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Mike Reed"s Separatist Party sophomore effort and Thrill Jockey debut "Sing The Color Blue" is a recording assembled over numerous sessions, and a testament to persistence and transformation. The album reunites Mike Reed with Rob Frye, Cooper Crain, Dan Quinlivan (all of the trio Bitchin Bajas), Marvin Tate, and Ben LaMar Gay in a set that moves between composition, reconstruction, improvisation, and song form.

Mike Reed's Separatist Party sophomore effort and Thrill Jockey debut "Sing The Color Blue" is a recording assembled over numerous sessions, and a testament to persistence and transformation. The album reunites Mike Reed with Rob Frye, Cooper Crain, Dan Quinlivan (all of the trio Bitchin Bajas), Marvin Tate, and Ben LaMar Gay in a set that moves between composition, reconstruction, improvisation, and song form.

Italian percussionist Umberto Vitiello takes us on a journey into a vanished world. Mixed by Italian techno master Donato Dozzy, the album draws on memories spanning decades, including Vitiello's years living on Yarakh Beach on the outskirts of Dakar, Senegal. There, the rhythms of daily life flowed with the tides: fishermen launching their pirogues at dawn, griots and vendors gathering beneath three towering palm trees, and the Atlantic Ocean providing a serene soundtrack.

Named after the Lébou people whose fishing culture has shaped the coastline around Dakar for centuries, the record is both a tribute to a community that welcomed Vitiello as one of their own and a reflection on what has been lost.

Those years left a profound mark on both his life and his music. Yet this is not simply a work of remembrance. It is also a meditation on change.

Today, the beach that inspired these recordings has been transformed by pollution and environmental decline. Where fishing boats and palm trees once stood, a sculpture by Senegalese artist Serigne Gorgui Mbaye now depicts two giant ears facing the sea-a reminder of the need to listen: to one another, to nature, and to our own conscience.

Blending percussion, atmosphere and storytelling, the album revisits formative experiences from the 1980s through the perspective of the present day. Featuring vocal contributions from Olympia Ndiaye, Anna Caragnano and Mariangela Morais, and guided by Dozzy's spacious, immersive mix, it unfolds as a deeply personal journey through memory, place and transformation.

Put your hands together and please welcome Linda Lo to Shall Not Fade's Time is Now imprint. The LA producer/DJ's new 12" EP "Masa" drops 23rd Oct 2026 and f**k is it sick.

Linda Lo fuses* mambo, samba, and salsa with UK garage, dubstep, and club rhythms to make guaranteed rewind material that is gonna light up the dance…

* imma talk about this fuses sh*t in a minute.. First we need to get a bit philosophical. Cos rewinds and fusions aside, this EP is alive. It's part of something bigger and cyclical, without a start or an end. It is music. It was part of someone else's music before and it will be part of other people's music in the future. Right now though, it's Linda Lo's music.

Too esoteric? Let me elaborate and, let's talk about fusion. There is the fusion that is – steal a bit of genre X and culture Y, chuck it on the grid and strut about professing fusion – and then there's actual fusion: Music that is something "new" and real and genuine. Music that you end up describing excitedly as a "fusion of" things (even if it inevitably ends up doing it a disservice). Music that is simultaneously one thing and not that thing, and also something else and not that something else too. Music that is just "music" to the creator but is also part of the progression and evolution of music for others. Mala wasn't making "dubstep". Skream & Benga ended up not making Garage. Like many before and after they were making their music and Linda Lo is making her music so let's hear from her about it. Big up Linda. This is real.

Notes from Linda:

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“Like Croydon by way of Havana”

“Masa, or corn-based dough used to make tortillas and tamales, is a traditional staple food for many in Mexico and throughout LatAm. In the Maya worldview, people's flesh is made out of masa. In order to make masa, corn must be dried, nixtamalized, ground, and mixed (often by hand) to create the right textured dough. I find much of my music work is a collision and a mixing of many elements, all worked into one product. In this way, I've worked these songs, transforming raw rhythms and sub bass into hand-mixed tunes. ‘Masa - EP' presents four delicious heaters. The title track explodes with a fiery double-time dubstep groove. Mambo horn stabs bite through a bass inferno. ‘Cenote' looks down upon a subterranean pool of sound—still on the surface but impossibly deep. ‘Minifalda', pure flirt and gyration, calls in cuica and other voices from a samba bateria. Finally, claves stitch across ‘Mestiza', a fusion of blooming lush orchestration and jagged 2step rhythm.

