Cerca:ga 20

Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

Australian electronic icon What So Not redefined the boundaries of bass music in 2016 with the seminal Divide & Conquer EP—and now, this moment in dance music history finally gets the treatment it deserves. Celebrating 10 years, this vinyl pressing unleashes the EP’s signature mix of relentless bass and massive, soaring melodies like you’ve never heard them before.

Featuring the timeless sonic architecture of tracks like the explosive title track ‘Divide & Conquer’ and the unforgettable ‘Trust.’ Packed with iconic collaborations with Kimbra, George Maple, BURNS and GANZ, every track on this record holds up as a masterpiece. Drop the needle and re-experience the boundary-pushing energy that established What So Not as a global trailblazer.

Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.

The Lemonheads release a strictly limited edition 12” single on 21st September featuring three classic tracks on white vinyl. Lead cut is ‘Roky’, Evan Dando’s homage to the late, great outsider genius Roky Erickson (of garage psyche legends 13th Floor Elevator and much solo strangeness).


"If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators released their epochal debut single, ‘You're Gonna Miss Me’, in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work." AllMusic


‘Roky’ is Evan's incisive take on the songwriter’s struggles and features a searing guitar break from the song's co-writer Nick Saloman (The Bevis Frond)


The Bevis Frond toured with The Lemonheads in support of the latter’s much-praised ‘Love Chant’ album of 2025 from where ‘Roky’ originally comes. And, to complete this unique package, the Frond cover two Lemonheads’ songs, ‘The Great Big No’ and ‘My Drug Buddy’; both sounding like the kind of UK-based left field power pop that inspired Kurt Cobain in the formative days of grunge – indeed, they could have snook out on the original Rough Trade or 53rd & 3rd labels at any time.


Fact fans looking for Roky-styled curveball ley line between events, might note that The Lemonheads covered The Bevis Frond’s ‘Old Man Blank’ on 2019’s ‘Varshons II’, the same year that Roky sadly passed.


Stars & Quotes:
“One of the most distinctive voices of the ‘90s” The New York Times
“The Lemonheads are one of my favorite bands” Jimmy Fallon
“Gloriously euphoric melancholy” MOJO (on Roky)

Das dritte Studioalbum von Holy Motors, ,Heaven's Night", verbindet die für die Band typischen westlichen Traumlandschaften mit eingängigen Pop-Melodien und New-Wave-Klängen, die für die estnische Band Neuland darstellen. Bemerkenswert ist vor allem eine neue Sanftheit in den Songs auf ,Heaven's Night", in denen Figuren vorkommen, die sich von den düsteren Sonnenuntergängen und der Outback-Melancholie des 2020 erschienenen Albums ,Horse" lösen. Wie die Band selbst sagt, ist ihr neuer Sound ,süß wie tropfender Honig, traurig wie Sommerregen". Zweifellos ist ,Heaven's Night" das bisher abwechslungsreichste Album von Holy Motors. Vom rasanten Galopp von ,The Last Ones" bis zum poppigen Herzstück ,Hellishly Hot" verleiht ,Heaven's Night" der Welt der Band eine neue Wendung - eine, die etwas weniger gespenstisch und dafür etwas gefährlicher ist.

Das dritte Studioalbum von Holy Motors, ,Heaven's Night", verbindet die für die Band typischen westlichen Traumlandschaften mit eingängigen Pop-Melodien und New-Wave-Klängen, die für die estnische Band Neuland darstellen. Bemerkenswert ist vor allem eine neue Sanftheit in den Songs auf ,Heaven's Night", in denen Figuren vorkommen, die sich von den düsteren Sonnenuntergängen und der Outback-Melancholie des 2020 erschienenen Albums ,Horse" lösen. Wie die Band selbst sagt, ist ihr neuer Sound ,süß wie tropfender Honig, traurig wie Sommerregen". Zweifellos ist ,Heaven's Night" das bisher abwechslungsreichste Album von Holy Motors. Vom rasanten Galopp von ,The Last Ones" bis zum poppigen Herzstück ,Hellishly Hot" verleiht ,Heaven's Night" der Welt der Band eine neue Wendung - eine, die etwas weniger gespenstisch und dafür etwas gefährlicher ist.

Sadurn’s sophomore album The Underworld is a collection of heart-rendingly personal and instantly relatable songs, due out this fall on Run For Cover Records. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded Radiator, a debut that immediately connected with listeners and was met with critical acclaim.

Throughout The Underworld, the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener “the weight” describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like “mess,” “never tell me,” or “whole thing” strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like “why does my heart” or “can’t stop” add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.

Sadurn’s sophomore album The Underworld is a collection of heart-rendingly personal and instantly relatable songs, due out this fall on Run For Cover Records. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded Radiator, a debut that immediately connected with listeners and was met with critical acclaim.

