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The mighty Trelik label has long led the way when it comes to the best minimal in the underground and nothing about that changes with this new one from German pair Anro and Kuyateh. They collide their creative minds on four cuts starting with 'All We Have', which, like many of the sounds on this label, fizzes with a light synth touch while rolling on frictionless drums. 'Crocket' is another luminous sound with dubby drum loops that are supple and seductive, as spaced out motifs up top bring a curiousness. 'Gametime' layers in some warped and molten acid sounds to dubby tech rhythms and 'Hi' is a final sophisticated closer for those who like it deft and deep.

Support from: Cream, Lady Duracell, Makossa, Robert Harding, Paul Thomas, Kiberu, Ede, Yves Eaux, Yas Cepeda, Francesco Chiocci, Lonya, PAAX, Yet More, Themba, Noel Sanger, Alex Neri, Gavin Hardkiss, Nicolas Masseyeff, Luke Garcia, Nhar / Bernhard Siefert, Underspreche,

Now, pushing the envelope with a fresh, contemporary flavor, Kwanzaa Posse offers African Kolors,
a gorgeous, warm Afro-inspired gem that exudes good vibes, while the alternative mixes take us deeper and
more underground. The vinyl includes two exclusive versions by Fulvio Perniola (FATHERS OF SOUND).

Written, Composed and Produced b: Kwanzaa Posse & Piero De Asmundis
at Kwanzaa Posse Studio, Pozzuoli, Naples (Italy) for Undiscovered Recordings Ltd.

Berlin-based Australian musician and producer Declan McDermott steps forward with his debut EP for Delusions Of Grandeur,

bringing a raw yet soulful sound that reflects his unique journey through disco, funk, and soul music.

Having cut his teeth as a multi-instrumentalist before delving deep into house and club culture, Declan naturally fuses his live musical talents with warm, analog-driven grooves. The result is a record that feels equally at home on the dance floor and in the living room, carrying both emotional depth and undeniable energy. Remixes from Tom Trago & Lovetempo !

Black Midi war von Anbeginn der Band ein illustres wie kreatives Tummelbecken für die Mitglieder der britischen Band - nun löst sich Geordie Greep mit seinem am 4. Oktober bei Rough Trade Records erscheinendem Solo-Debüt noch mehr von jeglichen Einschränkungen und Kompromissen! Eines der Hauptthemen von Anthony Powells Roman "A Dance to the Music of Time" ist der Kontrast zwischen jenen Charakteren, die nur von Macht getrieben werden, und jenen, die mehr mit den sinnlichen Freuden des Lebens in Einklang stehen. Unweigerlich holen die Zeit und das Schicksal jeden Protagonisten ein, und der Leser kann darüber nachdenken, ob ihr Schicksal gerechtfertigt ist oder nicht. "The New Sound" wirkt oft wie eine Wiederholung von Powells Thema, untermalt von einem schrägen - und völlig verkabelten - Palm Court Orchestra. Das Album ist mit Sicherheit eines, das den Hörer über die gesamten elf Tracks hinweg voll in seinen Bann zieht. Greep: "Ich war besorgt wegen der Länge, um nicht zu viel zu verraten. Aber ich bin es auch verdammt leid, Musik zu hören und im Voraus zu wissen, was sie bedeutet oder was sie zu tun versucht. Bei all meiner Lieblingsmusik geht es darum, dass der Hörer sich mit dem auseinandersetzt, was vor sich geht. Meine Lieblingssänger, wie Peter Hammill oder Nat King Cole, sind buchstäblich einmalig. Das liebe ich. Vor allem bei Texten, bei denen man nicht genau weiß, worum es geht, aber man weiß, dass es nicht nur abstrakte Gedanken sind."

Fracture & Neptune return to Astrophonica with their first collaborative 12” on the label since 2010.

