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"We just wanted a kiss that makes you want to kiss..."

From a sample to the most iconic kiss in music video history… When Demon released "You Are My High" at the end of 1999, it created a frenzy. Nominated at the Victoires de la Musique and the MTV Awards, the track was on everyone’s lips—including the CSA's, which tried to censor it. 25 years later, the "You" shines brighter than ever, captivating each new generation in turn.

A Top 10 hit in France upon release and certified gold within months, "You Are My High" skyrocketed thanks to its video—three minutes of a single-shot French kiss. Briefly banned by the CSA (who quickly realized it’s hard to censor something you see in every film), the clip ended up playing non-stop on music channels, defining an entire era.

Today, the "You"—as its creator fondly calls it—is considered one of the crown jewels of French Touch 1.0 (Daft Punk, Stardust, Cassius, Modjo, The Supermen Lovers...). With nearly 150 million streams across platforms, its legacy holds strong and continues to inspire a new wave of artists. Among the most iconic reinterpretations: a lo-fi cover by Agar Agar, remixes by DJ Snake and Central Cee, the You and Me video by Disclosure and Flume, and even a Jean Paul Gaultier campaign.

Das zehn Songs starke "Train On The Island" entstand erneut in enger Zusammenarbeit mit ihrem langjährigen Weggefährten John Parish (u.a. PJ Harvey, Dry Cleaning) und wurde gemeinsam mit ihm in den legendären Rockfield Studios in Monmouth, Wales, produziert. Dort entstanden bereits Hardings frühere Alben "Party" (2017), "Designer" (2019) und "Warm Chris" (2022). Unterstützt wurden Harding und Parish diesmal von Pedal-Steel-Gitarrist Joe Harvey-Whyte, Harfenistin Mali Llywelyn, Synth-Künstler Thomas Poli sowie Schlagzeuger Sebastian Rochford (Polar Bear). Außerdem mit dabei: H. Hawkline alias Huw Evans an Bass, Gesang, Akustik- und E-Gitarre sowie Orgel.

Das zehn Songs starke "Train On The Island" entstand erneut in enger Zusammenarbeit mit ihrem langjährigen Weggefährten John Parish (u.a. PJ Harvey, Dry Cleaning) und wurde gemeinsam mit ihm in den legendären Rockfield Studios in Monmouth, Wales, produziert. Dort entstanden bereits Hardings frühere Alben "Party" (2017), "Designer" (2019) und "Warm Chris" (2022). Unterstützt wurden Harding und Parish diesmal von Pedal-Steel-Gitarrist Joe Harvey-Whyte, Harfenistin Mali Llywelyn, Synth-Künstler Thomas Poli sowie Schlagzeuger Sebastian Rochford (Polar Bear). Außerdem mit dabei: H. Hawkline alias Huw Evans an Bass, Gesang, Akustik- und E-Gitarre sowie Orgel.

With her third album, composer and bandleader Jasmine Myra has stepped confidently into the next stage of her unique musical explorations. Where Light Settles is a cohesive artistic statement from a distinctive and confident voice in UK music, and a significant evolution from the critically acclaimed Horizons (2022) and Rising (2024). Nine beautiful and powerfully grounded compositions express an accumulation of the artist"s ruminations on life, growth, and progression, powered by her vision of duality. "It"s those bittersweet moments which are heart-breaking but so important. Looking forward and trying to make sense of life," she says. "Pain is unavoidable, and you"ll have hardship no matter what, but you don"t grow or learn about yourself or the world around you without it. The duality is the growth and coming out the other side. I had the concept from the start."