Around 1960, my grandparents were regular dancers at the Palladium in Los Angeles: young, Mexican, and falling in love to dance music, specifically big band mambo. My mom, consequently, is a fantastic dancer, and her mambo collection along with my dad's exotica records formed the base of my own vinyl collection. When I first discovered garage and dubstep, there was something indescribably familiar to me, something mambo-like about the syncopated offbeat hits and drama. Later, as I began stitching together mambo claves and 2step drums, I assumed I was trying out something totally new. The farther I go, the more I see that I was wrong.

Dubstep, garage and jungle share a parental lineage back to dub reggae, originating from Jamaica. Mambo hails from Cuba, and sister genres of salsa to NYC & PR, and bachata and meringue to the Dominican Republic. Yet, these musical genres of the Caribbean have not developed in isolation. Reggae, mambo, dancehall, salsa, even son jarocho from Veracrúz, Mexico (where my family is from), all developed together, influencing each other fundamentally. Ultimately, all musics of the Caribbean have come from West African polyrhythmic musical heritages. Garage, mambo, dubstep, and salsa are points in time along one musical continuum.

I feel very honored to be a selector working in Los Angeles (and elsewhere!). I hope I can share some music for the next generation of young people to fall in love to. "

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I'm moved by what Linda writes here. #1 Doing what you love, and finding you are part of something bigger. Creating for yourself freely and hoping to inspire others with healthy amounts of care, humility, freedom, self awareness and enjoyment. (It is inspiring and I'm honoured we are now a part of sharing Linda's music). #2 There's something wonderful about finding connection and a sense of place. A place physical, spiritual and in time. Music can help us all find connection and be part of a place. Wheel it up wherever you are.

As part of the 20 Years of BM anniversary celebrations, Bondage-Music proudly presents Bondage Games Pt. 11 — a special five-part vinyl series. Each release is named after a constellation, together forming a unique tribute to two decades of Bondage-Music.
With Bondage Games Pt. 11, the label's iconic vinyl series returns in its most ambitious edition to date. Created to celebrate 20 years of Bondage-Music, the series unfolds across five constellation-themed releases, each featuring four exclusive productions from artists closely connected to the label.
The first chapter, Ursus, brings together four exclusive tracks from Roger Gerressen, Sascha Dive, Rhadow and Lola Palmer. From Roger Gerressen's hypnotic groove-driven Patterned Shards and Sascha Dive's unmistakable deep house craftsmanship on Dub Chronicles #10 to Rhadow's atmospheric Ripples and Lola Palmer's warm and emotional Slow Down, the record perfectly reflects the timeless musical identity that has defined Bondage-Music since day one — deep, soulful, groove-focused and made for both intimate listening and late-night dancefloors.
Pressed on heavyweight 180g vinyl and housed in an individually printed sleeve, Ursus continues Bondage-Music's longstanding commitment to exceptional quality in both music and design. The artwork was created by BM's longtime Head of Artwork, Pete Bombart — a close friend and an integral part of the label since its earliest days. His unmistakable visual language has become inseparable from the Bondage-Music identity, earning a loyal following far beyond the music itself.
Whether collected as part of the complete anniversary series or enjoyed on its own, Bondage Games Pt. 11: Ursus is a celebration of the artists, the friendships and the unmistakable sound that have shaped Bondage-Music over the past twenty years.

As part of the 20 Years of BM anniversary celebrations, Bondage-Music proudly presents Bondage Games Pt. 11 — a special five-part vinyl series. Each release is named after a constellation, together forming a unique tribute to two decades of Bondage-Music.
With Bondage Games Pt. 11, the label's iconic vinyl series returns in its most ambitious edition to date. Created to celebrate 20 years of Bondage-Music, the series unfolds across five constellation-themed releases, each featuring four exclusive productions from artists closely connected to the label.
The first chapter, Ursus, brings together four exclusive tracks from Roger Gerressen, Sascha Dive, Rhadow and Lola Palmer. From Roger Gerressen's hypnotic groove-driven Patterned Shards and Sascha Dive's unmistakable deep house craftsmanship on Dub Chronicles #10 to Rhadow's atmospheric Ripples and Lola Palmer's warm and emotional Slow Down, the record perfectly reflects the timeless musical identity that has defined Bondage-Music since day one — deep, soulful, groove-focused and made for both intimate listening and late-night dancefloors.
Pressed on heavyweight 180g vinyl and housed in an individually printed sleeve, Ursus continues Bondage-Music's longstanding commitment to exceptional quality in both music and design. The artwork was created by BM's longtime Head of Artwork, Pete Bombart — a close friend and an integral part of the label since its earliest days. His unmistakable visual language has become inseparable from the Bondage-Music identity, earning a loyal following far beyond the music itself.
Whether collected as part of the complete anniversary series or enjoyed on its own, Bondage Games Pt. 11: Ursus is a celebration of the artists, the friendships and the unmistakable sound that have shaped Bondage-Music over the past twenty years.