Throughout The Underworld, the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener “the weight” describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like “mess,” “never tell me,” or “whole thing” strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like “why does my heart” or “can’t stop” add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.

Sadurn’s sophomore album The Underworld is a collection of heart-rendingly personal and instantly relatable songs, due out this fall on Run For Cover Records. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded Radiator, a debut that immediately connected with listeners and was met with critical acclaim.

Throughout The Underworld, the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener “the weight” describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like “mess,” “never tell me,” or “whole thing” strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like “why does my heart” or “can’t stop” add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.

Welcome Tori Kudo back to A Colourful Storm with a new edition of Maher Shalal Hash Baz's Faux Départ, a document of a stateside tour that culminated in a recording session at the legendary Dub Narcotic Studio with a one-time ensemble of Greg Saunier and Chris Cohen (Deerhoof), Andrew Maxwell, McCloud Zicmuse, Arrington de Dionyso, Takashi Ueno, Saya Ueno, Naoki Otani, Akiko Hotaka, Masaaki Endo and Naoki Otani. Always spontaneous, never rehearsed. Music in and of this world, seemingly teetering on the verge of collapse.

"We flew to the US for a show with Red Crayola in Los Angeles and initially stayed at Rick Potts' house. There, I met up with The Curtains and hit the road in their car. We headed north, writing down every melody that came to mind. I slept in the gap between the wall and the sofa and got interrupted by a herd of cows along the way, but I finally arrived in Olympia and recorded all the melodies I'd written down, which became Faux Depart. There, I found McCloud, a noble beggar who was sleeping in the studio and playing the bassoon on the street." - Tori Kudo, 2026

"Chris Cohen, who played in Deerhoof from 2001-2006 or so, was an obsessive Maher fan. When our other band, The Curtains, was given a chance to support Maher on a West Coast tour, we got to see up close how Tori leads - often by not leading. He is an unpredictable, wild musical genius and card-carrying eccentric." - Greg Saunier, 2026

Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat

Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat

Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat

*COMES IN GATEFOLD 2LP WITH LINER NOTES*

The premise of this compilation is simple: music we’d like to hear at the airport.

The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.

Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.

Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.

In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.

When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.

The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.

As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?

We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.

We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.

The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.

The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.

The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.

The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.

Global Pulse 07 takes you on a journey to southern Italy, where Neapolitan producer XQTE presents the "Orbital South EP". Inspired by his hometown's early 2000s techno legacy, Vincenzo Gargiulo proposes his modern take, showing a warm soul and a masterful use of samplers . This record is driven by filtered chords , catchy vocals, funky basslines and percussions that will uplift the dance floor with a delicious groove.

Singer-songwriter Willis Alan Ramsey was 20 years old when he became the third signing to Leon Russell and Denny Cordell's Shelter Records – after Russell himself and the legendary J.J. Cale. The result was Ramsey's 1972 eponymous debut, a masterpiece of laid-back Texas country-rock, blues-inflected folk and outlaw ballads.

As a child, Ramsey was an obsessive radio listener – from Elvis and the Beatles to Delta blues, country and even classical music. By middle school, he had formed his first garage band and started writing songs. After a brief stint at the University of Texas, he took to the burgeoning coffeehouse circuit where he toured alongside folks like Townes Van Zandt, Jerry Jeff Walker and Keith Sykes. It was during these shows that Ramsey developed much of the material for his LP, a diverse yet coherent mix that revealed his varied influences.

Recorded in Memphis, Nashville and at Russell's home studio in the Hollywood Hills, the album features some of the era's greatest session musicians: Eddie Hinton on guitar, Red Rhodes on pedal steel and the rhythm section of Leland Sklar and Jim Keltner. A true songwriter's songwriter album, its tunes have been covered by Waylon Jennings ("Satin Sheets"), Jimmy Buffett ("The Ballad of Spider John") and, most famously, Captain & Tennille ("Muskrat Love"), but no cover can beat the originals from the wise-beyond-his-years Ramsey.

Though Willis Alan Ramsey has continued to perform regularly and write new songs, a second album is yet to be released. For years, whenever someone asked about it, Ramsey was known to answer "What's wrong with the first one?" The answer is, of course, absolutely nothing. In fact, it's perfect.

This first-time vinyl reissue reproduces the original lyric sheet. Includes new interview with Ramsey and liner notes by author Richie Unterberger.