Der US-amerikanische Musiker Anjimile Chithambo (ann-JIM-uh-lee) hat sich in den vergangenen Jahren als eigenständige Stimme etabliert. In der Indie-Szene Bostons bekannt geworden, entwickelte er einen persönlichen, ehrlichen Stil, der Spiritualität, Identität und Nähe miteinander verbindet. Mit dem gefeierten Album "Giver Taker" (2020) setzte sich Anjimile mit Zugehörigkeit und Selbstverständnis auseinander. "The King" (2023), sein erstes Album auf 4AD, thematisierte Selbstbestimmung und seine Erfahrungen als schwarze Trans-Person in einer Zeit tiefgreifender persönlicher und gesellschaftlicher Veränderungen. Diese Themen führt Anjimile auf seinem neuen Album "You"re Free to Go" weiter. Im Mittelpunkt steht die Frage, was geschieht, wenn man Kontrolle loslässt und neue Formen von Bindung und Freiheit zulässt. Das Album verarbeitet Trennungen, neue Beziehungen, Verluste und Neuanfänge und beschreibt einen Weg zurück zu Vertrauen ins eigene Leben. Der Titel spiegelt eine offenere Sicht auf Beziehungen wider, geprägt durch Erfahrungen mit non-monogamen Modellen. Produziert von Brad Cook (Bon Iver, Waxahatchee) und unterstützt von Gästen wie Sam Beam (Iron & Wine), entfaltet sich "You"re Free to Go" organisch und intim. Musikalisch verbindet Anjimile Folk mit Alternative-Pop-Einflüssen der späten 1990er-Jahre. Auch stimmlich zeigt er sich weiterentwickelt - eine bewusste Veränderung, die der emotionalen Tiefe des Albums zusätzliche Kraft verleiht.

Carrier’s debut album features eight elegantly rude arrangements that dance in negative space between Photek’s frictional syncopations, Rhythm & Sound’s dubwise minimalism, and Torsten Pröfrock’s fractured dynamics, bolstered on two tracks by contributions from Voice Actor and Memotone, summoning a noirish, jazzier frisson to his signature metrics and temporalities.

Since hard-snagging our ears and feet in 2023 with 12”s for FELT and his own eponymous label, Guy Brewer’s Carrier has become the go-to project for anyone who had almost given up on chasing these sorts of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years, his unpredictable variations within a style have kept us all tip-toed and seat-edged with organisations of a finely chiselled percussive palette and smouldering ambient noise that distils the salient aspects and spirits of D&B, dub techno, electro-acoustic music, and trip hop with unique traction. In effect, he’s enacted a clear leap of imagination from previous work issued as part of Commix and solo as Shifted that only continues to reveal hallucinatory psychoacoustics on this first album detail.

»Rhythm Immortal« sees Brewer tilt the project into slower, resoundingly more atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style ’n’ pattern of his incredible sound. At the album’s poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg’s on a preceding 7” single to ideally model his sound’s mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to »Offshore«, whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context, it’s perfectly adaptable to bodies both supine or in motion, ushering a hypnagogic sway with »A Point Most Crucial«, and hingeing around the slightest interplay of 16th-note hi-hat ruffles and recoiling reverbs on »Outer Shell«, or blissfully stepping on knife-edge 2-step on »Wave After Wave«.

The album conveys a deeply personal pulse and spiritual devotion to that kind of all-tension-no-release mode typical of so much music we love – from Kode9’s earliest re-factoring of Prince to Photek’s »Ni-Ten-Ichi-Ryu«, from T++/Dynamo and Traktor’s asymmetric dynamics to Burial’s shockout debut – refactored with a rare conviction in its unspoken powers to activate the eyes-shut imagination.

Sem is the first album by Victor Negri under his own name, after a decade making music as Arubu Avua. Released via Stray Signals (Berlin) in partnership with Mutum (Portugal/Brazil), the album was composed between late 2023 and early 2025 during a prolonged period of compounded grief and relocation, and is built upon layers of guitar in irregular loops, alongside samples, experimental electronics, and field recordings.

Begun in Lisbon and finished in Campinas, Brazil, Sem (meaning “without”) deals with loss by juxtaposing new material with unfinished recordings from previous years. As the process unfolded, catharsis emerged as much through editing as through raw expression. The album became a symbolic attempt to glue together fragments and memories from a world that ceased to exist, in order to move forward.

Across its eight tracks, some pieces gradually unfold while others crumble or explode into distortion and feedback, while some seem almost suspended, as if unsure of the next steps. There is a loose trajectory from disorientation and collapse (“Voçoroca”) through astonished frustration (“Não”) and numb acceptance (“Obrigado”), toward a fragile optimism on the closing tracks “Os cacos” and “Boa continuação.” Negri’s first fully instrumental album, Sem contains no vocals at all. That absence emerged gradually after fruitless attempts at songwriting during the period; overwhelm and speechlessness ultimately prevailed. The result leaves room for ambiguity, wandering, and the unfamiliar.

Victor Negri is a Brazilian musician and songwriter. Previously known as Arubu Avua, he makes music framed by noise, feedback, irregular loops, and field recordings.