Strawberry Guy’s new album ‘Give Me A Dream’ unfolds as a tender, fragile and intimate record. The 14 track album arrives as the ultimate hopecore long player, in a time when we need it most. It's a guiding light, healing for the mind, exploring the tight-rope balance that is making it through life intact. Strawberry Guy evolves from the dreamy indie-pop home recordings to a perfectly formed crystalline vision, utilizing an immersive studio approach. Shifting from sparse & fluid piano parts to rich, engulfing layered strings, infectious melodies and an exquisite rumination on manhood from fraught emotional states. Give Me A Dream is a big step up, brimming with ideas, glistening production, and a tender heart.

For nearly a decade, fans have become familiar with Entheos through the unmistakable chemistry and creative vision of vocalist Chaney Crabb and her musical and life partner, multi-instrumentalist, Navene Koperweis. Whether through Crabb’s viral vocal performances and unbelievable range or Koperweis’ boundary-pushing musicianship and songwriting, the duo has established Entheos as one of the most forward-thinking acts in modern metal. On the band’s latest album, Empty on the Inside, they are joined by guitarists Scott Carstairs (Fallujah) and Michael Stancel (Allegeon) along with longtime contributor and former bandmate Evan Brewer, creating the most fully realized incarnation of the band to date.

FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.

FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.

From a Beaumont Bar is Pug Johnson's third full-length album and his most complete collection of heartbreak songs to date. Rooted in classic country storytelling, the record draws from the bars, backroads, and late nights that shaped him, turning years of lived experience into songs full of regret, humor, longing, and hard-earned perspective. Written with the benefit of hindsight, these stories don't try to rewrite the past—they simply tell it. From barroom anthems and dancehall shuffles to slow-burning ballads, From a Beaumont Bar captures the moments after love has gone wrong, when all that's left is memory, acceptance, and another round. While Beaumont, Texas provides the backdrop, the album's themes reach far beyond one place. It's a record about heartbreak in all its forms, told with the wit, warmth, and honesty that have become Pug Johnson's calling card. Rich with pedal steel, fiddle, accordion, and timeless country grooves, From a Beaumont Bar is both a tribute to traditional country music and a reminder that the best songs don't just tell stories—they make you feel like you've lived them.

For over 25 years, David Madson (aka Odd Nosdam) has been stationed away from the light of the mainstream, diligently working the nightshift. Every so often, we awake to find another of his bleary and beautiful missives slung into the waking world – albums whose assemblages of sampled grooves, atmospheres and voices are unified by a hallucinatory sense of melody, like disparate visions strung together through ribbons of sleep-talk. From his earliest days as a member of the seminal group cLOUDDEAD, through his remixes for artists such as Boards of Canada and Black Moth Super Rainbow, Nosdam has been reporting back from his rounds upon the perimeters of culture and consciousness, forging a musical language all of his own.

On Patrol is the second Odd Nosdam LP to be released on The Notwist’s imprint Alien Transistor – following on from the 2019 album Mirrors – and continues a collaborative history that begun with a 2008 remix of The Notwist song, “Sleep”. It’s a love letter to the vinyl format, produced with the aim of optimizing for a single LP. This objective permeated every aspect of the album’s production, from the duration of each side through to the vinyl mastering (Jessica Thompson) and lacquer-cutting (Dubplates & Mastering, Berlin). As we've come to expect, the album is built almost entirely from found sounds, many of which were taken from obscure and second-hand vinyl gathered during Nosdam’s ceaseless crate-digging escapades. Other sources include field recordings made in 2022 at the Catalonia summer home of artist Salvador Dalí, which are baked into the swirling sci-fi glide of “Here to Know (Adéu Mix)”, and a sumptuous clunking bass line courtesy of Organi’s Mike Walti, which runs like an infinite highway through the fuzzy, sunbaked sprawl of “Deepsimple”.

Odd Nosdam’s work has always swept the entire atmospheric spectrum, from rhythmic vigour to levitational beauty. On Patrol is perhaps his finest assimilation of these extremes. “Sgt. Pepsi” is the perfect case in point: a formidable slow groove capsizes into vinyl crackle after a mere minute, before the song resurrects itself through sweeping strings and vocal harmonies, sliding against each other like the overlain romantic denouements to a dozen Hollywood films from the 1940s. Elsewhere, “Get You In (Belong Mix)” drapes shoegaze guitar over a trundling funk backbeat, straddling the physical world and the outer realms, while hushed voices point toward the song's implied themes of cultural cliques, critical consensus and the plight of the eternal outsider: “Sure, I can get you in... these people are my friends, I’m one of them - I belong.”