SIGNUM REGIS was founded in 2007 and stands for finest melodic Power Metal with both progressive and symphonic elements. Their upcoming new and eighth studio album „Beyond Spacetime“ will be released on October 9th through Fireflash Records and will feature different vocalists. Among them their current singer Mayo Petranen, who just returned to the band, his successor Jota Fortinho as well as top class names, such as Ripper Owens (ex-JUDAS PRIEST), Matt Smith (THEOCRACY), Ralf Scheepers (PRIMAL FEAR), Johnny Gioeli (HARDLINE, AXEL RUDI PELL), Tasos Lazaris (STEEL ARCTUS, WHITE WIZZARD), David Åkesson (SYMPHONITY; QUANTICE), but also Victor Smolski (ALMANAC, ex-RAGE), with a guitar solo on the first single-release „Throne Of Gold“.
„We are so satisfied and proud of it! Even though the last 3 years were not easy for the band, this is definitely not just a ""next"" Signum Regis"" album, we are a band, we are always aiming to create something special - for us and for fans“, comments guitarist Filip Koluš, who also mixed and produced the album.
„Beyond Spacetime“ is rounded up by an excellent artwork from Uwe Jarling, known for his work for acts like HEAVEN’S GATE, GRAVE DIGGER or recently FRONT ROW WARRIORS. „The result is awesome! We are definitely a band that considers the artwork a very important part of our artistic vision. Over the years this approach has only grown stronger, so having a real cover artist has become an absolute must for us“, comments Tommy.
SIGNUM REGIS will celebrate their 20th anniversary next year. „Beyond Spacetime“ already feels like kind of a best-of journey through their past, present and future. „We grew up on the values of traditional melodic metal - this focus will most probably never change“, says Filip Koluš and explains: „At the same time, we are also a group of great friends, who have a common goal - to make the best quality metal music together.“

Limited Edition 180g Vinyl ( 500 Only Worldwide No Repress ) Download Token Inside & Hype Sticker - More Rare & Brilliant Lost Tracks.

Another compilation of French Post-Disco sounds curated & presented by collector & compiler John K of CTR.

12 more rare deep cuts, unearthed & re-appraised hard to find original 7” 45 - quarante-cinq versions made for radio & club.


In 2025 Volume I of "Histoire" gained much love & praise, lighting up some very discerning dancefloors across the planet & well beyond La France. Featured on BBC 6 Music & on radio across Europe.

Kito Jempere has spent more than two decades building a universe of his own, with releases on Mule Musiq, DFA and other influential labels, alongside remixes from Ewan Pearson and others. With Other People’s Aesthetics, that universe finally opens outward. After years of protecting his own musical language, Kito lets the outside world in—embracing the sounds, artists and scenes that have shaped him, from house and techno to Aphex Twin, Warp, Ninja Tune and Omar-S. The result is a personal universe merging with the world beyond it. The album opens with “Change For Now,” a collaboration with longtime friend Lipelis (L.I.E.S., Public Possession, Running Back), marking a friendship that has grown over the past decade. “Teaser,” originally released on Mule Musiq, returns in a new album “Dub” version, with fewer vocals and a stronger garage-house feel—a direct statement of love for David Lynch. “OPA” looks back to Kito’s original half-jazz, half-drum’n’bass sound and the Uniquetunes era of the early 2000s, alongside the music he absorbed from CDs by Amon Tobin, Squarepusher, Skalpel and The Cinematic Orchestra. “Listens To Selected Ambient Works Once” is a direct homage to Aphex Twin, given a Warehouse-style treatment for bigger dancefloors. “I’m Not A Doctor, Either,” featuring mishinuki—previously heard on Green Monster in its Moloko homage—builds towards an epic, euphoric string finale. “Kobayashi Porcelain” closes the record by combining memories of Usual Suspects with Moby-like atmosphere and an Omar-S-type beat. The release of Other People’s Aesthetics will be followed by a Japan tour in December 2026 and Kito Jempere’s ongoing residency at Honeycomb Hi-Fi in Dubai. Early support from: Ata, Reznik, Horse Meat Disco, Vladimir Ivkovic, Tim Sweeney, Max Pask, Rich Thair of Red Snapper, Ame, Ellen Allien, Benji B, John Tejada, The Blessed Madonna, Hard Ton

FAKOMA aus Köln spielen Hardcore Garage Punk und verwandeln politischen Frust, Freiheitsverlust und den Druck des Alltags in rohe, kompromisslose Energie. Ihr zweites Album Life Sucks... Then You Die" umfasst zehn Tracks in 20 Minuten und ist eine wütende, anti-totalitäre Abrechnung. Stilistisch bewegt sich die Band zwischen AMERICAN NIGHTMARE, SOME GIRLS und ANTITAINMENT. Songs wie Never Out For Good" und Pain" verbinden Aggression mit Egg-Punk-Einflüssen, während Likes" die düstere Seite der Band zeigt. Der Titelsong und das Finale Warning!" stehen für ungefilterte, pure Härte.