Six hard-hitting tracks, without unnecessary breathing space. The spectrum is wide, the trajectory crystal clear: from muscular Hard Dance to incisive Techno, reaching into the more radical territories of Hard Techno. Each track strikes with precision, alternating massive kicks, abrasive textures, and pressure-building rises that compress the space before impact. Direct, efficient, surgical.

An undeniable classic in Manu Kenton’s catalogue, “Arkanoid” is reborn in a revisited version by Wex 10. The remix injects additional tension, sharper and more cutting, transforming the track into a formidable weapon calibrated for peak-time intensity. A rework faithful to the original DNA, yet propelled into a more explosive dimension.

True to its identity, Mekanik Records delivers an EP that condenses power, tension, and club efficiency. No unnecessary detours, no artifice. Just the essentials: rhythm, energy, impact.

Français

Mekanik Records rallume la mèche et, cette fois, l’étincelle éclate d’un rire nerveux. Avec “Hi Hi Hi Hi Hi Ha Ha EP”, Manu Kenton livre un manifeste en six déflagrations, façonné pour les nuits denses et les dancefloors sous haute tension.

Six titres percutants, sans respiration superflue. Le spectre est large, la trajectoire limpide : de la Hard Dance musclée à la Techno incisive, jusqu’aux zones plus radicales de la Hard Techno. Chaque morceau frappe avec précision, alternant kicks massifs, nappes abrasives et montées sous pression qui compriment l’espace avant l’impact. Direct, efficace, chirurgical.

Classique incontournable du répertoire de Manu Kenton, “Arkanoid” renaît dans une version revisitée par Wex 10. Le remix insuffle une tension supplémentaire, plus tranchante encore, transformant le titre en arme redoutable calibrée pour les pics d’intensité. Une relecture fidèle à l’ADN original, mais propulsée vers une dimension plus explosive.

Fidèle à son identité, Mekanik Records signe ici un EP qui condense puissance, tension et efficacité club. Pas de détour inutile, pas d’artifice. Juste l’essentiel : rythme, énergie, impact.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

2026 Repress

Inner City Sound Archives is the work of a small crew of obsessive DJs, diggers, and archivists. For years, they hunted lost reels — digging through basements, flea markets, forgotten storage rooms — until they uncovered a batch of mysterious acetate tapes. No credits, no labels. Just cryptic handwriting and the hiss of time. What they found were raw, extended disco cuts — played once or twice at underground NYC loft parties in the late '70s, passed hand to hand among a tight circle of selectors, then lost to history. Now, after painstaking transfers and full analog remastering, these tracks are back. Unpolished, hypnotic, physical. Restored with love. Cut loud. Pressed right. For our debut release: six unreleased NYC disco bombs, presented in their original long versions across Sides A & B. Once championed behind closed doors by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, Walter Gibbons, and Richie Kaczor.

**RED VINYL**Bookending “This Is My Blood “ are two cinematic hypnotist slide lute pieces that evoke contemporary deserted landscapes. They were improvised and made for “ Maquina”, a film shot in the Colorado desert during a psychedelic trip by film maker Joaquim Pujol. The works on here, like the ecstatic second piece invite a return to long form listening. They explore contemporary darkness and contemplate personal loss. There is solely one vocal piece, “ Remission”. A worldwide concert tour of this material is slated for 2026/2027. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him "probably the most famous lutenist in the world”. Jozef Van Wissem is an avant-garde composer and lutenist who plays a unique all-black baroque lute. His timeless music is often described as hypnotic, minimal, and hauntingly atmospheric, merging beauty with a dark, meditative edge. His lyrics have a mythical Christian appeal, incorporating themes of love, faith, and the afterlife, often with a repetitive, mantra-like quality. Bridging classical traditions with modern sounds like drones, electronics, field recordings and voice. He collaborates with filmmaker and musician Jim Jarmusch, including the award-winning soundtrack for Only Lovers Left Alive, for which Van Wissem won the Cannes Soundtrack Award in 2013. He also scored the Sims Medieval Video game ( 2011), Uncle Howard ( 2016) Land (2018), Irma Vep (2022), Queens (2023) and Un Prince (2024). He did a world tour in duo with Jarmusch in 2025 and their 5th record “ The Day The Angels Cried” was released. Van Wissem tours extensively, performing in diverse venues from rock festivals to churches, and has worked with artists like Tilda Swinton and Zola Jesus. In 2019 he was commissioned by Cinematheque Francaise to score the silent horror film Nosferatu (1922). He released the soundtrack in 2022 on his own Incunabulum label. The New York Times wrote: Beginning with a solo played on the lute, his performance will incorporate electric guitar and distorted recordings of extinct birds, graduating from subtlety to gothic horror. “My soundtrack goes from silence to noise over the course of 90 minutes,” he said, culminating in “dense, slow death metal.” In 2024 Van Wissem did a sold out nationwide American tour with the film. A worldwide tour is slated for 2026/2027