This is music that both endures and disappears. Odd Nosdam has always wielded a strange relationship with time, scrambling association with any specific era, weaving together numerous tempos simultaneously. There is no master clock. Each track could happily hold up as an infinite loop, yet Nosdam clearly favours the potency of the gone-too-soon, applying the fadeout just as hypnosis starts to crest. Indeed, the songs are both the product of meticulous long-term construction and spontaneity. While the foundations of On Patrol have come together over several years, the recording process involved channeling vibes through a vintage Roland Space Echo and bouncing song fragments back and forth from hard disk to cassette 8-track, gifting a phased permanence to creative decisions made on the fly – a hat-tip to the production processes of Nosdam's longtime hero, Lee ‘Scratch’ Perry. Like a recurring dream, On Patrol appeals to both the plains of momentary ephemera and the long-established backchannels of the unconscious, equal parts revelation and deja vu.

Text by Jack Chuter
Artwork by Ian Ferguson

For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.

For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.

Eine sorgfältig zusammengestellte Kollektion, die Desmond Dekkers Einfluss auf Ska, Rocksteady und
frühen Reggae unterstreicht. Mit herausragenden Titeln wie „Israelites“ und „007 (Shanty Town)“ fängt
sie jenen Sound ein, der dazu beitrug, jamaikanische Musik einem internationalen Publikum nahezubringen.
Dies ist eine kompaktere Version der „Essential Collection“ von 2023; sie erscheint anlässlich des National
Album Day 2026 (10. Oktober 2026) sowohl als Pressung auf schwarzem „Ecorecord“-Vinyl als auch
im Digisleeve-Format (1 CD) inklusive Booklet. Die Veröffentlichung bietet ein klares, warmes Klangbild
und dient als prägnanter Überblick über Dekkers wichtigste Aufnahmen – eine verlässliche Ergänzung für
Sammler und ein idealer Einstieg für alle, die den klassischen Reggae für sich entdecken möchten.

Eric Whitacre verbindet William Blakes Poesie mit Stimmen, Synthesizern, Streichern und Klavier.
Mit *Eternity in an Hour* präsentiert der Grammy-prämierte Komponist ein neues, rund 60-minütiges
Werk. Inspiriert wurde es von William Blakes Gedicht *Auguries of Innocence* und dessen berühmter
Anfangszeile „To see a world in a grain of sand“. Das Album markiert zugleich den Beginn einer erneuerten
Zusammenarbeit mit Decca Classics.
Whitacre dirigiert seine Eric Whitacre Singers sowie Streicher und verbindet ihren Klang mit elektronischen Texturen, Synthesizern und Klavier. Das Werk wurde 2024 bei den BBC Proms uraufgeführt.
Ausgangspunkt der Komposition ist die Granularsynthese: Für jeden Satz werden kleinste Ausschnitte aus
Blakes Versen herausgelöst und musikalisch neu zusammengesetzt.
Zum Einsatz kommen unter anderem ein Lyra-8-Synthesizer, ein Tascam-424-Tonbandgerät und der 125
Jahre alte Flügel von Whitacres Großmutter, dessen Klang ihn seit seiner Kindheit begleitet.
Die digitale Ausgabe und die CD ergänzen das Werk um *Auguries of Innocence*, eine Sammlung atmosphärischer Neubearbeitungen mit IDRA, Jess Gillam und Elin Piel.
Ein facettenreiches Album, das Whitacres musikalische Entwicklung in konzentrierter Form hörbar macht.

Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.

This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.

Continuing the Hyperspace instrumental ambient series tradition are two ensembles: Mindstreams, and the duet Squash and Biscuit. This LP features a full side for each artist and is pressed in lavender vinyl. Mindstreams is a vocalized ambient bed of sound by JP Berreondo and Stefanie Naifeh. From opera to avant-garde, neo-cabaret to singing world music in 15 languages, Naifeh journeys through a colorful mosaic of music. She began her classical training at the age of 8, performed with the San Francisco Opera in the children's choir in Carmen, and majored in opera at UCLA. She later formed the avant-garde, neo-cabaret band, The Underthings in 1987. Squash and Biscuit is a Los Angeles based husband/wife team featuring composers Shuwen Zhao and Brian Griffith. Recorded live from 2020-2021, each piece serves as a short investigation into the world between sound and music using found sounds, musical samples, instrument recordings, and voice manipulation. Limited to 300 copies

Planet Trip Records presents Sydney underground heroes Hugh B & Setwun’s first album, 2020’s Yeah Definitely, and its long-awaited follow-up, 2026’s Nah Maybe, as a deluxe vinyl LP package. Underpinned by the low-end heft of dub and soundsystem culture, their albums draw deeply from an expansive array of sensibilities: tones, textures and patterns shaped by post-punk and ambient music dovetail with abstract, sampledelic hip-hop drum loops. Meanwhile, Setwun’s mysterious neo-soul/modern R&B vocals glide on the beat. Punctuated by dialogue snippets, these songs feel like exploring the multiverse with an interdimensional boombox.

