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'Kiliae is a collection of pieces that tell the story of a homecoming. It is a cohesive narrative that captures the feeling of what a home can be, drawing its inspiration from life in that place itself - life that has now become something different after having lived in foreign places for an extended period of time.
'Kiliae captures a certain atmosphere, a feeling that has built up during countless walks and bike commutes in and around the city of Kiel.'

Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.


The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.


The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.


Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.


She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.


The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.

That infamous bassline from Mr Fingers timeless 'Can You Feel It' has been featured in various shapes and forms, over the years, but definitely never like this !

This rework by UK producer Diesler has been circulating as a secret weapon among a small circle of DJs for years, but it's never been available to the public until now.
Blending together percussive latin rhythms, B-Boy breaks and Chicago 4/4s...all put together, it becomes a serious DJ weapon.

For good measures there's also a highly percussive dub version on the flipside...if you wanna work the floor a bit deeper.

Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.

Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.

Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.

Originally released in 1990, as a triple album in box set with probably the best work THE KLINIK ever did. A selection of their musical works all recorded between 1984 & 1988 and never released before, the box came as a limited edition in 1990 and was sold out in no time, and therefor very rare and hard to find.

Now Antler Records has revisited the box, remastered into a sound experience like you never had before; 6 sides packed in newly designed inner sleeves with band photo's (by Inge Bekkers) that have never been published before. 6 sides, three heavy weight vinyl albums in one extra broadened single album sleeve. Cold electronics, shivering spheres, minimal and highly atmospheric, a soundtrack for a still to be made film. A sound experience like you never had before!

The Klinik is Marc Verhaeghen-Music & Dirk Ivens-Lyrics
All Tracks recorded in the Lab between 1984 & 1988
Digitally Remastered in 2026 by Pieter De Wagter(Equus)

For twenty-five years, A State Of—Trance has united trance lovers around the world, evolving from a radio show into a global movement and one of the most influential brands in electronic music.

To celebrate this remarkable milestone, Armin van Buuren presents A State Of—Trance 25 Years - Selected Highlights, a special mix featuring a personally curated selection of ASOT tracks that highlight some of the biggest moments, memories, and milestones from the past quarter century.
Bringing together timeless classics, scene-defining anthems, and exclusive new interpretations, the mix also includes brand-new remixes of beloved ASOT favorites by some of today’s most exciting trance artists, including Andrew Rayel, ReOrder, Matt Fax, and Dan Harrison.

Honoring the past while embracing the future, A State Of—Trance 25 Years - Selected Highlights is a celebration of the music, artists, and global community that have shaped the journey—twenty-five years together, all united by one sound: A State Of—Trance.

Synth driven perpetual punk rock, darkened by atmospheric touches in its production and songwriting, yet uplifted by its intention to distill that darkness into light. Pop music from France on either side of the punk explosion has never shy’d away from electronic elements and on Nuits Blanche’s Helás LP there is plenty to remind us of that legacy. The sounds we are given rub against neither pop or dance, but instead absorbs the impact of quite tough sounding street punk. Four on the floor drums, like Disco’s ghost stamped across the face by the weight of the electric guitar run with songs not out of place if “A Country Fit For Heroes” got shoved inside the sleeve of “Wanna Buy A Bridge” and the two became one. Helás has the heft and the violence of boots treading across concrete en masse but within that is the lightness and the style of a dark smokey room filled with people wearing dark glasses and considering the inevitability of the pointlessness of existence…off the dance floor anyway. (Jonah Falco)

Turn back the clock to an unforgettable era, with 32 huge hits from 1980–1984 brought together across 2LPs.

LP1 launches with Wham!’s feel-good ‘Wake Me Up Before You Go-Go’, before Duran Duran’s ‘Is There Something I Should Know?’ and Eurythmics’ ‘Sweet Dreams (Are Made of This)’ capture the contemporary sound of the new decade. The Human League’s ‘Don’t You Want Me’, Soft Cell’s ‘Tainted Love’ and Heaven 17’s ‘Temptation’ continue an outstanding run of synth-pop classics, with Blondie and Frankie Goes To Hollywood completing Side One. Culture Club open Side Two with ‘Do You Really Want To Hurt Me’, followed by colourful 80s favourites from Adam & The Ants, Altered Images and Kajagoogoo. Haircut 100’s ‘Love Plus One’ and ABC’s ‘The Look Of Love’ lead into Dollar and Bucks Fizz, rounding out a side packed with pure pop nostalgia.