Das selbstbetitelte Debüt von South 1998 (ehemals South) ist vielleicht das, was dem alten Label Jagjaguwar jemals am nächsten kam, Musik zu veröffentlichen, die sich auch bei, sagen wir mal, ECM Records wie zu Hause anhören würde. Spitzt die Ohren, und ihr werdet es hören - Pat-Metheny-artige, klare, ausgefallene Gitarrenklänge, die geduldig zu trägen, hypnotischen, an Steve Reich erinnernden mathematischen Sackgassen geschichtet werden; ineinandergreifende Hackbretter und Vibraphone, die fallen und wogen wie an einem seltenen Tag mit starkem Schneefall in einer Stadt im Süden; die leisen und selbstbewussten Gesänge von Patrick Phelan und Nathan Lambdin, untermalt von den gleichmäßigen Rhythmen des Schlagzeugers Tod Parkhill. Bei der Erstveröffentlichung bezeichneten wir das Projekt aus Richmond, Virginia, als ,Exegese der großen Ambient-Rock-Momente des 20. Jahrhunderts". Daran halten wir fest. Doch bei näherer Betrachtung und mit dem Rückblick auf fast 30 Jahre seit der Veröffentlichung der LP sind ihre kleinen, kniffligen Schätze erst richtig zur Entfaltung gekommen. Es fällt schwer, keinen Vergleich zu einer zeitgenössischeren Künstlergeneration anzustellen, wenn man ,South 1998" wiederentdeckt, das nun aus SEO-Gründen umbenannt wurde (wer hätte das damals gedacht!?!?). Der experimentelle Slowcore-Experimentalismus von Escho Records aus Kopenhagen und ML Buch; ein bisschen von den Vorreitern der Cloudrock-Szene (und Jag-Labelkollegen) Chanel Beads; eine ganze Reihe von Veröffentlichungen des angesehenen (und unterschätzten) norwegischen Labels Hubro. Aber es verdient auch einen Platz im Regal neben seinen zeitgenössischen ,Post-irgendwas"- und ,Pre-irgendwas"-Kollegen von damals - Tortoise, Bark Psychosis, The Sea & Cake. ,South" von 1998, ein unbestrittener Jagjaguwar-Klassiker, war an sich nie verloren gegangen, aber wir haben es für euch wiederentdeckt - zum ersten Mal überhaupt auf Vinyl, als Teil unserer Feierlichkeiten zum 30-jährigen Jubiläum.

Yesca is back on Shall Not Fade with ‘Paint on Walls’ 12” EP.

2024’s Yesca EP on SNF - “Mood Loops” - set a high bar, so when we say this record is something special you should take note. Of course if you already know Yesca’s music or have had the pleasure of a Yesca DJ set then you will have already this queued up.

Sweet Spot: Ben Sims, Deetron, Oliver Ho, Vince Watson, Grain (Artwork’s Techno alias). Planet-E, Primate Recordings, Paul Mac & Stimulus Recordings found the sweet spot.

According to the OED the first use of the phrase “Sweet Spot” was in 1976 in reference to tennis rackets and golf swings. It’s where everything hits just right. And that’s what this EP does, hits just right. What strikes me is how descriptive the phrase ‘Sweet Spot’ is. Given enough swings and some luck we all know what it feels like to hit the sweet spot in some regard. Finding the sweet spot regularly though takes time and skill. But being able to hit the sweet spot by design every time, well that’s something different. That’s what makes the greats great.

For us at SNF there’s a consensus that in the lineage of electronic music there have been many moments where artists & labels converged on a sweet spot. One such sweet spot for us is in Techno
around 2003 when at the tail end of Hardgroove tempos began to slow and a groovier more refined tech house infused goodness appeared in the racks from a group of killer techno labels & artists (some mentioned above) that moment before the fuller emergence of the 2nd wave of Tech House in the mid 00’s.

That sound, while often emulated, never quite hit the same for us at least – until Yesca came along. His music has everything that we love about that sweet spot. Raw driving groove, rolling basslines and hip shaking percussion. What’s different on ‘Paint on Walls’ is that Yesca stepped on - he had already found the sweet spot on 2024’s Mood Loop EP - now his sound (or swing) is natural. Repeatable, refined and seemingly effortless. To revisit the tennis and golf analogy, this is the start of a Grand Slam run from an artist ready to etch their name in dance music history. Tiger..... Serena......Yesca.

Run the Tracks:
‘How I Do It (They Wonder)’ - A masterclass in less is more, and a serious DJ tool. Full of groove - slow it down and it will light the touchpaper in a house set - speed it up and you’ve got techno weaponry. Forget gatekeeping, this will make you feel like you just found a 2004 techno white label from the likes of Grain or Ben Sims.

‘I Desire’ - House music that I reckon Deetron would be proud of... Blissed out machine funk, whispered vocals, slick jazzy chords and dubbed out techno stabs are all grounded by Yesca’s impeccable, loopy drum programming. The best tunes always end too soon.