Yeah Definitely began as a batch of instrumentals. Having previously worked with an MPC, drum machines, instruments and Logic Audio, Hugh used a borrowed PC and Renoise, a tracker DAW associated with 21st-century jungle/drum & bass production. Afterwards, he sent them over to Setwun, who sketched vocals on top with ease.

If Yeah Definitely came together quickly, Nah Maybe was a longer process. Still inspired, Hugh B knocked out a second folder of beats with neon-lit city-pop references, slow-jam grooves, and elegant guitar figures. This time, however, something wasn’t clicking for Setwun. The only cure here would be the passage of time.

Over the next six years, Hugh and Setwun continued to collaborate while pursuing solo projects. Hugh released jungle, ambient house, dub and post-punk records through Planet Trip Records, Not Not Fun, and his OTIS Records label, while performing live, DJ, and leading the Modern Pop Ensemble. Similarly, Setwun, also a multi-instrumentalist, producer, and DJ, released a series of records that explore jazz, soul, house, and broken-beat electronica, forming a loose constellation for Mandarin Dreams and Extra Soul Perception. Alongside these efforts, he played shows and began performing with his backing band, The Soulstranauts.

Early in 2026, something clicked, and Setwun drafted vocals for the second batch of beats over an evening. Not long after, he invited Hugh to mix Nah Maybe, every bit as special as Yeah Definitely. By waiting for the right moment and putting themselves outside of their comfort zone, Hugh B and Setwun have bottled lightning twice. We’re very pleased to be able to share Yeah Definitely and Nah Maybe with you.

With Parallel Worlds, RFLX opens a new chapter for Eight of Cups Records, delivering a raw and focused statement built around tension and transformation.

“I wanted to avoid any form of release. With Parallel Worlds, tension becomes the language itself. I was drawn to this constant escalation, something that dissolves linear time and locks me into a different state of perception… where the drop never comes. And that’s exactly the point.”

“By removing resolution, I wanted to keep everything open: a space where perception expands and multiple realities can coexist. Parallel Worlds is not about choosing a direction, but about becoming aware that more than one is always there.”

A four-track immersive EP refusing the conventional payoff, Parallel Worlds unfolds as a continuous escalation, creating a suspended space where perception shifts and different realities begin to overlap.

The release features two original cuts alongside exclusive remixes by JOEY BELTRAM and AT-XYA.

Techno pioneer Joey Beltram strips the title track down to its raw essence, transforming it into a relentless dancefloor weapon driven by physical energy, hypnotic grooves and his unmistakable signature sound.

AT-XYA takes the opposite route, deconstructing and reshaping the original into an ethereal, cinematic journey for those fragile moments when night dissolves into morning and everything suddenly makes sense ;)

Completing the EP is Danxome, a deeper tribal-inspired cut reconnecting with the origin of the concept. In the Fon language, Danxomɛ means “in the belly of Dan”, the cosmic serpent and the origin of the world. Before parallel worlds, there was one.

Parallel Worlds started from a simple thought:
Every day, all versions of you exist. You just don’t see them all. You can stay the same, or you can shift.

Doppler Effect is the brainchild of singer and songwriter James Straight. Formed in Boston in 1981, the band explores what Straight describes as the “encyclopedia of electronic music”. Since its inception, the project has explored and incorporated almost every style of electronica, from Ambient and Industrial to Techno, Synth-pop, EBM, House, Darkwave, Acid and Disco, with touches of Punk and Funk around the edges. It all depends on the song, as Straight sees his work as a series of mini-films he is directing, a sort of “seeing with your ears”. Utilizing the entire palette to achieve the desired effect, his only rule is that it must work for the song.

“Genesis: Studio Recordings” compiles a selection of recordings made between 1981 and 1985, including numerous previously unreleased songs and early versions ranging from synth-punk and new wave to minimal wave and synth-pop. Limited run of 300 copies on black vinyl with insert.

Originally released in 1989, “Synthesis” is the debut full-length album by Artefacto, a pioneering Mexican techno-pop band formed in Tijuana by Bola Modelevsky, Roberto Mendoza and Melo Ruiz. With its distinctive blend of electronic rhythms, synthesizers and futuristic pop sensibilities, the album became an important and highly sought-after release within the Mexican electronic music scene. Despite the album’s innovative sound and the interest surrounding it at the time, “Synthesis” was mysteriously held back from a wider release.