Two epic, psychedelic, and deeply authentic tracks for both the floor and the head, carrying the unmistakable hallmarks of the duo’s classic sound — A psychedelic concoction of Jazz, Sci-Fi, Dub, and Breakbeat Choppage. Rooted in the lineage of Jungle and Drum & Bass, yet delivered in Fracture & Neptune’s unmistakably unique style.

To celebrate the release, UTILE — responsible for all Astrophonica design — have gone all out on the artwork, creating an iconic, type-based image for both tracks, presented on a full-colour, double-sided printed sleeve. Massive shout to UTILE for being as important to the label as the music.

“Erase Everything” is a journey through LA 2049 via London 1999 — as if Deckard were blasting an AWOL tape in his Spinner. Merging classic breaks and analogue saturation with soaring, cutting-edge pads and city-wide reverb, the result is both devastating and deeply thoughtful.

“Good Stuff” is inspired by a love of digging for samples across Jazz, Hip Hop, and Rock, and by a dedication to crafting kaleidoscopic soundscapes — All that good stuff, blended into one hallucinogenic trip.

Meeting at Islington Sixth Form College in 1996, Charlie (Fracture) and Nelson (Neptune) bonded over their deep love for the defining sound of London at the time — Jungle and Drum & Bass. Countless trips to Black Market Records in Soho, playing on pirate radio stations, and eventually, a makeshift bedroom studio — complete with an E-Mu ESI4000, a Mackie desk, and a few FX units — set the foundation for their journey. Their first release arrived in 2002 on Droppin’ Science, the label run by legendary Hardcore and Jungle pioneer — and fellow breakbeat manipulator — Danny Breaks. A run of mid-2000s releases on Ireland’s Bassbin, Paradox’s Outsider, and London’s Inperspective Records propelled Fracture & Neptune further into the cosmos. In 2009, they founded Astrophonica — initially as a home for their own music, but it quickly evolved into a hub for like-minded artists to experiment and explore freely. Almost 30 years on, they’re back in the studio with APHA034 — with more to come.

Introducing our first release from the Radikal Rockerz label with what happens to be a mystical alignment between well-established producers Ashanti Selah & Didubz Sound alongside guest feature from Jahwind & Baodub on the accompanying heavyweight versions on this record!

Hi-power driving stepping riddim with a truthful conscious message alongside top musicianship working in great context amongst each other!! Showing unity is truly the key to the a brighter world.

Sam Bhok releases his debut album, Sloom. Influenced by experimental club sounds as well as the filmic emotion of post-rock and film scores, Sloom resists minimalism in favour of dense, interlocking layers. Euphoric synth textures and fractured drum patterns drive the record, pairing club energy with reflective undercurrents as hardware synths and drum machines are set against caustically digital, hyper-modern sounds.

Known for his behind-the-scenes work with Gilles Peterson, most notably as an integral part of the Worldwide FM team, Sloom represents Sam stepping into focus as a skilled producer of forward thinking electronic music. Written between 2020 and 2025, the record is a statement of identity and a creative shift away from the world of the selector, and towards something more personal and expansive.

Mastered and cut by legendary engineer Beau Thomas on eco-mix marbled vinyl, Sam Bhok draws from analogue and modular synthesis, processed and twisted into restless forms that reflect the unease of the digital age. Sloom is charged with anxieties about technology, capitalism, culture, and climate, delivered both through introspective, IDM-informed tracks and moments of dancefloor catharsis.

With his new EP Music Always Helps, DJ Jauche once again delivers the finest deep house with soul, a 3-track EP that sums up his unmistakable mix of soul, groove and depth. Three tracks full of groove, warmth and feeling - including an exclusive remix by Shaka that takes the sound to a new level. A must-have for lovers of timeless club music and true vinyl fans.