‘Domination’ - The ever rising bass, err, dominates this track and this track will dominate on many a dancefloor, but Yesca's knack for dubbed out swinging synth lines has to get a shout out here too. He turns what would be melodic elements into what feels like part of the percussion. Double Threat. Hands Up and Heads Down business.

‘Paint on Walls’ - It would be a tough call to say Yesca’s saved the best til last with the EP’s eponymous track given what’s come before, but Paint On Walls works all the highlights from the rest of the EP into a latin techno/house infused anthem. Skittering percussion, a hint of Detroit goodness and a deep deep rolling bassline and THAT vocal. In every way hopeful yet resistant, and that is what techno is all about.

On January 17th, 2026, Grammy Award-winning hip-hop icon Lupe Fiasco joined Miami’s Nu Deco Ensemble, a hybrid orchestra dedicated to reimagining music from all genres, for a special concert at Miami Bandshell. This Juneteenth, Lupe and Nu Deco will release the recording for the whole world to hear, presenting Lupe Fiasco’s hits and new classics as they have never been heard before. Invigorated by the backing of the 33-person full orchestra, led by conductor Jacomo Bairos, Lupe forcefully rhymes every word of career highlights like “Daydreamin’,” “Kick, Push,” and “Paris, Tokyo,” emphasizing the musicality innate to Lupe’s tongue-twisting bars. In addition, Lupe presents unique live versions of new hits, including “Samurai,” from his critically acclaimed 2024 album of the same title, and “SOS,” an outtake released for the first time on 2025’s Samurai DX. The Nu Deco version of 2015’s “Dots & Lines” begins with a solo guitar exhibition from Aaron Lebos, while songs like “Daydreamin’” and thrilling closer “Superstar” benefit from the powerful pipes of backing vocalist Kelley Kessell and J Howard. The 9-track set is a scorcher, reaffirming Lupe’s status as one of the most proficient and electrifying live performers in hip-hop today.

“I marvel afresh at Béla’s extraordinary vision, his indefatigability as a creator, his galvanizing presence as a bandleader, and of course, his freaking banjo playing. Live Heart will reverberate through and energize the bluegrass community forever.” – Chris Thile Live Heart: My Bluegrass Heart at the Ryman is a 3LP set that captures one legendary night in bluegrass. On January 8, 2022, in the aftermath of a Nashville blizzard, Béla Fleck was joined by three generations of renowned players who together brought the fire: Sam Bush, Michael Cleveland, Jerry Douglas, Stuart Duncan, Sierra Hull, Edgar Meyer, Justin Moses, Mark Schatz, Billy Strings, Bryan Sutton, Tony Trischka, and Molly Tuttle. The celebrated banjo virtuoso and musical adventurer has both dug deep into his instrument's complex global history and unlocked the breadth of its possibilities. He has earned 19 Grammy awards, and his acclaimed studio album My Bluegrass Heart, was a homecoming in sound. The music Fleck composed for his GRAMMY-winning My Bluegrass Heart is the third chapter in a decades-spanning trilogy that began with 1888’s Drive and the Bluegrass Sessions in 1999. This live record encompasses bluegrass in its core – the intergenerational passing down of music – and is nothing short of a masterpiece in sound, artistry, and community.

Alles spaltet sich. le_mol loopen. Was bleibt? SPLIT SPLIT - ihr 6. Post-Rock-Album (Noise Appeal Records). Während manche Spaltungen unvermeidlich ("Splitsville"), erzwungen ("Splitter") oder sogar pathologisch ("Split Brain") sind, wirken viele Spaltungen vermeidbar und durch bestimmte diskursive Kräfte vorangetrieben ("Split The Rich"). Würde man Spaltungen jedoch immer weiter aufspalten, käme es dann nicht zu einer Rückkehr von Nuancen, Meinungspluralität und Gemeinschaft? SPLIT SPLIT. Da bei den Instrumentalstücken von le_mol Wort und Musik getrennt sind, dienen die Titel jedoch ohnehin bestenfalls als Interpretationshinweise. Eine Ausnahme bilden die existentialistischen Lyrics von The Zew ("Split Tongue") - einer selbsternannten Cyborg Folk Musikerin aus Wien. Das Konzept setzt sich fort in den Collagen und Monotypien der wienerischen Künstlerin Hanna Hollmann. Musikalisch bietet 'SPLIT SPLIT' eine Mischung aus melancholischem Post-Rock und Shoegaze ergänzt durch Elemente aus Post-Punk, Ambient und Industrial. Der Einsatz mehrerer Loop-Stations ermöglicht es den beiden Multiinstrumentalisten wie eine fünfköpfige Band zu klingen und sorgt für überrasche Wendungen im Songwriting, die gängige Hörgewohnheiten herausfordern. Loops stick together - they never split! FFO: Mogwai, Radiohead, Godspeed You! Black Emperor, Sigur Ros Marketing Hardfacts: - begleitende Konzerte 2026/27 (bestätigte Daten bis hierhin): TBA - eine Vorabsingle (splitter!)