“Synthesis” has since become regarded by collectors as one of the essential releases of Mexican techno-pop, with tracks such as “Complejo de Amor” and “Mundo sin Viento” remaining enduring classics. “Mundo sin Viento” was later featured on “Back Up: Mexican Tecno Pop 1980-1989”, the influential compilation released by Dark Entries, helping introduce Artefacto’s music to a new international audience.

The story of Artefacto and its creators did not end with this chapter. Its members continued to explore new musical territories through projects such as Artefakto, Panoptica, Nortec Collective, and Klansoff, continuing their creative journey within Mexico’s evolving electronic music scene.

For this new edition, “Synthesis” has been newly remastered from the original master tapes and is presented on transparent red vinyl, limited to 350 copies and including a reproduction of the original lyrics insert.


Function has long since cemented his legacy in the underground world but it's always worth reminding yourself where an artist's story began. In David Summer's case, that's with this EP, which dropped on Damon Wild's Synewave, who now reissue it in full, 30 years on. It's an impressively fully-formed sound for a debut: 'F1' is a jacked-up techno rhythm with a fat bassline and frazzled synths that bring it to life. 'F2' is a more experimental and beatless piece with modular pulses, echoing frequencies and decaying sine waves then 'F3 rides a dreamy dub rhythm that undulates gently amid some gorgeous sustained pads that recall Thebes of Detroit. 'F4' comes with more Millsian-style minimal that fires up your brain.

Mysticisms completes its archival releases of the Dub Specialists with a 3rd EP of the outer reaches of the Digi Dub realm, this time mainly drawing from the project’s final album Loop To Loop.

Conscious Sounds head honcho Dougie Waldrop, working again with Chris Petter (Love Grocer) runs the desk, the heavy sample originals move from House to Breaks, Dub to Funk.

For the final reversions, label co-owner and editing specialist Piers Harrison returns, turning Love Song in a long form 4/4 romantic digi bounce. A sure-fire winner, the catchy groove and trippy beats, the template of what makes Dub Specialists come alive.

Following is Lotion Dub, edited by Vanity Project. A key part to the project, working with Millie Mckee, as well assisting Chuggy, his solid arrangements and engineering skills take the old school original, with digi horns, electro stabs and reggae “skanking” guitar, accentuating the drum and bass to effect.

The final side of edits come from Chuggy, taking the steppers of Dub Downtown, teasing the drop, looping and riding the riddim and also, finally, from rising producer and label head of Spiritual World Recordings, N1 Sound who sticks to the true essence of re-editing, creating a DJ friendly excursion, extending and live dubbing the sought after 808 Dub from Dub Specialists debut Break To Break, thus bringing the whole project full circle and complete.

Beat The Loop.

"After a couple of years shaping her sound in the studio, Budino lands the "Signal EP", a record that grew out of the desire to make music for her own sets. Citing the journey she aims to create in the club as a key inspiration, she certainly put in the mileage, with a booking schedule tirelessly spanning all points of the compass. Although this is her first label-released original record, it's no novice effort: ALT027 shows a confident artist, fully in control, with a distinct vision and the technical expertise to bring it to life. On opener "Stay More", a trippy trance rendition, the sturdy kick and distorted sines leave ample room for mid-bass acid lines to roam freely. In its company, a myriad of risers, gated white noises and delayed fills appear - signifiers within the artist's palette, as will become apparent. "Wireless" features similar crafty sub movement, but this time the drums are infused with conga patterns and other exotic slices of battery. Because of the zest these rhythms bring, the track can keep building for several minutes until a synthesised lead emerges. When that finally happens, the affair really takes off. On the other side, "Alpha 7" rides the call-and-response dynamics between different formant and deep-vibrating leads, its shimmering arpeggios and atmospheric pads adding colour. Closer "1031" provides an organic touch with its live guitar bass pulse and enigmatic, eerie vocals. Amidst ever-evolving micro-frills, a sturdy square lead thrusts it forward. The groove, again, is endlessly seductive. This characterizes Budino's skilled approach: it's often so hypnotic it feels unclear whether the themes materialise from the surrounding, seemingly fluid compositions - or dissolve into them. In any case, these are multi-dimensional cuts you will love getting lost in on a nearby dancefloor."

For the next release on NDYUKA RHYTHMS we welcome Toru Ikemoto, all the way from Osaka, Japan. This exceptional 4-track EP is an elegant meeting point between two deeply rooted cultures. Toru's Japanese heritage and NDYUKA RHYTHMS' signature percussion-driven sound form the foundation of the release, creating a connection that can not only be heard, but truly felt. Each track carries a Japanese title, with Toru developing a distinct musical vision and concept behind every piece. He has put these ideas into words and translated them into sound with remarkable precision, resulting in four carefully crafted compositions that each tell their own story. The EP is a genuine fusion of heritage, rhythm and musical expression - bringing together Toru's Japanese roots and the rhythmic identity of NDYUKA RHYTHMS in a way that feels both authentic and effortless. A special release from Osaka to the world.

