehen, um sie zu finden.

In einer umfangreichen Diskografie von mehr als zehn Alben hat Actress seine eigene, geheimnisvolle Sprache aus hermetischen Referenzen und interdimensionalen elektronischen Kompositionen geschaffen.

„Radical Frame” erscheint 18 Jahre nach seinem Debütalbum, „Hazyville”, und fühlt sich wie eine Apotheose an: das Bild ist vollendet. Wir bekommen die ganze Bandbreite von Actress' Markenzeichen zu hören: Kurze Ausbrüche reduzierter Musik, winzige Skizzen von vergrößertem Klang.

Vielleicht ist „Radical Frame“ ein Gefäß für all das, was Cunningham bisher geschaffen hat. Ein Rahmen, den er an den Nächsten weitergibt. An die nächsten Künstler:innen, die seinen eigenen Weg in der britischen Avantgarde der Schwarz.

Product Text:

When we go searching for a Black avant-garde, we have to be prepared to look in unexpected places. The route to a Black avant-garde involves walking down – what some might consider – peculiar highways. Where they see strangeness, a road leading them nowhere, we see nothing but beauty. The paths Darren Cunningham went down, the highways he took to make Actress, are a chapter in the story of the Black avant-garde. Cunningham the footballer. Cunningham the Wulfrunian. Cunningham the ex-footballer. Cunningham the DJ. Cunningham the Londoner. Cunningham the producer. Cunningham the painter. Cunningham the writer. Cunningham the composer. This is where the Black avant-garde in Britain is made. This is where you have to go to find it.

Across an expansive discography of more than ten LPs, Actress has created his own arcane language of hermetic references and inter-dimensional electronic composition.

Radical Frame arrives 18 years since debut album Hazyville, and it feels like an apotheosis. The image realised. We get the full gamut of Actress signatures. Short bursts of broken down music. Tiny sketches of zoomed-in sound. Refracted dance floor heat. And we get more.

Perhaps Radical Frame is a container for everything that Cunningham has built so far. A frame he is handing over to the next in line. The next artist to make their own way in the Black British avant-garde.



Wenn wir nach einer schwarzen Avantgarde suchen, müssen wir bereit sein, an unerwarteten Orten zu suchen. Der Weg zu einer schwarzen Avantgarde führt - wie manche finden mögen - über ungewöhnliche Pfade: wo sie Fremdheit sehen, einem Weg, der nirgendwohin führt, sehen wir nichts als Schönheit. Die Wege, die Darren Cunningham beschritt, die Highways, die er befuhr, um Actress zu erschaffen, sind ein Kapitel in der Geschichte der schwarzen Avantgarde. Cunningham, der Fußballer. Cunningham, der Wulfrunianer (Anm.: Einwohner von Wolverhampton). Cunningham, der Ex-Fußballer. Cunningham, der DJ. Cunningham, der Londoner. Cunningham, der Produzent. Cunningham, der Maler. Cunningham, der Schriftsteller. Cunningham, der Komponist. Hier entsteht die schwarze Avantgarde in Großbritannien. Hier muss man hingehen, um sie zu finden.

In einer umfangreichen Diskografie von mehr als zehn Alben hat Actress seine eigene, geheimnisvolle Sprache aus hermetischen Referenzen und interdimensionalen elektronischen Kompositionen geschaffen.

„Radical Frame” erscheint 18 Jahre nach seinem Debütalbum, „Hazyville”, und fühlt sich wie eine Apotheose an: das Bild ist vollendet. Wir bekommen die ganze Bandbreite von Actress' Markenzeichen zu hören: Kurze Ausbrüche reduzierter Musik, winzige Skizzen von vergrößertem Klang.

Vielleicht ist „Radical Frame“ ein Gefäß für all das, was Cunningham bisher geschaffen hat. Ein Rahmen, den er an den Nächsten weitergibt. An die nächsten Künstler:innen, die seinen eigenen Weg in der britischen Avantgarde der Schwarz.