LP2 starts in suitably anthemic style with Spandau Ballet’s ‘Gold’, alongside Elton John’s uplifting ‘I’m Still Standing’ and Billy Joel’s ‘It’s Still Rock and Roll to Me’. The Cars’ ‘Drive’ and Bonnie Tyler’s epic ‘Total Eclipse of the Heart’ bring some of the decade’s biggest power-pop moments, while Laura Branigan’s ‘Self Control’ and Matthew Wilder’s ‘Break My Stride’ pave the way for Dexys Midnight Runners’ ‘Come On Eileen’. Side Two brings another burst of ’80s energy with Ray Parker Jr.’s ‘Ghostbusters’, Chaka Khan’s ‘I Feel for You’ and Billy Ocean’s ‘Caribbean Queen’. Diana Ross’ ‘Upside Down’ is followed by favourites from The Police, Pretenders and The Jam, before Roxy Music’s ‘Jealous Guy’ provides an elegant finale to this celebration of 1980–1984.

Working with sister label OST Recordings, Acid Jazz has reissued 'Family Tree' by Family Tree twice in the last few years, each time with the record immediately selling out, and whilst it will return on the 7-inch format at sometime in the future, they’ve decided to go bigger this time and present the record in the 12-inch format.

‘Family Tree’ is an all-time club classic made by ‘I Specialize In Love’ hitmaker Sharon Brown and her group Family Tree. Original copies of this record regularly sell at over £300. A floor filler, it was Norman Cook’s favourite disco record.

Presented on a smart-looking label and in an even cooler sleeve, both of which are based on the original Ananda label single release, this single couples the original 12-inch disco mix on the A-side, with a B-side that has both the original 7-inch edit and the OST Bonus Beats edit, which makes its 12-inch debut.

Mehr als zwanzig Jahre nachdem Nouvelle Vague mit ihrem inzwischen kultigen Debütalbum den Post-Punk neu erfunden haben, schlagen sie mit A Date with Depeche Mode ein mutiges neues Kapitel auf – einer abendfüllenden Neuinterpretation eines der einflussreichsten und beliebtesten Songkataloge der modernen Musik.
Nur wenige Bands haben die Popkultur so geprägt wie Depeche Mode. Nur wenige Künstler beherrschen die Kunst der musikalischen Neuinterpretation so meisterhaft wie Nouvelle Vague. Diese beiden Welten zusammenzubringen wirkt zugleich völlig unerwartet und doch unvermeidlich.
Aufgenommen zwischen Rio de Janeiro und Paris, verwandelt das Album dreizehn Depeche-Mode-Klassiker in intime, filmische und tief emotionale Songs. Was einst von Maschinen und elektronischen Klängen geprägt war, wird hier warm, organisch und zeitlos – und legt das Songwriting offen, das den Kern dieser ikonischen Kompositionen bildet.
Gesungen von einer außergewöhnlichen internationalen Besetzung von Gastvokalistinnen und -vokalisten – darunter Skye Edwards (Morcheeba), Beth Hirsch, Flavia Coelho, Mélanie Pain, Phoebe Killdeer, Fredrika Stahl und weitere – bietet jeder Titel eine einzigartige Begegnung zwischen einer Stimme und einem Song und bleibt dabei dem charakteristischen Stil von Nouvelle Vague treu

Wewantsounds is delighted to reissue Brigitte Fontaine’s landmark 1970 Saravah album Comme à la Radio, recorded with Areski Belkacem (who sadly died last June), Wadada Leo Smith and the Art Ensemble of Chicago. This deluxe 2-LP edition pairs the original album with a second LP of rare bonus material. The release is accompanied by a lavish 24-page bilingual booklet featuring an introduction by journalist Andy Beta, essays by Wadada Leo Smith, Brigitte Fontaine biographer Benoît Mouchart and Benjamin Barouh, plus a recent interview with Brigitte Fontaine and the late Areski Belkacem. The booklet also includes complete lyrics and a selection of rare archival photographs by Jean-Pierre Leloir and Philippe Gras. The reissue is announced alongside its companion, the deluxe 2-LP set Comme à la Radio "On Air", featuring previously unreleased ORTF live recordings and additional studio rarities.