This five piece combines their love for pop music and dark sentiments with a punk ethos. Drawing inspiration from a wide range of artists they've crafted a sound that's truly and twistedly their own. Part of the Dutch indie wave that includes bands like Personal Trainer, Real Farmer, Lewsberg and Pip Blom, The Klittens consists of Yaël Dekker (vocals), Winnie Conradi (guitar), Katja Kahana (guitar), Marrit Meinema (bass guitar), and Laurie Zantinge (drums) (vocalist Dekker is also a member of The Hobknobs with Lewsberg's Arie van Vliet). This debut album follows their EP's "Citrus" (2022) and "Butter" (2024). With these EP's the band has toured extensively across Europe and the UK, including as the support for Otoboke Beaver and BODEGA during their European tours. The band combine their love for pop music and dark sentiments with a punk ethos, drawing inspiration from a wide range of artists - such as The Ronettes, MF Doom, Dry Cleaning and Kate Bush - crafting a sound that's truly and twistedly their own. Reviews for Klittens Butter EP: 'Ambition meets weirdo cool on Amsterdam gang's superb EP. By executing both indie-pop and brittle post-punk styles with ease, the band unearth a vibrant space of their own' NME, 4/5 - 'With glorious harmonies, off kilter beats, jangly guitars and a whole manner of instruments throughout it's a joy.' CLASH

2026 Repress

Pianeti Sintetici ('synthetic planets' in Italian) is a new conceptual project by Davide Perrone (Primal Code) that draws inspiration from the factories of Magrathea, a planet in Douglas Adams' classic space opera The Hitchhiker's Guide to the Galaxy, where artificial planets are manufactured on commission.

'This concept has always fascinated me, and I chose the name to frame a hypothetical future of synthetic worlds, told with sound,' Davide says. 'I like to imagine the howls of creatures inhabiting solar systems outside our own. Rarefied atmospheres, alien sequences, and unfamiliar tonal scales. So, I see Pianeti Sintetici as an open-ended design research project where I can explore these inspirations.'

Esplora I ('explore') is the first record in a trilogy scheduled for release in 2023. It comes wrapped in a custom-cut embossed sleeve adorned with a captivating interpretation by Hypnus' visual artist Gabriella Holmstrom.

Early support from Brando Lupi, Iori, Takaaki Itoh, Unjin, Eric Cloutier, Forest on Stasys, Konduku, and Saphileaum.

repressed !

Over the last decade and a half, Rotation Sound System’s annual gathering in the Staffordshire countryside has become one of underground dance music culture’s true success stories – an intimate gathering of like-minded friends and partygoers, powered by a custom-built six-way sound system, with music provided by a carefully curated line-up of dusty-fingered diggers, selectors and hand-picked live performers.

At the heart of the collective’s unique and much-loved approach lies a dedication to finding and sharing lesser-known gems and audio obscurities – fantastic records whose charm and quality has long been overlooked.

Last year, the core members of the crew – founders Dean Meredith and Ben Shenton (renowned for their productions as Mind Fair), and Wrekin’ Havoc trio Rob J, Stuart Robinson and Rich Hall – offered a snapshot of their unique musical approach via debut compilation Everything You Are About To Hear Is True, Volume 1, in the process introducing a global audience to some of the countless unknown mid-tempo classics nestled in their collections.

Fresh from another sold out edition of their acclaimed micro-festival, they’re back with volume two, another must-have collection of slept-on classics, loved-up shufflers and wide-eyed Balearic beats, all of which have played a part in Rotation’s story over the last 13 years.

Appearing on gatefold double vinyl with extensive liner notes telling the stories behind the tracks, Everything You’re About To Hear Is True, Volume 2 is full to bursting with music that sounds mind-blowing on the crew’s high-end sound system.

For proof, check the analogue-rich intergalactic shuffle of Paul Atreides’ 2015 jam ‘Arrakis Walk’, the relaxed boogie-soul of Rocky Winters’ Chaz Jankel produced ‘Vicious Circle’, the easy-listening-jazz-rock bliss of Vincent Maclin’s ‘Should’ve Took a Chance’, the 80s soul squelch of ‘Ecstasy (Centurion Mix)’ by Endgames and the immersive British dub drift of Sigma’s ‘Remember (Dub Style)’.

Everywhere you look, you’ll find eye-opening and ear-pleasing delights. There’s Pinky’s lightly acid-flecked, breakbeat-fuelled, acid house-era street soul classic ‘I Wanna Be The One (Instrumental Groove)’, the 1992 new age downtempo seduction of Linda Myers (‘Shine On Me’), the Clavinet-and-synth sporting jazz-rock/space-rock fusion of Wolfhound (1984 gem ‘Another Moon Song’), the Gallic colour of Buzy’s ‘Keep Cool (Version Maxi)’ and the guitar solo-laden electrofunk explorations of mid-80s UK act Lifesighs (‘Get Serious’, here presented in its extended instrumental form).