D-Leria returns to Non Series in pure form, delivering four fresh, groovy, floor-focused tracks that showcase his signature futuristic sound. A precise blend of hypnotic rhythms, raw textures, and forward-thinking techno, built for the dancefloor.

Like a pelican spotting its moment, Dimitri Andreas returns with a collection shaped by patience, precision and instinct.

Pelican marks a new chapter for a respected figure in underground electronic music. While recent years saw Andreas immersed in theatre productions, immersive audio experiences and multidisciplinary artistic projects, his fascination with rhythm, space, tension and emotion never left. It simply found different forms.

On Pelican, those worlds converge.

Across five original productions, Andreas distills the elements that have long defined his sound: hypnotic grooves, organic percussion, tribal influences, rich atmospheres and a deep sense of movement. The title track glides on suspense and anticipation, while Omenica and Mahu explore the groove driven territory that has become synonymous with his name. Cambolisa delivers a powerful melodic payoff, and Ember closes the journey with vintage synth warmth and restless energy.

The release is completed by three outstanding remixes from artists whose influence on contemporary electronic music is undeniable. Deetron reshapes Pelican into a deep and sophisticated techno excursion, Extrawelt transforms it into a cinematic and evolving voyage, while Petar Dundov expands Cambolisa into an emotional and atmospheric journey of his own.

Following a series of acclaimed MOVE Recordings releases supported by DJs including Sven Väth, Timo Maas, Jamie Jones and Fedele, Pelican arrives as a body of work shaped by years of exploration beyond the confines of club culture.

Rather than revisiting the past, Andreas brings those experiences back to the dance floor: music with patience, depth and perspective. Pelican is the sound of an artist returning not to where he started, but with everything he discovered along the way.

Already Supported by Laurent Garnier, Alexi Delano, Âme, Ilario Alicante, Just Her, Adriatique, Karotte, Danny Howells, Drumcomplex, Paco Osuna, Steve Parry, Marco Bailey, Alex Neri, Pole Folder, Amand, Calao, Neon, Gay Barone, ….

Archimboldos have clawed their way out of the starcaves of their primordial past and into the tranquil light of a coral garden on their third full length album, Crusta Arcana, a gumbo stewpot of transcendent electronica suffused with tribal rhythms and liquid ambience. Across a stereo field smeared with tolling bells, post-industrial folk percussion, and tinkling keys, Archimboldos soundtrack a science fictional journey, not into the depths of space, but deep beneath the waves.

In the past the Chilean duo of Nicolás Carcavilla and Felipe Crocco have described their music as “liminal shrimp folk.” Here they continue this strange exploration when they visit the court of the prawns, producing stately electronic chamber orchestrations. Perhaps these are the frequencies used for ritual dream initiation into the mystery schools of drowned Atlantis. Weaving an ancient sacred science, Archimboldos take listeners on a mystic vovage into their singular crustacean mythology, the crusta of their hidden arcana.

Archimbolodos are masters of conjoining cyclonic and centrifugal lines of electricity into spellbinding incantations. These deep-sea transmissions envelope the listener into aquamarine forcefields that are as hallucinatory as they are hypnotic. Navigating these strange fantasias could lead one to getting lost at sea, but the work is buoyed by the somnolent melodies of lonely harpsichords and swelling synth pads whose sustained tones reach towards distant shores. Sailing across a vast expanse of oceanic harmonies and percolating percussion, these pieces are as precise as the hand of a sailor on the rudder, moving with the tide.

Casting their net wide across eight pieces, Archimboldos have made a big catch. From the emotive electronic counterpoint found on “Bursting Armor” to the blocks of seaweed tangled sonic sculpture trawled up from the ocean floor on “Aphelion IX.” Other songs are like samples of biological ambience collected from luminous tide pools: resplendent tones placed into a Petri dish of sound, swirled, cultured and fermented until it undulates with the rhythmic movement of microscopic lifeforms. Alternating between rippling minimalist sonority and pounding, progressive, synth-heavy entrancement, Crusta Arcana charts its own idiosyncratic itinerary of instrumental invention.