Wewantsounds pursues its Brigitte Fontaine reissue program with Comme à la Radio, originally released in 1970 on Pierre Barouh’s cult Saravah label, fusing Fontaine’s radical lyricism with Areski Belkacem’s minimalist compositions and the fearless improvisations of the Art Ensemble of Chicago + Wadada Leo Smith. Its title track has since become a cult classic in jazz and groove circles.
The album has been newly remastered from the original tapes and is reissued in a deluxe 2-LP edition featuring 11 bonus tracks. The first LP presents the original album in restored clarity, while the second gathers rare non-album singles, English-language takes, alternate versions and previously unreleased instrumental recordings showcasing the Art Ensemble's artistry, including the elusive English version of Comme à la Radio, and a striking early version of L’été L’été.
Also included is a 24-page bilingual booklet featuring rare archival photographs by cult photographers Jean-Pierre Leloir and Philippe Gras, complete lyrics, and contributions by Andy Beta, Wadada Leo Smith, Benoît Mouchart and Benjamin Barouh, plus a recent interview with Brigitte Fontaine and the late Areski Belkacem. The reissue is announced alongside its companion Comme à la Radio "On Air", a deluxe 2-LP set presenting previously unreleased ORTF live recordings and additional studio rarities.
Comme à la Radio stands as a visionary landmark of French music and a defining statement in Brigitte Fontaine’s career. This expanded edition confirms its enduring influence more than fifty years after its original release.

a A1. Comme À La Radio 8.03
b A2. Tanka II 2.04
c A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

Vokabularium returns with leksikon vol. 2, the second instalment of the label’s evolving VA series - a carefully curated body of work that reflects the deeper philosophy behind the Copenhagen-based imprint: emotionally driven electronic music built for introspection as much as the dancefloor.

Following the success of the first leksikon compilation, this new chapter expands the label’s sonic identity further, bringing together a diverse collection of artists whose productions move fluidly between melodic techno, leftfield electronica, deep house and experimental club music. Across the compilation, there’s a consistent thread of tension, atmosphere and storytelling - records designed less around fleeting trends and more around lasting emotional resonance.

Founded by Denis Horvat, Vokabularium has steadily established itself as a platform for detailed, synth-led electronic music rooted in analogue textures and cinematic depth. The label has become an extension of Horvat’s own musical language - one shaped by releases on respected imprints including Innervisions, Afterlife and Diynamic, alongside his increasingly distinctive output on Vokabularium itself.

'AMEN is a word that moves between the sacred and the ordinary, across languages and cultures. An ancient, universal expression, born in prayer yet living beyond it - in daily life, especially in the Italian language, where it has become part of ordinary speech, used to accept, conclude, affirm, and let things be.
'The sixth release on e s p e r p e n t o opens a gateway into a timeless, transcultural dimension through a continuous, immersive sonic flow. While conceived as an intimate listening journey, this record emerged from a shared experience within the walls of Frequenze Studio (Monza). ESPER006 is the result of a three-hour improvised live session that brought together experimental music trio MYS and London-based producer Big Hands.'