A synthesiser sighs up and down the scale, a cool electro beat is wrapped in cotton wool and Fabian Drung aka JFR MOON sings about life in a bubble. "In a Bubble" is the name of this beautifully sentimental synth pop number, to which JFR Moon's new album owes its name. Although JFR MOON produces his music more professionally from album to album, the indie pop characterised by synthesizers and electro beats never seems too pleasing, remains unruly. Sometimes the pieces wander through curious psychedelic harmonies ("Silver"), sometimes they remind us of the Smiths ("Turn Around"), sometimes they stumble onto the dance floor ("Experience"). Blurred chords flit through "Stereo Tap", a yearning guitar melody wanders through "Ready", a nervous synth bass twitches through "Hun I Wish". Grooves meet echoing atmospheric sound textures. "I used to do folk where there was no rhythm at all," he says, "this time I wanted to write more uptempo songs, pay more attention to the drum machine." All tracks written and performed by JFR Moon. Mixed and produced by Thomas Zehnle (All Diese Gewalt, Levin Goes Lightly). Mastered by Enyang Urbiks. Additional vocals on ,In A Bubble" by Martha Rose. Solo guitar on ,Silver" by Dandy Deniz.

Recordings from the Åland Islands, the duo debut by synthesist Jeremiah Chiu and violist Marta Sofia Honer, is a truly unique series of pieces that marry acoustic and electronic sounds with field recordings, all captured on a trip to the titular Baltic archipelago.
By the time Åland Islands was released in 2022, Honer had already been working with Makaya McCraven and Daniel Villarreal, but this project brought her to the front as a lead artist. And Åland Islands was the label's first collaboration of any kind with Chiu, who has since released the solo outing In Electric Time and the genre-breaking debut of his co-led supergroup SML, in addition to a trio album with Honer and the late Ariel Kalma (2024's The Closest Thing to Silence).

Recordings from the Åland Islands is far more than its context within the world of IARC, however, and it’s certainly more than its context as a travel document. Here Chiu and Honer have created a new world out of an old one with work that sees them in dialogue with their own source material. Like early masterpieces by Franco Battiato or Alvin Lucier, Åland Islands repeatedly presents the listener with a palpable sense of place, only to pluck them up and drop them into an entirely new one.
“...so tranquil and beautiful...” – Jayson Greene, Pitchfork

Ten years after her first release, electronic musician Mor Elian presents her debut album Solid Space. Showing her full artistic range, the LP drifts between dream-like listening states and experimental club spaces. Written in a transitional time, these compositions arrived in emotional, unfiltered bursts. Solid Space brings together ambient textures, early IDM structures, and experimental electronics, with distant, hazy vocals converging into a single, subconscious flow. It is released by adventurous electronic music label topo2 on November 28, 2025. The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release. Mastering is done by Ike Zwanikken, mixing by Gramrcy, artwork courtesy of Kees de Klein, and poetry written by Eelco Couvreur. Additional production and mixing on track 7 by Carrier.
—

in the half-sleep: a voice
not anyone’s, just sound.
what it touches, it mirrors
learning to name itself.

a throat opens —
to hum through bone
to say nothing correctly.

we coexist as opposites
in our mother tongue, dreaming
the things we were never meant to touch.

there is a channel
between pulse and sentence —
a being moving through
the being that once answered to me.

to feel and not own the feeling,
each of us made visible
by the other.

Mole Audio 08 is coming up, and we’re proud to welcome RSCA with their debut release.

RSCA is a collaborative project by Eduardo de la Calle and Aureal, born from a shared vision to expand the boundaries of techno into a more minimalist, abstract, and experimental territory.

Driven by the use of analog machines, the duo delves into hypnotic repetition, rich sonic textures, and the pursuit of both a physical and emotional experience through sound.

RSCA invites listeners into a deep, sensory journey, where rhythm transforms into a medium for introspection and connection.

In November 2023, I played an event in Stockholm, put on by Bojan aka Boj Lucki, who runs a label called Bukva Sound, which I had done a remix for earlier that year. DJ Sofa was also on the lineup with me, as well as someone I had never heard of called Gustav Ejstes.

A lot of people I was talking to at the event and on the day were telling me about Gustav and how much of a spectacle it was that he would be DJing tonight, and explaining about a band he is a part of called Dungen (pronounced Doon-yen) which is very well known & respected in psychedelic rock.