Shitcluster again in disturbing form. Less grim now, but more disjointed and driven harder. The drums argue with the sequencer and dusty samples swerve into broken keys. And the walls... the walls are singing (to the traffic by my home).

Diaspora II continues Exit Safe Mode’s evolution with a sound that leans deeper into
dub-influenced textures while maintaining their techno foundation. The album shifts
into noticeably darker territory, embracing heavier tones, more brooding energy, and
a mood that feels both introspective and ominously intense.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

Celestial Echo Records heads to the Cayman Islands for CER014, produced in association with Whale Rider Records and longtime friend of the label Medlar.

This release shines a light on two incredible sides from the legendary Memory Of Justice Band, one of the Caribbean's best-kept musical secrets. Formed in Grand Cayman during the 1970s, the group blended soul, reggae, funk and island influences into a sound entirely their own, becoming one of the region's most beloved bands in the process.

On the A-side is a gorgeous piece of sweet modern soul — warm, uplifting and packed with the kind of effortless musicianship that makes you wonder how it stayed under the radar for so long. It's exactly the sort of record Celestial Echo was built for: soulful, timeless and impossible not to fall for.

Flip it over and things move firmly onto the dancefloor with a reggae-boogie burner produced by the legendary duo Sly and Robbie. Built around a heavyweight groove, tight rhythm section and infectious hooks, it's the perfect counterpart to the sweetness of the A-side and a reminder of just how interconnected Caribbean music was during this period.

As always, Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

WRWTFWW Records is very excited to announce the first ever release for the Cyberpunk 2077: Future Sound of Night City soundtrack - atmospheric music from one of the most celebrated video games of the decade! The compilation, showcasing a who's who of Polish electronic underground, is available as a limited edition 45rpm-cut yellow vinyl 3LP in heavyweight 3-panel gatefold with a sticker sheet. The album is also available on CD with super jewel case, and in digital formats.

Dive deep into the pulsating world of Cyberpunk 2077 with an immersive soundscape perfectly capturing the gritty and neon-soaked streets of Night City. Curated by Rafa? Grobel and Wojtek Sokó? of Most Records, the epic 15-track compilation features a diverse offering of electrifying Polish beats, cohesively flowing between techno, ambient, synthwave, bass music, industrial, and IDM. Ominous, powerful, evocative, and filled with futuristic nostalgia, the music of Night City is a thrill ride in a dystopian urban landscape, heavy hearts riding through the night, menacing streets surrounded by infinite skyscrapers. The music transports you, soul-stirring, cinematic, and timeless, the most beautiful kind of escapism.

The award-winning Cyberpunk 2077 action role-playing game was developed by CD Projekt Red and published in 2020 and has since become one of the most recognized and best selling video games of all time. With a cast including Keanu Reeves and Idris Elba, unmistakable visuals, music, and atmosphere, CP77 has earned a spot in the pantheon of 2020s pop culture.


Points of interests

- For fans of video game soundtracks, ambient, techno, synthwave, vaporwave, industrial, dark electronic music, retro-futuristic moods, neon lights, Tech Noir, Keanu Reeves, bass music, All Foods, cities by night, skycrapers, urban adventures, dystopian universes.

- The soundtrack for Cyberpunk 2077: Future Sound of Night City available for the first time everrrr !

The legendary Charlemagne Palestine returns to Black Truffle with KKKAAARRREEENNNIIINNNAAA, capturing a 2025 performance in London alongside two close collaborators of recent years, multi-instrumentalist Daniel O’Sullivan and guitarist Oren Ambarchi. While perhaps still best known for the ecstatic piano clouds of his ‘strumming music’ performances, Palestine’s life-long search for what he calls the ‘golden sound’ has taken in an enormous variety of methods of sound production. Now stretching back an incredible six decades, his exploration of continuous sound forms has led him to mega-instruments from the carillon bells of the Saint Thomas Episcopal Church to the synthesizer armada of the Moog Sound Lab, with stops along the way at many of Europe’s grandest church organs. Just as important, though, has been Palestine’s practice as a singer, beginning with his childhood experience of sacred Jewish music and growing through his studies of Indian and Javanese musical traditions in the 1970s.