Originally released in 2006, Radiohead tribute album Exit Music: Songs with Radio Heads returns to its original home at BBE Music, two decades on from its debut. Featuring eclectic cover versions of Radiohead’s songs by Mark Ronson, Bilal, Sia, Meshell Ndegeocello, Questlove Sa-Ra, The Cinematic Orchestra, Osunlade and Matthew Herbert to name but a few, the album gave BBE Music its first Top 40 single in the UK with Mark Ronson’s cover of “Just”, and has gone on to become an enduring classic, paving the way for many similar projects in the years since (like BBE's David Bowie tribute Modern Love and Naive Melodies, a tribute to the Talking Heads). Twenty years later, with several of its contributors now major names in their own right, its reputation as a genre-bending classic has only grown. People get confused about cover versions. They are a labour of love, not some sort of disrespectful treatment of the classics. Everyone involved in the "Exit Music" project loves the music of Radiohead; "Songs with Radio Heads" doesn't attempt to replace the originals as "definitive versions." Instead, like the Futureheads cover of Kate Bush or the Slits cover of Marvin Gaye, this is an exercise in translating well-loved tracks into a different genre. "Exit Music" also taps into the dance-floor potential of Radiohead, long recognised by DJs and producers ranging from Burial and Flying Lotus to Kendrick Lamar. The band themselves are devotees of both hip hop and dance music, commissioning remixes from respected figures such as Modeselektor, Madlib, DJ Shadow and Four Tet. Now a bona fide cult favourite, this 20th-anniversary reissue collects together the finest hip hop and dance cover versions of Radiohead songs. Ranging from gentle acoustic treatments to raw funky versions, BBE have taken the songs of Radiohead into realms even he couldn't imagine…

Originally released in 2000 on Smalltown Supersound, Kim Hiorthøy’s first record Hei captures an artist who had made very little music before – yet it seemingly was the starting point of a musical career that would stay away from easy categorisation. Now, Hei (2026 Remaster) returns on blickwinkel, released digitally and on vinyl on 30 October 2026, as part of an ongoing series revisiting and reissuing Hiorthøy’s work.

Made in Copenhagen with little equipment — an Akai MPC2000, a stereo microphone and a DAT machine — Hei was assembled from samples, sequences and rhythms, with no outboard mixing or processing. Without really knowing what he was doing, the music was created intuitively while drawing inspiration from instrumental hip-hop he was listening to, the techno and drum & bass he admired but did not yet know how to make, and a broader fascination with music that felt personal, homemade and slightly uncertain of its own identity. Hei sits somewhere between those impulses. It is beat-driven without belonging entirely to beat music, experimental without announcing itself as such, but unmistakably coming from a playful series of events and decisions.

In that regard, the title of the closing track might be a fitting description of the album itself and, in hindsight, also of how we can look at Hiorthøy’s subsequent work. Taken from a story by Tove Jansson, the title evokes a state of openness and curiosity, a state where thoughts and impressions are simply given the space to unfold:

“He didn't care to get up, all day he let new images and ideas come and go as they pleased, now and then slept a little and woke up again and had no idea who he was. It was a peaceful and very exciting day.”

There is something of Hei in that state of mind: a willingness to follow an idea without knowing exactly where it might lead, a willingness to follow guts and the heart rather than ratio. Perhaps that is also what makes Hei still feel relevant today. As Hiorthøy puts it when reflecting on the music he made then and the music he makes now: “If I compare the music on Hei to music I’m making now, the general sentiment or smell or air or tree or pull of what I’m looking for and listening after when I work is, I think, for better or worse, more or less the same.”

All music by Kim Hiortøy
Mastered by Stephan Mathieu
Portraits by Kim Hiorthøy
Design by Jelle Martens

Zweite Auflage 2026 -Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork, Vinylfarbe Starlight Yellow! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.

EPILOGUE is the culmination of more than four decades of music-making by Japanese composer, producer and multi-instrumentalist Ken-ichiro Isoda, an album in which environmental sound, electronics, contemporary classical composition and memory converge into a deeply personal late-career statement. Isoda moved through video-game music, film composition, classical production, Okinawan music, television and collaborative projects, continually developing an approach in which acoustic instrumentation, field recordings and electronics could coexist naturally.



His collaborative album Interwoven with aus, released through WRWTFWW, further demonstrated the openness of a musical philosophy Isoda describes as being rooted in fluctuation, imperfection and organic movement.