All the while light is down streaming from the heavens to pierce the waters, here calm, there choppy. The intrepid musical captains commanding Archimboldos have laid a course for new archipelagos of the imagination, guided by heavenly constellations.

-Justin Patrick Moore, author of The Radio Phonics Laboratory, Telecommunications, Speech Synthesis and the Birth of Electronic Music

"Psicofásicos" by The Silver Pumpkins is a unique document: an EP that is virtually impossible to find in its original edition, offering an essential glimpse into Bolivia's thrilling 1960s rock scene-raw, wild, and unlike almost anything else. Beyond the ubiquitous covers of Cream and Jimi Hendrix recorded by countless South American bands, this EP features the far less common 'Pushing Too Hard' by The Seeds and, most notably, the dark, powerful 'You're Gonna Miss Me' by the 13th Floor Elevators. Bolivia boasts an extraordinary musical legacy of raw, garage-driven '60s sounds. Alongside Peru, it was one of the South American countries where the greatest number of recordings in this style were released-captured with limited resources but overflowing with spontaneity, energy, and attitude. The difficulty of obtaining the records that were shaping the latest Anglo-American rock trends of the 1960s in many Spanish-speaking Latin American countries led to a proliferation of local bands covering their musical heroes. Well-known artists such as Cream, Jimi Hendrix, and Iron Butterfly were reinterpreted by countless groups, making these songs available to local audiences without having to rely on imported records reaching their countries. By doing so, these bands helped spread the cutting-edge rock music already making waves elsewhere in the world. What makes this release particularly unusual is that the band chose to cover second-tier cult acts rather than the obvious classics-groups that only briefly cracked the U.S. Top 50 in the late '60s, such as The Seeds and 13th Floor Elevators. Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem 'Pushing Too Hard' with the ferocious, immortal 'You're Gonna Miss Me' by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document-virtually impossible to find in its original pressing-that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

As has been the case with a number of releases on Punctuality so far, Echo Chambered has already gained notoriety as a sleeper hit for those in the know. Fans of Evan Baggs and Rey Colino’s Radar stream from Dekmantel 2025 will instantly recognise Carousel, pulled from a white-label dubplate about half an hour into the set. Fast forward nine months and a flood of track ID requests later and PNCT011 is finally here: five expertly crafted rollers from a modern master of the craft, Bliss Inc.

It’s easy to see why there has been so much demand for Carousel. Its earworm vocal, delicate percussion programming, undulating low end and spacey sound design land it squarely in the sweet spot between the minimal, progressive and contemporary tech house that so many
diggers are seeking out.

While the A1 is an undeniable hit, each track truly sounds like a hard-to-find early 2000s gem—the kind of record a Discogs shark will flip for extortionate rates. Why? Maybe it’s the rolling basslines, the understated grooves, the organic but club-ready percussion, the vocal samples or the cerebral FX.

Maybe it’s the mature, floor-focused arrangements, or the way Bliss Inc. nods to different corners of the dance music spectrum while maintaining a distinct signature. Or more simply, perhaps it’s because each track is an expertly constructed club tool —built for DJs, but just as rewarding for listeners.

However you want to hear it, Echo Chambered has all the markings of a Punctuality classic. With all five tracks doing damage in equal measures, you know what to do…

The wait is over, Return To The 37th Chamber is El Michels Affair's highly anticipated follow up to 2009's underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA's signature sound is stronger & sharper than ever. This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it's own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, John Carpenter' synths, heavy metal guitars, triumpha0nt horns, and traditional Chinese instruments that make up for the lack of the Wu's superlative vocals. From start to finish it's a dark trip that walks the line between RZA's timeless hip-hop aesthetic and the cinematic soul EMA has become known for. El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard's Snakes, Raekwon's Verbal Intercourse, and Shaolin Brew, Wu-Tang's contribution to the St. Ide's Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man's hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the rug that ties the room together,' giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers. From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, sounding out the city' that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it's own right.