I checked his set out and was very impressed by how confident he was with his vinyl mixing & selection, as well as some of the tracks on digital he was playing that I'd never heard before. I told him afterwards how much I enjoyed his set and he seemed quite happy about that, because he had been a long time vinyl buyer of my music & other releases on Future Retro London.

The day after, Bojan took me & DJ Sofa to meet Gustav at his home & we got to chat with him about music, see his record collection & hear some jungle/hardcore tracks that he had been making. Turns out a lot of the tracks I liked from his set that I'd not recognised were ones that he made!

I thought it'd be really cool to be able to release some of them as he's never put anything out like this & since he's a fan of the label, so I asked if he'd up for it and here we are!

Big thanks to Gustav for the wicked music, his manager Oskar for his co-operation in helping to put his release together, to Bojan for introducing me to Gustav's work & to The Tribes for doing the artwork.

Capcom and Laced Records invite you to return to a world of Reploids and cyber-elves, betrayal and Bio-Metals...

Thoughtfully sequenced with a disc covering each of the Mega Man Zero games, and a fifth covering ZX and ZX Advent, this box set will allow fans to fully ensconce themselves in the series.

ultimatemaverickx returns as sleeve artist, producing lore-faithful, vibrantly colorful panels depicting memorable story moments and highlighting major characters in iconic poses.

The Mega Man Zero/ZX soundtracks' glorious mix of urgent acid house, ambient, face-melting metal, and even soaring pop feel downright prophetic in the modern music landscape. Transported from their '00s hardware origins to your turntable come the sounds of our present, broadcast from the past - and it rips.

Masterpieces of jazz and performances are reproduced in exquisite detail with meticulous sound quality.
The 17th installment of Yasukuni Terashima's carefully selected "For Jazz Audio Fans Only" series!
Listening to the performances in this 17th installment of the "For Jazz Audio Fans Only" series will make you feel as if you're experiencing a live performance right
before your eyes. Launched in 2008, this series is a highly regarded compilation series, rivaling the "Jazz Bar" series in popularity, combining both musical quality
and sound quality, and this latest release lives up to those expectations. Experience the texture of the music and sound while experiencing the three-dimensionality
and depth of the sound, making this a must-listen for audiophiles. Released on limited edition vinyl! It features works by Grant Stewart, long-time acclaimed artist of
Yasukuni Terashima's, and Henrik Gunde, whose piano trio work on Terashima Records is still fresh in our minds.

New roots & dub from the Swedish Meditative Sounds camp featuring vocalist Ras McBean, mixed by Dougie Conscious.

Napi Hedz come from the Motor City and is a group made up of Reggie Dokes, Maurice Herd (aka Pirahnahead) and the late Mike's brother, Craig Huckaby. They dropped this EP on the peerless Sound Signature 20 years ago but amid a glut of reissues from Theo Parrish's label, it now resurfaces. Titular opener 'I See Heaven' has a Latin shuffle with woody percussion and time-keeping ticks under swirling vocal loops that are backed with muted horns. It's s sunny sound before 'The Bah' comes alive with a mirage of melodic harp shimmers and rooted, dusty drums with more affected vocal sounds adding the soul.

Film score to the new Netflix film directed by Kathryn Bigelow (The Hurt Locker, Point Break, Zero Dark Thirty)

Music by Volker Bertelmann (All Quiet on the Western Front, Conclave, Ammonite)

Limited edition on red coloured vinyl

This autumn Netflix will release A House of Dynamite, the latest political thriller from Kathryn Bigelow, known for classics such as Point Break and the Oscar-winning film The Hurt Locker. The film features haunting music by Volker Bertelmann, who composed the Oscar-winning soundtrack for All Quiet on the Western Front.

A House of Dynamite is available as a limited edition on red coloured vinyl and includes an insert.