KKKAAARRREEENNNIIINNNAAA reimagines a key work showcasing Palestine’s voice, the haunting ‘magic song’ Karenina for falsetto singing and harmonium, recorded in Paris in March 1997 to honour the spirit of Palestine’s recently departed black labrador. In this trio version, which Palestine describes as the ‘karaoke’ version, O’Sullivan controls three cassette machines playing the original recording, their slow drift out of phase creating complex patterns of delays and ricochets as the recorded voice chants the syllables of Karenina’s name and other trance words. Beginning with a held organ tone that gradually expands to fill out the frequency spectrum, the piece soon grows into a dense psychedelic mass, as Palestine’s electric organs and the echoing pre-recorded voices are joined by Ambarchi’s swirling Leslie guitar tones and O’Sullivan’s viola, synthesizer and additional vocals. Atop it all sits Palestine’s live voice, in an extraordinary performance of keening, shamanic intensity, sometimes delivered in melodic unison with his keyboard playing.

Though clearly a work of Palestine’s design that sits squarely within his oeuvre, Ambarchi and O’Sullivan are far from simple accompanists on KKKAAARRREEENNNIIINNNAAA. As the elements of the teeming, emotionally charged stew writhe and twist, different elements come momentarily to the surface, O’Sullivan’s spaced-out viola taking the lead in moments that recall Kosugi’s Catch Wave, Ambarchi’s gliding chords and signature stuttering tones enriching the details of many of the quieter episodes. Throughout all its transformations, the music is buoyed up by a sacred aura, as Palestine intones his hypnotic prayer for the soul of his departed pet. Arriving emblazoned with a striking labrador painting by O’Sullivan on the cover, KKKAAARRREEENNNIIINNNAAA is an essential slice of modern ritual music.

Bondage-Music proudly welcomes back Markus Homm with his latest vinyl EP, "It's Safe To Say." Continuing his long-standing relationship with the label, Homm once again delivers the warm grooves, crisp rhythms, and unmistakable dancefloor sensibility that have become his trademark.
Across four carefully crafted tracks, Markus Homm combines rolling basslines, soulful vocal touches, and refined house grooves with subtle techno influences. From the infectious swing of "My Alibi" and the driving title track "It's Safe To Say" to the soulful energy of "I Got All This Love For You" and the hypnotic flow of "Rush," the EP is built for both peak-time club moments and extended listening sessions.
As a special treat for vinyl collectors and DJs, two exclusive tracks are available on vinyl only, continuing Bondage-Music's tradition of offering unique content for the format.

alex wilcox releases his second solo ep on трип: ‘rumpelstiltskin’ alex wilcox possesses a rare quality of transforming simplicity of a known form into something that sounds as fresh and modern as contemporary music should in 2026. his glassy, chiptune heavy, razor sharp production combined with quite some synth warmth, sounds like classic IDM created in detroit in 2050. if that wasn't enough, add a bit romanticism, a fairy tale like atmosphere and wonder "who is rumpelstiltskin?" spin to win.

2026 REPRESS ON SPLATTER VINYL

9 years from its original release, Basic by Ruby My Dear (Julien Chastagnol) is finally available again on cream and black splatter vinyl. Remaining to this day some of Julien's most direct material, tracks from the EP went on to see DJ support from the likes of Aphex Twin cementing them as peak acid-rave classics.

"Julien Chastagnol returns to Love Love on tip top form with a 12” containing some of his most acute acid material to date - a concise collection of 4 tracks that convey Ruby My Dear’s most high-octane dimension. Each track displays a complex manipulation of its fundamental elements utilising sharp shocks, whirlwind processing and the occasional moment of respite; all racing along at a breakneck pace. A glorious full frequency assault"

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

Krone, uno de los nombres más representativos de la escena nacional, con presencia en algunos de los sellos más potentes del género, vuelve a ser el encargado de dar vida a una referencia física de nuestro sello con dos tracks ya presentes en el catálogo Digipot.

En la cara A/ Phantom Magnet nos atrapa en un túnel en el que breaks potentes cortan a través de atmósferas frías y sintes robóticos, un track que atrapará a los aficionados al sonido neurotech y que ahora podrán disfrutar en el mejor de los formatos.

Para el lado B/ Pupeteers Carnival (ft. Moce) presenta unas baterías dinámicas y afiladas envueltas por sintes inquietantes proyectando un viaje oscuro y mental perfecto para crear momentos de tensión antes de dar el siguiente paso en tu set.

En resumen, Melting Pot 24 trae de vuelta (esta vez en formato vinilo) dos tracks representativos del sonido que marcó una época en nuestra evolución como sello.

Harrison BDP returns to Jupiter’s Depths with This One’s For You, his second EP for the label. Built around the Octatrack and a hands-on hardware setup, Harrison’s ultra-absorbing take on deep house remains instantly recognisable — groove-led, progressive, warm and meditative, with dub chords and subtle vocal cuts running throughout.

Squash also returns to the label, formerly known as Gearmaster and Abdul Raeva. Evolving as ever, they bring their own groove-led take to Humma Kavula.