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Maman Küsters return to Oráculo Records with “Oniromancia Completa”, a third vinyl release carved from tension and precision. The duo—Gaël Loison and Cyril Pansal— refine their language into something sharper, harder to define: a rigid hybrid of EBM and electro where structure becomes intensity. Furious step-sequenced arpeggios cut through dense low-end pressure, while knife-edged drums lock the body into a mechanical trance. On “Dos Mundos”, Pedro Peñas (UPR) enters the system with vocals that fracture the surface, adding a human pulse to an otherwise relentless machine. Built for dark rooms and uncompromising floors, Oniromancia Completa is not just played —it is deployed. There is no ornament here—only function, force, and control. A decisive strike for both electro and EBM purists.

After more than a year and a half of consistent output, KYSH returns to vinyl with its second physical release. Following a streak of four VA compilations, nine solo EPs and a strong debut on wax, the label keeps its momentum — expanding its roster while refining a distinct, contemporary techno identity shaped by both emerging names and established forces. KYSH-002 brings together four artists representing different shades of the current sound. Opening track “Activ” sees SEIGG return shortly after his solo EP, delivering a signature glitch-driven banger with a powerful, instantly recognizable hook. Alarico follows with “Tears”, building emotional tension through his characteristic chopped vocal work and driving arrangement. On the flipside, Fenim0re’s “My Last Descent” shifts into a more restrained, hypnotic territory — a minimal yet groovy tool with a strong sense of forward motion. Closing comes from Toobris with “Zawyeh”, a low-end focused cut recalling early 2000s minimal techno aesthetics, reimagined with increased, modern pace. With KYSH-002, the label solidifies its presence on wax — delivering a focused, high-impact selection from some of the most vivid voices in modern techno.

DJ Support: Enzo Siragusa, Traumer, Laidlaw, Voigtmann, Janeret and many more

Mateo Dufour and Cosenza return to Key Records as part of the label’s family, this time joining our second vinyl release with Sweat, representing the Rio de la Plata sound on the dancefloor.

The A-side is led by ‘Sweat’, a high-impact, peak-time track driven by a penetrating vocal and a distinct vintage character. Road-tested over the past months, it has become a true secret weapon in sets by artists such as Traumer and Enzo Siragusa. Following that, ‘Girl (I Want To)’ lowers the intensity, moving into a more groove-driven and sensual territory, creating a natural contrast within the side.

The B-side shifts into a more playful and character-driven territory, suited for transitional moments, whether at sunrise or during deeper phases of the night — perfectly fitting summer settings. ‘Why So Freak?’ stands out for its distinctive synth line and catchy vocal, giving it a strong and recognisable identity. Closing the EP, Dan Ghenacia delivers a deep and refined remix, adding an elegant layer to the release.

From peak time to early morning, just drop it and let it speak.

A record that balances impact and subtlety, reinforcing the connection between the artists and the Key Records universe.

On her second EP "Reality Check", Kuoko continues to make her way and search for her own answers. On the follow-up to her debut "Lost Woods", her electro-pop sound remains mystical and spherical, but, as the title implies, this project sees the Hamburg-based music producer deal with a number of quite tangible, personal and social topics. On songs like "Floating" or "Hiding in the Dark" she reminds us to follow our guts despite the ever- increasing pressures of society and technology . Despite the heavy undertone, the atmosphere remains positive all throughout the EP as Kuoko"s crystal-clear voice floats through the elaborate, ethereal soundscapes that she created. After putting out her debut EP in 2018, playing several live shows - three of them at the Reeperbahnfestival - and winning a local award for emerging artists (Krach + Getöse), the young multi- talented artist now invites us to check out her latest work. Accept this invitation and give it a listen. It"s definitely worth it.

Get ready for Macem Ly"s debut album "Honda Date" - a neologism and a homage to all the hopeful Vietnamese couples he watched as they"d rather hopped on to a Honda moped rushing into nature for a romantic date than facing the rush of urban life. So the multi-instrumentalist and producer artist naturally created the perfect album for all those who travel and observe while enjoying long rides on busses or mopeds - not least for knowers of high-quality instrumental productions with a special place for hiphop tradition in their hearts. With "Honda Date" he showcases his musical prowess rooted in HipHop, Funk and Soul all the while proving a certain versatileness in creating new sounds - that are also born out of his training in classical music. Unconventional drums, alternative 808 beats, delicate soul samples and those of modern Jazz guitarists non unambiguously carry Macems Ly"s handwriting as he pays tribute to the old while non the less creating something new.

Mit "Off Grid" liefert wacho den perfekten Soundtrack zur Entschleunigung. Der Track bricht mit dem digitalen Überfluss und setzt auf warme, atmosphärische Texturen, die ihre volle Wirkung erst auf dem Plattenteller entfalten. Musikalisch bewegt sich die Veröffentlichung zwischen organischem Downtempo und minimalistischen Lo-Fi-Beats. Es ist Musik für die Momente, in denen der Rest der Welt stummgeschaltet wird - analog, tiefgründig und zeitlos. Erhältlich als exklusive Vinyl-Edition für alle, die Klangqualität nicht nur hören, sondern auch fühlen wollen. Ein Must-have für Sammler und Liebhaber kuratierter Electronic-Sounds.

Wacho is Kabul Fire Records" newest of talented beat makers who"ll be sure to serve all lovers of instrumental hiphop productions more than well. With his debut album "Simplicies" he offers his very own synth heavy take on lo-fi & boombap instrumentals and creating atmospheric sounds that will always have you trip in between earth and the moon.

