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(limited red vinyl, including poster / lyric sheet) 'The Way You Talk Reminds Me Of Home' is the second album by Belgian indie band BLUAI. Two years after their warmly received debut 'Save It For Later' and an extensive run of shows across some of Europe's biggest festivals and venues, the three-piece return with their most ambitious and immediate record yet.


Across eleven songs, BLUAI explore what it means to live somewhere between past and present. Conversations with family, friends, partners and people who resurface after years away become starting points for songs about childhood, love, grief, responsibility and the uncertainty of approaching thirty. Rather than a traditional coming-of-age record, 'The Way You Talk Reminds Me Of Home' is about figuring things out while you are already in the middle of them.


Produced by Isabel Gracefield (Adele, Dua Lipa, PJ Harvey, Radiohead...) and recorded at London's legendary RAK Studios, the album was made with a deliberately instinctive approach.


BLUAI much as they sound on stage: raw, direct and closely connected.

“Everybody wants the map, but the correct one is not coming. This is understood, somewhere below language, by everyone who wants a map anyway. Meanwhile the map dealers, those slick druids and wizards, goddamn sell-outs, will try to seduce you with one. Don't buy from them. Their maps only show burned black fields.

What passes instead between the ones still walking is smaller and does not require a subscription. A sign. Nailed to a fencepost, or to an unexpected streetlight surrounded by darkness. Left by someone who was thirsty on this road back when you were only a rumor. It says one thing: water, this way.

So leave signs. Just mark the water you found and move along. It is one of the oldest customs - strangers keeping each other alive and hydrated on a long road.”

Bo Harwood (1946–2022) was one of those behind-the-scenes figures of American independent cinema: a self-taught musician, composer, sound editor, sound mixer and songwriter.

Harwood started out as the lead singer and guitarist of a Southern California rock band before a chance meeting with John Cassavetes changed the course of his career. He scored his first feature, The Bach Train, in 1969, and later joined Husbands as an inexperienced assistant in the editing room. He gradually became Cassavetes’s sound editor, music supervisor, composer and sound mixer, eventually working across six of his films, from Husbands and A Woman Under the Influence through The Killing of a Chinese Bookie, Opening Night and Love Streams.Harwood’s music is inseparable from the peculiar emotional universe of those films: strange, romantic, funny and often devastating.

Harwood and Cassavetes worked closely and instinctively together, developing music in the process of making the films. The surviving master tapes reveal something of this exchange: alongside finished pieces are improvisations, experiments and conversations, capturing the two of them working through ideas in real time. Harwood’s compositions were often recorded as rough “scratch tracks”, with Cassavetes preferring their immediacy and vulnerability to more polished arrangements.

This nine-track LP brings together some of that work. There is something wonderfully intimate about hearing these recordings outside the films: the songs stand on their own, while retaining the rawness and emotional charge that made Harwood’s collaboration with Cassavetes so distinctive.

A small document of a remarkable and largely overlooked body of work.

Tracklisting:

Kapote presents: ITALOMANIA Vol. 4.

Toy Tonics Italomania Vol. 4 is a compilation dedicated to new ITALIAN DISCO. Not ITALO DISCO.

10 new tracks made by young producers from Italy, exclusively made for Toy Tonics. All songs with Italian vocals.

Made with a lot of love by

Cleeeo, Giorgio Lopez, Magnolia, Juan Soto & Sam Ruffillo, KOKO, Luca Averna, Ricardo Baez, Euro Nettuno, The Cube Guys and Paccone.

The Italomania compilation was initiated by Mathias ‚Kapote‘ Modica. Creative mind behind Toy Tonics and half italian producer himself.

The series is a manifesto to show the status of Italian disco of today.

Kapote invited the most relevant producers to show different new styles of modern Italian disco and house music.

With a wide range of influence: Live disco, indie dance, italo pop, and italo house.

Italian disco is not Italo disco. The last few years saw a big revival of the trashy pop music of the 1980s called Italo disco, mostly with English lyrics.

But this compilation is about something else. It is about this new Italian disco. Toy Tonics wants to show a new way to combine Italianity with dance culture.