Get On Your Knees' (1968) was the global hit recorded by the Spanish band Canarios, a true anthem that took the British soul scene by storm and still today gets regular plays at '60s clubs. 'To Be A Man,' on the b-side, is a rare gem by Camilo Sesto, packed with fuzz bass guitar and sophisticated arrangements, making it perfect for the dance floor. Canarios, the band led by Teddy Bautista, was one of the first Spanish groups to incorporate the sounds of emerging musical trends-primarily from the English-speaking world-into its repertoire. It was also one of the first Spanish bands to tour the States (they even recorded an album there under the name The Canaries). In 1968, 'Get On Your Knees' was released, a stunning soul track recorded by Swiss producer Alain Milhaud that quickly climbed the charts in numerous countries. Its appeal remains undiminished, and it still gets regular spins in the 60s scene today. 'To Be A Man' is something of a rarity in the discography of Spanish singer Camilo Sesto, whose songs typically lean toward straightforward melodic pop and ballads. Surrounded by an international team of collaborators under the direction of former Brincos member Juan Pardo as producer, he recorded this psychedelic-tinged pop song. Its sophisticated arrangements and sinuous fuzz-laden bass line create an effective and irresistible dancefloor-filler that was released as a 7" single in several countries but, curiously, not in Spain. First-ever single reissue of both songs.

On June 29, 2023, Jeremiah Chiu entered the Vintage Synthesizer Museum in Los Angeles with no plan beyond exploring its remarkable collection of rare and classic synthesizers, improvising alongside founder Lance Hill. Recorded entirely analog over just two days and completed in the two days that followed, In Electric Time captures Chiu"s spontaneous approach to electronic music, blending cinematic sketches and intuitive synth explorations with contributions from engineer Ben Lumsdaine and Cooper Crain (Bitchin Bajas). A vibrant and free-flowing album that evokes both Raymond Scott and Harmonia, now available as a repress with new artwork.

Fort Romeau debuts on Rekids with the ‘Lovin’ U’ EP.

The British producer's three-track release lands this September. London-based DJ and producer Fort Romeau arrives on Rekids with the ‘Lovin’ U’ EP, releasing 11th September 2026. Opening the release, the title track beams sunshine through 8-bit melodies and a repeating, hypnotic vocal shot through with tasteful echoes, all underpinned by a tight drum groove. ‘No Limit’ dives into more of that endless depth, its vocal sample floating over the groove as delectable piano keys bring the party. Closing things out, the Trip Mix of ‘Breathe’ eases the pace, snappy rhythms laying the foundation while dubby chords spring through a track built for daydreaming.

Fort Romeau, aka Michael Greene, has spent more than a decade shaping a sound that blends deep house, hypnotic techno and ambient influences. His productions have appeared on labels including Ghostly International, Running Back, Live at Robert Johnson, Cocoon and Permanent Vacation, alongside more than 100 remixes for a wide range of artists. As a DJ, he's contributed mixes to BBC Radio 1's Essential Mix, the Resident Advisor Podcast and Circoloco Radio, while his latest EP for Rawax became one of Juno's bestselling records of 2026.

"Portuguesa" enthält 14 Songs und wurde von Carminho
produziert. Der Fado-Star aus Portugal steuerte neben
weiteren Songwriter:innen auch einen Teil der Texte und
traditionellen Fado-Kompositionen bei. Über die Arbeit an
dem Album sagt sie: " Portuguesa ist das Resultat zehn
konzentrierter Tage in den Namouche Studios im März
2022, genauso flossen jedoch die beiden vorherigen
Jahre darin ein. Ich bin immer auf der Suche nach
diesem ganz speziellen Schwindelgefühl, bei dem ich mit
neuen Kombinationen derselben Grundzutaten meine
Identität finden kann. Das hier ist meine Geschichte,
meine Ursprünge, meine Einflüsse und die Musik, in der
ich mich wiederfinde."
Der Fado ist Carminhos Leben, und kaum eine andere
Sängerin verleiht dieser portugiesischen Form des Liedes
so viel Kraft, Leidenschaft und Tiefe wie sie. Indem sie
sich ganz diesem tiefsinnigen Traditionsgenre widmet,
erschafft sie neue traditionelle Fados, denen sie ihren
eigenen Stempel einprägt. In ihren tiefen Reflexionen über
das Wesen des Fado erkundet Carminho unterschiedliche
Kombinationen innerhalb des Kanons, überdenkt die Form
und bewegt sich in dem vertrauten Element so sicher wie
ein Fisch im Wasser.