First released in 1976, "Metallic K.O." was the fourth album from IGGY & THE STOOGES, a classic, memorable recording of the Stooges confrontational last gig. The Stooges had not been heard since "73"s "Raw Power", and the sound of kamikaze Iggy in between new songs dodging eggs and glasses thrown by Hell"s Angels gave him a new audience in the embryonic punk crowd. It defined Iggy as a punk originator, sold 100k+ and become the Stooges best-selling album. Previously re-issued as an extended, two-CD set with two complete shows (FREUDCD070), it"s now been condensed down to the exact original album edit that shocked and inspired so many. In the 2007 remastering from the original tapes an original tape-speed fault was found - now for the first time the album can be heard in the correct pitch! As Lester Bangs said: "IT"S THE ONLY ROCK ALBUM I KNOW WHERE YOU CAN ACTUALLY HEAR HURLED BEER BOTTLES BREAKING AGAINST GUITAR STRINGS". Recorded 1973 & 74. Inner bag with historical background.

Mana is the International Anthem debut by trombonist and composer Kalia Vandever.

The collection carries the spirit of their first solo album, We Fell In Turn, while entering a new landscape of spacious songwriting. Mana, which in Hawaiian means “foundational, supernatural, or divine power and strength,” reveals more of their voice and words, drawing from yearning, loss, and bewilderment.

Appropriate for the early riser’s first step into the day or the night owl’s weary and quiet walk home.

Newly signed to Heist or Hit (Westside Cowboy, Her’s, Nature TV), Georgian's forthcoming debut EP 'Crackled Grounds' reads like an anthology in the vein of The Ballad of Buster Scruggs. These aren’t just songs, but scenes, self-contained worlds that glimmer with strange detail before dissolving into mirage. “We recorded on a farm just north of Amsterdam” states James. “It gave us space and focus and helped us channel the Western feel we wanted to impress upon the tracks. Arno gave us lots of pedal board options and guitar choices. Those things in particular helped us fine-tune the sound we were chasing.” The resulting collection chronicles the ups and downs of existence and blooms with natural imagery. ‘Strike a Wound’ seethes with revenge. The slow attack on the guitars has the onomatopoeic effect of enacting each blow. ‘Crackled Grounds’ conjures an apocalyptic wilderness that wouldn’t be out of place on the ‘Kill Bill’ soundtrack. ‘Medusa’ is a parable of strong women overcoming obstacles and jolts with the energy of those early Johnny Cash Sun recordings. ‘Gardens’ lingers on the awkward tenderness of running into a long-lost lover; while ‘Californian Jeans’ pays homage to denim as talisman, armour, and second skin.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

GSQ – Gelatology is a sample-based instrumental hip hop project rooted in crate digging culture, built from jazzfunk, soul, prog-rock and world music sources. The release also launches Gelatology, a new Quattro Bambole
Records sub-catalog dedicated to limited-run, sample-driven vinyl-only releases.

The second OM album, Conference of the Birds, also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain. With Billy Anderson (of the Melvins, among others), they deliver an intelligent, hypnotic doom drone album featuring elements of dub and psychedelia, alongside monotonous vocals. Two tracks: minimalist and a logical continuation of Sleep"s sound.

The second OM album, Conference of the Birds, also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain. With Billy Anderson (of the Melvins, among others), they deliver an intelligent, hypnotic doom drone album featuring elements of dub and psychedelia, alongside monotonous vocals. Two tracks: minimalist and a logical continuation of Sleep"s sound.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse. These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that"s as immediately engaging as it is a series of delicious puzzles. When two of experimental music"s most irascible characters spend twelve years crafting an album, you don"t just get another release - it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s - the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably "hermetic" creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo"s singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much "difficult" experimental music, Cloud Machines maintains an uncanny and sneaky accessibility - each track a self-contained world, inviting and alien in equal measure.

Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse. These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that"s as immediately engaging as it is a series of delicious puzzles. When two of experimental music"s most irascible characters spend twelve years crafting an album, you don"t just get another release - it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s - the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably "hermetic" creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo"s singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much "difficult" experimental music, Cloud Machines maintains an uncanny and sneaky accessibility - each track a self-contained world, inviting and alien in equal measure.

Cosmic Breeze Records is happy to present From Above, from Brussels based producer Bass Toast, an artist who has spent years honouring and preserving the rich musical house heritage. Bass Toast has always had an enormous will to connect what separates.From the early New York House to intricate broken beats, he’s been spending the last few years colliding different genres, soulful at heart, both club and non club, comfortable and uncomfortable, celebrating the floor and the grace of simply listening.The A side opens with African Girl, sexy and sensual, moving you in slowly before FromAbove takes you on a whimsical Latin journey, before Stance closes it out with a broken beats jazz and intricate drums that reward every listen. The B side shifts weight, Chucho and Watch And Remember are both club-oriented, propelling without ever losing the thread that runs through the whole record, before Childhood Memories closes everything down with grace.

“A lot of people run to see who’s fastest. I merely run to feel the breeze.”

Chicago native Ed Nine delivers another slice of that unmistakable Windy City sound on Four Framed Music. Born and raised in Chicago, his music draws directly from the city’s soulful house roots, raw, authentic, and built to move floors.

No Boundaries EP captures exactly that balance, classic influences with a sharp, modern edge. No gimmicks, just pure Chicago energy across four club-ready cuts.

The A-side hits hard. H2O rolls deep with heavy drums and an emotive vocal that cuts through the groove, while The Boundary locks into a tight, driving rhythm that doesn’t let go.

Flip it over and The Rhythm keeps things flowing, built around a swinging, soulful groove with jazzy key elements. Closing track Ecstatic lifts the mood, layering warm musical elements into a satisfying, feel-good finale.

Four tracks, straight to the floor, Chicago doing what it does best.