A year or two back, original Nottingham deep house don Gavin Belton (famed for being part of Smokescreen and Drop Music-adjacent duo The Littlemen) returned to the UK after living in New Zealand. One thing led to another and soon he was back in the studio alongside former creative partner Steve Lee for the first time in 15 years. Featuring heady spoken word vocals from Hector Moralez, the result is 'House For Change', a lightly electrofunk-fired slab of classic East Midlands deep house. Raising funds for homeless charity Help The Framework, this surprise EP also includes 2004 classic 'Tell Me' (a free party deep house classic) and two fresh reworks: a TB-303-bass-driven revision of 'House For Change' by their old pals Inland Knights, and a squelchy, spacey take on 'Tell Me' by Lee under his solo alias, Positive Divide.

Void Control brings his first release, Ghost Notes EP.

A study in weight, space and erosion, this EP channels the stark presence of brutalist architecture into sound. Concrete forms become low-end pressure, reverb blooms like empty corridors, and repetition functions as both structure and decay. Each track is built from raw materials: processed field recordings, fractured found sounds and analogue textures, shaping immersive environments

Over the past few years, Munich based polymath Lindsey Wang has risen to the forefront of the club scene under her Polygonia alias, creating a stream of spectacular releases where she tirelessly twists techno into a living, breathing ecosystem.

As she appears on Timedance for the first time, Polygonia sculpts a set of four immersive, pressure‐loaded club tracks where earthy psychedelia brushes up against precision‐engineered rhythm, inviting dancers into a zone that feels both ritualistic and sharply futuristic.

“Ceaseless Motion” draws on deep‐focus sound design, restless percussion and subtly warped harmonies, all threaded by a quietly hallucinatory sense of detail that really takes our breath away, and will surely bring the distinctive dancer to the very front of the bass bins.

Amulets is the solo project of Portland-based audio and visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music. Amulets has steadily built a catalog defined by tactile intimacy and patient exploration. Deeply immersive, the album navigates the dreamy boundaries between the tangible and the ethereal, where sound behaves as memory itself: unstable, layered, and quietly transformative. Known for his ability to weave soundscapes that evoke powerful emotions with minimalistic instrumentation, Taylor's newest project is a masterful exploration of mood, atmosphere, and texture.Throughout the ambient soundscapes is introspection, melancholy, and an almost hypnotic calm. The album resists forward motion, instead inviting the listener to linger inside its evolving textures, to sit with what's left behind rather than rush toward resolution. Central to Amulets' identity is Taylor's insistence on working, quite literally, outside the box. While many contemporary experimental artists rely heavily on software, Taylor's process remains rooted in physical interaction with sound. "This album differs from previous albums because it's a lot of found sounds, song fragments, and other samples that I have that I wanted to fuse together. I also heavily relied on a lot of ambient guitar and live guitar recording to marry all the sounds together." (Randall Taylor) FOR FANS OF Tim Hecker * Ben Frost * Lawrence English * Alessandro Cortini * This Will Destroy You * Mono * Windy & Carl The single colour edition comes as Lavender vinyl!

Convertible returns to Sweet Free Association with a set of three driving house cuts!

"Sweet Free Association kicks off the year with the return of one of last-years breakout producers Convertible offering up his latest sure shot for the label.

The Free EP reflects its name - a package of cathartic music that is just asking to be played out late and loud in the club - but as always with Convertible, it has that timeless and beautiful quality - these tracks are for life!

Up until this point, Convertible has been a very mysterious figure, with very little online presence, but with this his second EP (and arguably a more upfront release), Free not only proves that he is more than a one hit wonder, but 2026 could be his year!"