With Foreverglades, Miami’s independent rap cornerstone Pouya delivers a cohesive, highly anticipated body of work that serves as a gritty love letter to the Sunshine State. Moving away from the claustrophobic trap beats that defined the early SoundCloud era, Pouya steps fully into his veteran status by embracing a distinctly rich and organic Southern sonic palette. The album's title plays heavily on the Florida Everglades, signaling a destination that is both a permanent state of mind and a humid, unforgiving landscape where only the strongest survive. Over the course of 12 tracks, the project balances hazy nostalgia with modern underground rap execution, highlighting Pouya's sharp technical growth and deep roots in his hometown culture.

The production on Foreverglades is remarkably cohesive, leaning into thick basslines, melting instrumentation, and classic Southern rap influences that give the tracks a heavy, atmospheric depth. Behind the boards, the album leans on a talented collective of underground producers—including Alexis Martin, Boohmii, Esthetic Gloom, and Oleg—who construct a soundscape that is both menacingly smooth and psychedelic. Rather than relying on the frantic tempos of his early catalog, the backdrops here allow Pouya to showcase his immense vocal versatility. He flows effortlessly, seamlessly shifting from his signature rapid-fire, triplet-flow delivery to a more grounded, melodic cadence that mirrors the thick humidity of the Florida landscape.

Lyrically, Foreverglades is a self-reflective journey that finds Pouya confronting the psychological realities of a decade-long independent career. While his trademark dark humor and raw bravado remain intact, they are balanced by a vulnerable perspective on success, mortal anxieties, and the paranoia that comes with staying independent in a shifting industry. The tracklist is meticulously curated, anchored by atmospheric standouts like "Found You," "Florida Baby," "In My City," and the Rocci-assisted "Burnt Down." By anchoring the project with raw storytelling and a distinct sonic identity, Foreverglades stands as a defining moment in Pouya's discography—a project best experienced with the bass turned all the way up and the windows rolled down.

1xLP, pressed on Whirlpool colored vinyl, includes 12x12 double-sided insert.

The Toxic Funk series keeps pushing the boundaries of funk and hip-hop on wax, and Volume 23 welcomes DJP with two heavyweight remix cuts tailor-made for party-rocking DJs and golden-era hip-hop lovers alike. Packed with dusty breaks, sharp cuts and undeniable boom-bap energy, this 7” delivers pure underground flavor from start to finish.

On the A-side, The Nod Factor (DJP Remix) flips a true hip-hop classic into a groove-heavy breakbeat weapon loaded with crisp drums, funky rhythms and that unmistakable head-nodding swing. DJP injects fresh energy into the timeless vocal flows while keeping the raw essence fully intact.

The B-side, How Many Emcees (Must Get Dissed) (DJP Remix) dives even deeper into rugged East Coast vibes with rolling breaks, punchy basslines and expertly chopped funk elements that hit hard on any sound system. DJP balances classic hip-hop attitude with dancefloor-ready funk pressure, making this another essential weapon for selectors who like their beats raw and funky.

Toxic Funk Vol. 23 continues the series’ tradition of bringing heavyweight grooves to 7” vinyl, serving up another limited edition double-sider for crate diggers, breakbeat heads and party DJs worldwide.


b B1: How Many Emcees (Must Get Dissed) [DJP Remix]


[b] B1 | How Many Emcees (Must Get Dissed) [DJP Remix]

Matthew Antico is the American techno head behind the PS11 alias and he has a fine array of outboard gear in his studio, as anyone who has seen his socials can attest. Here they are all hooked up and work in overdrive from the off as supple rhythms meet dance floor clout in deep underground caverns. 'Stratos' has that anxious, pent-up energy that never resolves, while 'Mile High' hits harder and more insistently but with molten dub chords. 'Mid Point' is a serene and spacious sound with a broken beat and widescreen outlook and 'Mariana Trench' sinks you into the darkness you would associate with the world's deepest ocean. 'Timble Snake' cranks up the suspense with tight loops and inky bass.