EPILOGUE brings those threads together while refusing to function simply as a retrospective. The album consists largely of older compositions that Isoda has returned to, reconstructed and reinterpreted from the perspective of the present.



Opening track “TANEKOMA” refers to the Izu Robin, a rare bird native to Hachijō-jima, the volcanic island where Isoda lives. Its song, recorded by Isoda in the mountains, becomes part of the composition itself. Placed at the beginning of the album, “TANEKOMA” becomes both document and prayer.



Elsewhere, “Circulation 2” develops from a work created around the relationship between forest, sea and the movement of water. Flutist Dogen Kinowaki replaces Isoda’s original piano melody with a performance that gives the piece a distinctly Japanese sense of place. Kinowaki also appears on a newly reimagined version of “Beach of the Pliocene”, one of Isoda’s most recognised compositions.“STEPS”, first composed for film in 2008, looks back toward the electronica of that period. For this definitive version, Tsutomu Sonoda of maya ongaku provides vocals, bringing new emotional and lyrical depth to a piece Isoda had wanted to properly complete for more than a decade.



The title track from Isoda’s 1991 New Age album “Yume no Sazanami” is similarly reconsidered. Originally recorded with a small chamber orchestra, the new arrangement replaces elements of the harp and cello with layers of nylon-string guitar performed by Tatsuro Murakami. Perhaps the album’s clearest meeting point between past and present is “WATERWAYS.”The mysterious European ambient artist Aiko Takahashi, transforming an abandoned demo into what is simultaneously the oldest and newest work on the album.



“A Flowering Tree,” written for film in 2013, is reconstructed around multi-tracked flute performances by Dogen Kinowaki. Isoda carries that association into his own arrangement, allowing the piece to function as another quiet meditation on memory, loss and hope.



The album closes with “EPILOGUE” —less a grand conclusion than a moment of acceptance. Isoda chose it as the album’s title piece to hold what he describes as the complex emotions that accompany the twilight of a life spent making music. EPILOGUE is not simply a look back. It is the sound of older music continuing to move, change and breathe in the present: a lifetime of ideas distilled into Isoda’s own form of pure music, shaped by memory, collaboration, nature and the world immediately outside his home on Hachijō-jima.

„Rejoice“ ist eine ganz besondere Zusammenarbeit zwischen Tony Allen, dem legendären Schlagzeuger und
Mitbegründer des Afrobeat, und Hugh Masekela, dem Trompetenmeister des südafrikanischen Jazz.
Die beiden weltberühmten Musiker, die sich in den 1970er Jahren durch ihre jeweiligen engen Verbindungen
zu Fela Kuti kennengelernt hatten, sprachen jahrzehntelang davon, gemeinsam ein Album aufzunehmen.
Als sich ihre Tourneepläne im Jahr 2010 in Großbritannien überschnitten, bot sich die Gelegenheit, und
Produzent Nick Gold nutzte den Moment, um ihr Zusammentreffen aufzunehmen. Kurz nach dem sehr
traurigen Tod von Hugh Masekela im Jahr 2018 und mit neuem Elan holten Tony Allen und Nick Gold
– mit dem Segen und der Beteiligung von Masekelas Nachlassverwaltung – die Originalbänder hervor und
stellten die Aufnahmen im Sommer 2019 fertig; dies geschah in jenem Londoner Studio, in dem auch die
ursprünglichen Sessions stattgefunden hatten.
Das von der Kritik gefeierte Album wurde vom „Guardian“ als „bemerkenswert stimmige Mischung aus
Swing und Afrobeat“ beschrieben, die „einige von Allens bisher besten Arbeiten am Schlagzeug sowie
Masekelas unnachahmliche Bläsermelodien“ präsentiert.
Anlässlich des 40-jährigen Jubiläums von World Circuit Records erscheint diese Veröffentlichung nun auf
„Splatter-Vinyl“ in den Farben Orange, Pink und Weiß.

Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.

"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.

Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."

Repress with a remastering of the Ellipsis 01 by Kastet famous bassliner in a very Daft Punk hard Funk style !