All tracks written and produced by Convertible.
Mastered by Frank at The Carvery.
Comes in gradient-coloured sleeve.

Step inside the shadow-drenched world of The Curse of Frankenstein with this definitive soundtrack release from Hammer Films, celebrating the film that launched Hammer Horror and changed cinema forever.

In early 1957, composer James Bernard wrote, orchestrated and recorded sixteen powerful cues for The Curse of Frankenstein. Created in a remarkably short production window, Bernard’s score became the sonic blueprint for Hammer’s bold new gothic identity.

Although all sixteen tracks were used in the finished film, the original session recordings are now lost. During Hammer’s painstaking 2025 4K feature restoration, approximately 13 minutes of clean music were newly extracted from the film’s original mixed music-and-effects track — a rare archival recovery that brings Bernard’s work back from the grave.

For the first time anywhere in the world, this historic music is released on vinyl, presented as four atmospheric suites across two 45rpm 7" EPs. Carefully curated to preserve the dramatic flow of the score, this release allows listeners to experience the chilling intensity, gothic menace and emotional weight that defined Hammer’s Frankenstein.

Pressed on green vinyl and produced exclusively as a Limited Collector’s Edition, this set is essential for Hammer fans, classic horror collectors and film-music connoisseurs.

This Limited Collector’s Edition includes:

• Four suites of music from the original The Curse of Frankenstein soundtrack
• Two 45rpm 7" EPs pressed on green vinyl
• Liner notes by David Huckvale, biographer of James Bernard
• Liner notes by Hammer music expert John Mansell

Own a landmark piece of horror film history and experience the sound that resurrected Frankenstein. This exclusive vinyl release is available only from Hammer Films — once it’s gone, it’s gone forever.

Much like the duo’s music, the story of Rural France is both mundane and magical. Tom Brown (also of transatlantic janglepunks Teenage Tom Petties) and Rob Fawkes moved to London in their mid-twenties. Despite living under the same roof, they never picked up a guitar – except for one drunken, failed attempt at writing a Spoon song (“Big Chops” …don’t ask). It was only after both separately relocating to Wiltshire and starting families that they began assembling songs as a way of meeting up. Tom had amassed a pile of sprightly slacker jams that were calling out for Fawkes’ messily melodic guitar lines. Rural France was born.

After a debut album on their hero, ex-Lemonhead Nic Dalton’s Half-a-Cow Records, they retreated to a garage to record their next two albums: RF (2021) and Exacamondo! (2024), both released on much-respected jangle label Meritorio Records. Despite being lo-fi in the truest GbV sense, both records were warmly received by the DIY indie blogosphere, with their short, scrappy, but supremely melodic songs landing on numerous AOTY lists. RF even won Album of the Year at Janglepop Hub.

Raven Sings The Blues probably summed up the sound best: “With drunken visions of Beach Boys harmonies playing in the back of their heads and hooks that consume Teenage Fanclub cheeriness with the same beautiful brevity that drives Tony Molina, the pair have knocked out eleven rumpled classics.” Album four, SLOTHS, arrives via Meritorio Records and Safe Suburban Home Records on 08/05, and is a slightly different beast. For one, it’s been mixed by a professional – Rob Slater (Westside Cowboy, Yard Act, Thank) – giving the guitars and drums room to breathe. It’s easily their most high-fidelity record to date. It’s also their jangliest, most baroque and thoughtful album yet. But alongside added organ, horns and mellotron – and drums from Tom’s Teenage Tom Petties bandmate Jeff Hamm – it still retains the buzzes, hums and little freak-outs that stick to the duo’s original “Pavement playing Teenage Fanclub” mission statement. “Rob and I both wanted to do something a little slower and a little more melancholy,” says Tom. “We resisted our usual urge to hit the distortion pedal and made something that fitted where we are now and celebrates how we still listen to Meatloaf when we get drunk.”

SLOTHS is also the most thematically consistent Rural France record to date. While it wouldn’t be right to call it grown-up, it definitely has homeowners’ insurance. From the Silver Jews-esque Americana of “Slab” and mid-life rallying cry of “Thirty Seven Forever”, to the horn-embossed loser anthem “Lonely Heart Pyramid Scheme,” the songs celebrate (and rail against) the absurdities of getting older, forming a band in your thirties, and the strange phenomenon of time passing. Because no matter how slow you move, everything else goes fast. SLOTHS.