Paraiso has been doing vital work in Portugal - documenting the underground dance scene's history and pioneers in various mediums while also showcasing equally brilliant artists from newer generations. And they've been doing it for a decade now: we all know that a label dedicated to its local scene through and through is something rare and should be celebrated. This compilation 'X - 10 Years of Underground House Music from a Paradise Called Portugal' is a manifestation of that cross-generational spirit, with ten never-before-heard pieces of music by initiators and legends like The Advent alongside more recent veterans like Roundhouse Kick and Vil or younger talent like Phoebe or Van Der. Things start off with Salbany's 'Trax 10', oozing a techno elegance and irrefutable groove that wonderfully portrays the spirit of the Lisbon sound: raw yet ethereal, disarming in its simplicity while containing rave, romance and rhythmic complexities. Label founders Maria Amor & Shcuro firmly carry on the torch with 'Intracellular', gelled by dubby washes, syncopated drums, infectious rhythmic sense and layered with a melodic vocal motif. Vil's 'Cave' brings in stone-cold tight percussion offset by rich, evocative pads and technoid know-how for days. The Advent steps in with an ode to acid-minimalism, raw and slow-burning, with curious and twisted moments peppered with the skill of an expert. Van Der storms in with a piece of hybrid qualities, impeccably blending a swing onto industrial territories for a hypnotic-yet-banging hands in the air dancefloor moment. Scam Dust (the duo of Tiago and Shcuro, from adjacent generations) picks up on the industrial flavours, adds furious jacking rhythmics and live sonic experimentation that takes us to peak-quality effect and noise manipulation. 'Subvert' follows and goes deeper, as if into the depths of the ocean, with aquatic arpeggios and sparse drums that morph into an 303-driven state of mysterious oceanfloor mania - Roundhouse Kick sending us messages from the South. Violet and her 'Dream Machine' emerge with its mutant noisy motif, delay-drenched percussion and steady beat interrupted by keys, drum variations - and a u-turn to its paranoid loopy beginnings. Phoebe enters the chat and brings sonic sun rays in 'Galaxia 2000', a wide-eyed moment lead by colourful, open synthesisers with gates and filters taking us on a beautiful ride on tense, swingy drum patterns. The tenth track comes from Lisbon's rkeat and is full of closing act ear-candy with its beautifully chiseled, groovy as hell percussion, organic sonics and metallic instruments that seem to announce that the next decade is about to be just as good, if not better than this lovely 2016-2026 stint of boundary and scene-pushing.

A significant force in the development of British electronic music, Fluke return to the culture and reinvigorate their forward-thinking library of material on an unexpected and powerful new album, The Second Bite.

Due for release internationally via Surface Records in association with !K7 Music, The Second Bite arrives on limited-edition, double-vinyl gatefold LP.
Driven by principal band members Jon Fugler, Mike Tournier and Julian Nugent, The Second Bite boldly yet subtly reimagines twelve Fluke tracks from different eras of the band, including crossover hits Atom Bomb, Groovy Feeling and Absurd. Retaining their peerless groove and cinematic atmosphere, the band rework each with contemporary production touches and arrangements that invite these ambitiousrecordings into a digital future.
Making a significant contribution to both rave and chillout sound systems throughout the nineties and deep into the new millennium, Fluke’s progressive sonic philosophy saw the band invited to remix boundary-pushing artists including Bjork, New Order, Talk Talk and even The Rolling Stones, while their original productions were integral to the cult soundtracks of blockbusters The Matrix Reloaded and Sin City.

Their music remains instantly recognisable to renewed generations of gamers, having featured on the multi-million selling console series’ Need For Speed: Underground as well as seminal racing game Wipeout 2097, for which the band recorded original music to feature alongside The Chemical Brothers, Daft Punk, The Prodigy and Underworld.
Regaining control of their original compositions, Fluke approached The Second Bite with the same sense of creative community and futurist philosophy that has been fundamental to the band since their earliest recordings. Formed on the experimental fringes of London’s nascent acid house culture, informed by a shared love of progressive electronic sounds, Fluke have remained deeply invested in the possibilities of recording technology. Decades later, reunited in a profoundly altered musical landscape, The Second Bite serves as a typically ambitious reintroduction to one of electronic music’s most essential back catalogues.

Un Canto por México, Vol. 2 is Natalia Lafourcade's second album dedicated to the reconstruction of the Centro de Docementación del Son Jarocho, a cultural building that was damaged after the 2017 Puebla earthquake. The album features unique new interpretations of her earlier songs, as well as collaborations with artists such as Caetano Veloso and Silvana Estrada. This album really showcases the enduring strength of her songs, which remain powerful in any form.