Printed Sleeve / Black Vinyl.

Remastered by Kastet
Cut by The Exchange
Pressed at B-Side Factory

After vocal-led 12”s featuring the likes of Razor and Sikka Rymes, Low End Activist pivots back towards purely instrumental territory for further explorations in the hybridised hardcore sphere. There’s an over-arching air of introspection to the five tracks assembled here, as LEA’s signature bass ructions and jagged, roughly-hewn drums offset with a widescreen line in melancholia.

Dancefloor Tribe, Pumpin and hardtek old school (specially on the flip)

After establishing the Serebii project with several albums’ worth of trancing neo-soul, much of it done in collaboration with fellow New Zealander Arjuna Oakes, Callum Mower had no lack of confidence in his musical abilities. But much of Mower’s focus in the past was on instruments and production—swirling, cinematic instrumentals under his own name or funky art-pop jams with others on vocals. On Dime, however, Mower knew he wanted to push forward with his own singing placed center stage.

CPEN is the alias of Chris Penny and his 'Pirates Life' EP on Seasons Recordings back in the 2000s is one of our all-time favourites. It was used on Craig Richards's fabric mix and still sounds original more than a quarter of a century on as the man behind it has gone on to work with Luke Solomon and Honey Dijon on a Grammy-winning album. It's the title cut that does it for us with the way the groove is so languid and loose as it hangs just above the floor and deep space sounds colour the airwaves. 'Song Of The Muse' is a beautiful synth scape stripped of rhythm and 'Liquid Steps' has a little more bite but still roll on nice soft kicks with life-affirming keys up top. 'Third Quarter' is a majestic post-club comedown with all of CPEN's signature synth sounds and even some brassy smears, making it an utter downtempo delight.

The word classic is a much overused one, but in the case of this much in demand 1999 four tracker, it's no exaggeration. There has been much conjecture over the years over the identity of the producer - or producers - behind the mysterious Clint Foster name, but our lips are sealed, we ain't no grasses. All we will say if you like your techno seriously laced with acid, tough and sinewy but equally funky then then you'll love this. Opener 'Indium' is pinned down by machinefunk handclaps, a gloopy bassline and a synth line that coasts pretty majetsically. 'Patterns' is faster, harder and dubbier, not a million miles in its rhythmic shuffle from Carl Craig's 'My Machines', while 'Throughway' is the truly hypnotic one, big on the atmospheric scale. 'Afterdark' closes things, airy synths swelling and hovering over an addictively chunky beat. No names, no packdrill, just four essentially fantastic bits of classsy techno that haven't dated in all the years since. Essential.

Soft Resonance is a 4-track EP focused on deep, driving techno with a strong sense of space and movement. The tracks are built to work on a system — controlled pressure, solid low end, and evolving atmospheres.
Each piece moves between elevation and grounding: moments of lift and openness contrast with dense, earth-bound grooves designed to lock the floor in place.
Rather than peak-time aggression, the EP relies on tension, resonance, and gradual progression. Rhythms are steady and hypnotic, allowing DJs to shape long blends and transitions. Soft Resonance functions both as a tool and a statement —
deep techno for late hours, focused rooms, and careful hands behind the decks.

With Shades of post-punk, trip-hop and film score dynamics, The Lucid Dreams LP is an immersive multi-genre listening experience that travels through murky underworlds and dream-like hazes.

Jason Wilkins aka Cammile welcomes Lello Di Franco to his long-running Adeen imprint. As usual the Italian veteran has an eye-catching selection of collaborators in tow. Chief amongst these is Javontte, who not only guests on opener 'Do It Right' - a nostalgic chunk of classic house/boogie/jazz-funk fusion - but also flipside cut 'Elements', a hybrid deep house/Afro-house/disco house bouncer topped off with poetic spoken word vocals courtesy of Yvette Garrett. Alongside the duo's original vocal mix, we also get a jacking, stripped-back Toddsonic33 take and a propulsive, percussion-rich 'Vocal Dub'. Elesewhere, Orlando Voorn lends a hand on the appropriately titled 'The Deep', and Di Franco offers up the languid, organ-rich mid-tempo house shuffle of 'Lely The SBT'.