Oscar Later is the solo project of one half of Once Twice, formerly known as Parallels. The EP takes its premise from the 1967 Outer Space Treaty, which ruled that no nation could claim ownership of the Moon or any other celestial body. Across six tracks, that idea of ownership, distance and free imagination runs through the record, which combines breakbeat and shimmering synths with processed vocals and clips from vintage ads and obscure films.

"I wanted the record to feel like public-domain myths, commercial promises and space-age optimism all colliding," Oscar says, "blurring the line between memory and fantasy."

Opener 'Air Time for Andre' channels chopped-up breaks reminiscent of Skee Mask, combined with processed found audio. 'Wenlocked', named after the East London street where it was written, develops from a downtempo sketch into a heavier club track as the bassline builds, inspired by releases on Voam and Floating Points' live sets. 'It Never Made Sense' steps away from the dancefloor, built around a granulated Orion Sun vocal that, as Oscar puts it, "ties the track into quite a surreal space," leaning towards Burial, Overmono and Radiohead.

The title track, 'The Moon Belongs to You', runs a vocoded 90s ad through a detuned one-note synth. It's the track Oscar says "best encapsulates the intention of the EP as a whole: surreal, wacky and clubby." 'Yaya' keeps the energy up as a straight techno cut, its gated bassline locking in around a chopped vocal and pitched samples. Closer 'That's Quite A Lot Of Zeroes!' expands from a stripped-back Buchla line into something huge, driven by chopped samples and inspired by sci-fi scores like Dune and Annihilation.

The cover is designed by art director Will Millner with designer Josh Lowe, a homage to space food and 80s industrial design geared to survive life on the moon. It's available as a limited vacuum-packed 12" record.

The EP launches alongside a music video for 'It Never Made Sense', directed by Louis Mackay, telling the story of a group of kids who steal the moon for themselves.

The Comfort enters the double digits of its catalogue with the label’s most ambitious release to date by Saudi Arabian artist Noboot, titled “Call and Pulsate”.

Fluid in genre yet wholeheartedly electro in spirit, Noboot’s creative output shapeshifts across the record: from four-to-the-floor acid-tinged propulsion to time-freezing illuminations, with neon-coloured synths, body-twisting low ends and piercing drum hits mutating throughout the album, and often within the tracks themselves.

Noboot’s capacity for sonic manipulation is on full display here with the pieces moving with a captivating direction and command. Sometimes gentle, sometimes dramatic, but always carried with a particular elegance and poise. To listen to the record from start to finish is to step into Noboot’s own conceptual world, one in which the artist has the confidence to take floor-oriented dance music and elevate it both in spirit and form.

There is composure and ambition in this approach. Tracks move the listener from one emotional state to another in the span of six minutes: not merely teasing transformation, but by fully taking the listener there. To deliver on that ambition requires control and idiosyncratic intuition. If “Desolated Delay” and “Timer Set” are striking examples of Noboot’s capacity for propulsion, “Meter Tired” shows the other side of their talent: the ability to make time feel briefly suspended in a weightless flux of cybernetic psychedelia.

To achieve this once or twice would already be impressive. To sustain it across an album of this scale is rare in electronic dance music, and makes The Comfort’s tenth release a defining moment in the label’s catalogue.

Come Over Reshapes works because it never tries to smooth JdB's debut into something safe. It features seven artists from LA and the Midwest all taking his source material somewhere different as brooding, minimal jungle rubs up against dubbed-out weight and drifting psychedelic ambient. Despite the variety, the whole thing plays like a continuous narrative rather than a scattered remix comp. Some cuts are clearly built for the floor, others for the comedown room, and the sequencing respects both. Steffan Betke's mastering keeps everything sounding cohesive and like a thoughtful tribute record that expands on the original rather than just repackaging it.