This autumn Netflix will release A House of Dynamite, the latest political thriller from Kathryn Bigelow, known for classics such as Point Break and the Oscar-winning film The Hurt Locker. The film features haunting music by Volker Bertelmann, who composed the Oscar-winning soundtrack for All Quiet on the Western Front. Using low woodwind and brass instruments, Bertelmann has created a dense atmosphere for this new hit thriller starring Idris Elba and Rebecca Ferguson. _x000d__x000a_A House of Dynamite is available as a limited edition on red coloured vinyl and includes an insert.

Die ungarischen Groove-Metal-Ikonen EKTOMORF kehren mit HERETIC zurück! Ihr bisher persönlichstes, intensivstes und emotional erschütterndstes Album. Nach dem gefeierten VIVID BLACK und ihrer bisher größten Headliner-Tournee liefert Frontmann Zoltán „Zoli“ Farkas einen klanglichen Exorzismus, geprägt von einer persönlichen Tragödie: dem Verlust seiner Mutter und seines geliebten Hundes Wuffa. Produziert von seinem langjährigen Weggefährten Tue Madsen, ist HERETIC eine niederschmetternde Reminiszenz an die Outcast/Destroy-Ära der Band – nur düsterer, wütender und noch unerbittlicher!

"Heretic" steht nicht nur für einen musikalischen Wendepunkt. Es markiert auch die Rückkehr von Ektomorf zu Bleeding Nose Records. Nach vielen Jahren des Experimentierens, des Ausprobierens und Entwickelns ist die Band nun wieder da, wo sie hingehört.Ektomorf haben mit Heretic nicht nur ein weiteres Album geschaffen, sondern sich selbst neu erschaffen. Der Sound kehrt zurück zu den besten Zeiten von Outcast und Destroy, mit brachialen Drop-B- und Drop-A-Tunings, brutalen Riffs und dem unverwechselbaren, wuchtigen Groove.Doch gleichzeitig geht das Album noch einen Schritt weiter. Es ist wütender. Es ist dunkler. Es ist kompromissloser. Die Gitarrenwände sind massiver als je zuvor, verstärkt durch den gleichen Mesa Boogie Dual Rectifier, den Zolischon auf Outcast verwendet hat, nur diesmal mit einer modernen, brutaleren Klangdimension, die alles bisherige in den Schatten stellt. Doch es ist nicht nur der Sound, der Heretic so außergewöhnlich macht. Jeder Song auf dem Album erzählt eine Geschichte von Schmerz, Verlust und der Wut auf eine Welt, die alles zerstört, was einem wichtig ist.

On her fourth full-length album as Shedir, Sardinian sound artist Martina Betti offers a profound meditation on what it means to be human on the threshold of uncertainty.

We Are All Strangers is a series of ambient tapes-tries shaped by duality and introspection, where sound becomes a space to explore the tension between identity and ambiguity, presence and disappearance, connection and solitude. Inspired by the idea that we are all strangers, however, first and foremost to ourselves, Betti crafts seven fluid, slow-burn compositions that inhabit a sociological liminal zone—what she comments as an “inner elsewhere.”

These aren’t songs in the traditional sense, but evolving sonic environments that feel like emotional states made audible. Environmental textures, submerged electronics, and deep low-end pulses coalesce into a dreamlike architecture of sound: immersive, fragile, and quietly transformative.

Rather than offering answers or closure, the album invites us to live in radical openness—to stop trying to define everything we see and feel, and instead bathe in what remains unnamed. In this sense, We Are All Strangers is an invitation: to sit with uncertainty, to embrace the unfinished, and to find resonance even in our collective disconnection.

For listeners drawn to the introspective frequencies of Rafael Anton Irisarri, Félicia Atkinson, or Lawrence English, Betti’s music offers a similarly haunting and immersive experience—one where strangeness is not a flaw, but a starting point. In her hands, ambient music becomes a kind of reflective shelter: a place to brush against each other in the dark and begin to learn, as she puts it, “the difficult art of closeness.”