Fred Peterkin releases a lot of music but rarely hands his work over to other artists to remix. This EP, which sees a trio of artists deliver their interpretation of the Berlin-based New Yorker's strings-and-piano-drenched 2023 deep house number 'Someone', is therefore an interesting development. He kicks things off with his own smooth, bass-heavy 2026 'Interpretation', an even deeper and more sensual take that blends dancefloor weight with light-touch jazziness, before Juliet Mendoza takes over with a more locked-in interpretation smothered in warming Rhodes motifs and snippets of soulful, eyes-closed vocal. Dave Aju's take is more weighty, psychedelic and propulsive, while Korea Town's 'Acid' interpretation is darker, faster, tougher and altogether more thickset - the kind of revision tailor-made for peak-time moments in dark basement clubs.

10th Anniversary Edition. Forest Shadow Vinyl. Spricht man MITSKI MIYAWAKI auf Glück an, warnt sie nur: ,Glück fickt dich." Diese Lektion findet sich seit Jahren im düsteren Outsiderindiesound der New Yorkerin, doch wurde noch nie so kraftvoll umgesetzt wie auf ihrem neuesten Album ,Puberty 2". ,Glück ist oben, Traurigkeit ist unten, aber das eine ist fast noch destruktiver als das andere", sagt sie. ,Wenn du feststellst, dass du das eine nicht ohne das andere haben kannst, ist es möglich, Glücksphasen damit zu verbringen, auf die Gegenwelle zu warten." Auf ,Puberty 2" ist diese Spannung spürbar: ein sowohl schönes als auch brutal romantisches Hinterland, in dem eine der neuen Stimmen Amerikas einen mutigen neuen Weg begeht.

To celebrate the 20th Anniversary the album is to be released as a 1LP Zoetrope, featuring the original album newly remastered at Half Speed at the legendary Abbey Road Studios. Plus, different artwork designs on side A+B which bring to life original designer Sanna Annukka Smith’s illustrations in mesmerising motions created by expert Zoetrope graphic designer Drew Tetz. Strictly Limited Edition pressing.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

DJ Rasoul has a knack for crafting stripped-back grooves that pack a serious emotional punch. Samples are often key to it - as well as the way they are deployed - and 'Flight' is a perfect example. The drums are raw with a subtle stumble that keeps you locked, while the vocals are smeared in painterly fashion through the mix. The Paka Project remix is a little brighter while Andrew Macari sinks into vast kicks for a deeper trip. The Natural Rhythm remix is more sleek and sunny with extra vocal fragments and a warmer edge.

Spain's celebrated deep house outlet Mate comes correct again here with an EP that deals in rich musicality and mature emotions. HITTO aka Alberto Alba is the Mallorcan producer behind the music and his childhood love of jazz really shines through. Opener 'Beyond Words' has singing synths that speak to the soul with lovely ambient chords. Then, 'Take Me Away' brings groovy percussion and cosmic synth transmissions that make it feel all the more profound. Glenn Underground is the perfect remixer to dial up the sunshine with his astral rework of 'Beyond Words' before 'Swish' shuts down with a mix of smeared chords that radiate sun over a grittier bassline. Four accomplished cuts.

Chilean label Soundrive hits double figures with an EP that is as tasteful for house heads as all the other have been. Four serious names step up for this one, starting with Nottingham's DIY man Nail. His 'In The Sky' has all his usual hallmarks - heft to the groove and rawness to the drums, but also an emotional pull that cuts through from the woozy sax notes. Sakro stacks up his kicks into driving, nicely pressured loops on 'Deep In The Street' and runs them through with some thoughtful pad work and Texan Brett Johnson brings his usual off-beat tech house trippiness to 'Beautiful Smurf'. Gari Romalis shuts down with a warm, enveloping dub classic in the form of 'I'm Ya Dancer' complete with smoky vocals and wispy pads that are primed for dead of the night sessions.