Esoteric, atmospheric, dancefloor-feric! GFD012 is here! The Son Of Knuf EP is pure love for the groove and the roots of funkiness. Four wild tracks from Guy From Downstairs that hit with a fresh touch built on a faster pace, deeper basslines, and a flow smoother than ever.

Two deep, meditative house tracks built on warmth and repetition. Comes with insert in a silver sleeve.

On “Ritual of Dance,” Nhojj’s voice guides the listener onto a (makeshift) dance floor, as the track builds in intensity, mirroring the rising energy of a dance session. On the flip, “Groove Extracts” leans further into a stripped, hypnotic space. Driven by percussion, bass, and a wandering key solo. It draws you inward towards the more meditative side of losing yourself in the groove. Inviting the body to take over where the mind dissolves.

Ritual of Dance EP is about the journey of dancing alone or together.

Florida Punx & Skins - Working Class Oi! with Rock'n'Roll Attitude. Ihr Debütalbum nun auch in Europa. Manche Bands brauchen Jahrzehnte, um ihren Sound zu finden. ACTA NON VERBA hatten ihn vom ersten Song an. Zwar erst 2023 gegründet, bringen die vier Musiker zusammen weit über zwanzig Jahre Erfahrung aus der Oi!- und Streetpunk-Szene mit. Das Ergebnis ist ein Debüt, das klingt, als hätte es nie einen anderen Weg geben können. Working Class Oi! aus Florida trifft auf europäische Vinyl-Leidenschaft. Nach dem US-Release ist das selbstbetitelte Debüt nun erstmals auch offiziell in Europa erhältlich. 9 Track LP, 300 Stück 180 gr. weisses Vinyl, handnummeriert, mit Einleger

Brian Fallon reunites with producer Butch Walker (Taylor Swift, Fall Out Boy, Green Day) for Not Bad for New Jersey, his first collection of original solo songs since 2020's Local Honey. Fallon is best known as the frontman of The Gaslight Anthem (The '59 Sound, Handwritten). Featuring Brandon Flowers (The Killers), Phil Collen (Def Leppard), Lori McKenna, Donovan Woods, and guitarist Marc Ribot (Tom Waits, Elvis Costello, Robert Plant). Out September 10, 2026. Eleven tracks of high-energy, power-pop-leaning rock about underdogs turning setbacks into rocket fuel.

Mit "1993“ veröffentlichen die Saarländer am 11.09.2026 ihr mittlerweile elftes Studioalbum – zehn neue Songs, roh, ehrlich und direkt aus der Brust. Ohne Umwege! Ohne Ausreden!
Wuchtige Riffs treffen auf eingängige Melodien, getragen vom unverkennbaren Gesang von Frontmann Pascal. Dazu Texte, die nicht gefallen wollen – sondern treffen. Die anecken, provozieren und Haltung zeigen. Kein unnötiger Schnickschnack, keine weichgespülten Floskeln.
"1993“ sagt, was gesagt werden muss – laut, klar und kompromisslos.
Seit Jahren zählen die "KrawallBrüder" zu den prägendsten Bands der deutschsprachigen Rockszene. Auch mit diesem Album machen sie unmissverständlich klar, warum ihr Name Gewicht hat.

Die Songs gehen sofort ins Ohr, bleiben im Kopf – und tragen genau das in sich, wofür die Band steht: Wut, Stolz und Zusammenhalt.
"1993“ ist mehr als nur ein Album – es ist ein Lebensgefühl, das nie verloren gegangen ist. Eine Haltung, die sich durch jeden Song zieht und live genauso explodiert wie auf Platte.
Lückenfüller? Fehlanzeige! Hier kommt ein Album, das brennt!
Die LP erscheint limitiert auf 500 Einheiten auf rot/schwarzem Vinyl in einem Inside-Out Gatefold-Cover.