The album was very positively received by fans and critics. It even got nominated for multiple Latin Grammy Awards (Album of the Year, Best Engineered Album) and Grammy Awards (Best Regional Mexican Music Album).

Un Canto por México, Vol. 2 is available as a limited edition of 2000 individually numbered copies on smokey marble vinyl, packaged in a gatefold sleeve, with printed inner sleeves.

Celebrating 30 years since ‘Buena Vista Social Club’ was released, this classic will be made available on limited edition pearl vinyl and features the remastered audio and bonus tracks released as part of the album’s 25th Anniversary in 2021.

Masterminded by the trio of Cuban bandleader Juan de Marcos González, American producer and guitarist Ry Cooder, and British producer and label owner Nick Gold, 'Buena Vista Social Club’ is both the name given to this extraordinary group of musicians and the album they recorded in just seven days in 1996 in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon – awarded a Grammy in 1997 and, at over 8 million copies, outselling any other record in the same genre.

The acclaim of the original album elevated the artists (including Ibrahim Ferrer, Rubén González, Eliades Ochoa, Compay Segundo and Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, a Tony Award-Winning Broadway Musical and contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder and Executive Produced by Nick Gold for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this album will go down as one of the landmark recordings of the 20th century.

Continuing with the next installment Len Faki's Hardspace series, he breathes new life into four distinct tracks, re-imagining them through the signature Hardspace lens: heavy, thumping, and relentlessly propulsive. Spanning decades of sound, these reworks bridge the gap between nostalgic grit and future-facing intensity, proving once again that a strong is often the most effective tool in the bag.
DJ Sneak's 2009 cut Acido sits perfectly between acid-house and techno-leaning aesthetics-a natural fit for a Hardspace edit that amplifies its jacking, loopy groove. Staying closer to techno's roots is Like A Tim's warehouse classic Rashness; here, Faki channels the raw, frantic energy of the original, proving how nuanced changes can generate a completely different, captivating energy as he reshapes the track's dynamic impact and tightens the low-end.
The B-side takes two contemporary cuts further into the red: the Snuff Crew edit ramps up the intensity, stripping back Where's The Bad? to a singular, hypnotic loop for peak-time impact. Finally, Umfang's Complete Your Collection undergoes quite the transformation, adding layered, rhythmic complexity and shifting bass weight to create a trippy but floor-focused drive.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

Rupert Marnie, co-founder of The Press Group and Remoto Records, makes his debut on Smallville with some serious curveball action.
Once you immerse yourself in the wonderful breadth of Hamburg’s subculture, it is quite likely that you will soon hear about Matthias Schubert also known as Rupert Marnie. Operating in the City's deepest part of the underground, Matthias provides some highlights that you should know about - may it be co-running a vinyl label (The Press Group) and an amazing record-store (remoto records) together with a group of like-minded friends or may it be as a DJ or Liveact, playing house, techno or ambient music at clubs like Golden Pudel, Südpol or Frappant in Hamburg or outside of town (Club der Visionäre/ Berlin, Bassiani/ Tblisi...)- there is quite a lot of things that Matthias has accomplished. And we are very happy to present his latest installment – four raw and gritty tracks, deeply driving yet bouncy, wobbly at times and definitely with a Curveball-appeal and no compromises.
Smallville 77 will be released 4th of September 2026 with a full cover artwork from Stefan Marx.

The most beautiful thing we’ve ever released?

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. Listen, listen, listen...

A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works.

A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket.

Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times.

Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs.

"When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd’s Echoes, Yes’ Close To The Edge, Klaus Schulze’s Nowhere Now Here, Miles Davis' Shhh/Peaceful and He Loved Him Madly. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ Tales From Topographic Oceans and Tangerine Dream’s Zeit being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album." - Sam Grawe

Phaser For The Ocean Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset - and every colour in between.

Medusa Outdoor presents the third chapter of its Vinyl Collector series: MO_03 – The Vinyl Collector III, featuring six carefully selected techno tracks across different generations, curated by resident dj's Michael Forzza and Jochen Robberecht. The release brings together internationally renowned artists including Nicole Moudaber, Johannes Heil, Envoy, Frank Biazzi, Flug and Steve Nash. Among its highlights is the long-awaited return of Johannes Heil’s “Paranoid Dancer”, presented as a Re-Mastered Original and appearing on vinyl for the first time since its original 2002 release, alongside Envoy’s timeless techno classic “Dark Manoeuvres” and Nicole Moudaber’s powerful “Movin’ On”. From rare collector material and timeless classics to contemporary techno, MO_03 brings six outstanding tracks together on one distinctive bordeaux-coloured vinyl, housed in a beautiful gatefold sleeve. Six tracks. Different generations. One shared techno legacy.