The Italomania Vol. 4 Artists

Cleeeo - Come Tocchitu: A sexy and sophisticated disco house track by 22 year old newcomer DJ and producer Cleeeo. Driven by a warm, uplifting groove and strong dancefloor energy. The record is dedicated to Brazil. The vocals move between Italian and Portuguese. This creates a natural bridge between two cultures.

Giorgio Lopez - Italiani Brava Gente: Giorgio Lopez is an important player from the much talked about new music scene from Napoli.

For "Italiani Brava Gente," he teams up with Los Angeles artist Sueño. The track is a tongue-in-cheek take on the stereotypical Italian male. It pays homage to late Italodisco legend Pino D’Angiò. The story unfolds from the perspective of a foreign tourist navigating the contradictions of self-proclaimed Casanovas.

The Cube Guys - Saper Ringraziare: The legendary italo house duo shows their Italian vibes and musical taste with “Saper Ringraziare”. The track captures the warmth of summer and the infinity of urban nights. A combination of early Italo disco elements mixed with their typical groovy beats.

Magnolia - Vesuvio: Magnolia’s “Vesuvio” is a cover version of a song from the 1960s by artist E’ Zezi. While the original is more in a folk vibes, the new version is an irresistible piano house track with groovy, sun-soaked vibes. It is made for the dance floor. This track blends Mediterranean roots with the euphoric energy of modern house. Some might know the vocals already from another cover version by Nu Genea from the previous album.

Juan Soto & Sam Ruffillo - Italomexicano: What happens when a Toy Tonics artist hangs out in Mexico city and teams up with the local scene? The result is here. A blend a Toy Tonics sound and tons of vintage synthesizers and some additional production by Mexican producer talent Juan Soto.

You get "Italomexicano". A fuse of the mystique of Mexican mariachi with the magnetic pulse of Italo disco.

KOKO feat. Elena Moroder - I Can't Understand: This melancholic piano house track is a serious floorfiller! Goosebumps! Italian DJ and producer KOKO teams up with Elena Moroder on "I Can’t Understand". Elena delivers a captivating vocal performance. The track explores the misunderstandings of a relationship where emotions were never fully expressed. It blends an iconic piano melody with warm, uplifting grooves.

Luca Averna - Le Luci Della Pista: Luca Averna is a DJ, producer, and resident at the iconic Pikes Hotel in Ibiza. "Le Luci Della Pista" is an energetic track designed for peak-time Ibiza moments while keeping a strong groove and a playful spirit.

Ricardo Baez - È Venerdì: Ricardo Baez is an Italian-Venezuelan DJ and producer. He is known for his distinctive blend of house, dark electro, italo disco, and leftfield electronics. Well respected in Italy's contemporary electronic scene he has been releasing on labels such as Running Bag, Permanent Vacation, Bordello a Parigi, Correspondant, Mule music, Live at Robert Johnson.

Euro Nettuno - La Notte Chiama: These guys are hot! Part of the Polyamore Crew, one of the rising italian new disco collectives their sound mixes Italo house from the 1990ies, electro and Pop in a very cool new way.

Paccone - J'Adore Napoli: Vincenzo Paccone is a DJ, producer but also very renowned graphic designer. He is co-founder of NSS. A fashion agency that is by now one of the leading italian fashion crews. He has been also working as a designer for Circoloco Ibiza for many years and organizes some of the hottest parties in Napoli currently. He makes his official debut as a producer with “J’Adore Napoli”. It is a vibrant tribute to the house music culture born in Naples. The track draws inspiration from the late 1990s and early 2000s. And is part of a NSS campaign about the ’new coolness of the city of Napoli“.

Gasba fire drawn from Ahlem Édition, the Oran-based label founded in 1992 by Abdelkader Haci.
Hypnotic flute melodies laced through hard-grooving, synth-led raï rhythms, heavy drum machine workouts, throbbing basslines, and slow-burning, hyper-soulful witness.
Hotly recommended.

Hoshina Anniversary returns to MUSAR for his fourth appearance on the label with Sankaku, a five-track EP offering the latest snapshot of his ever-evolving ‘Watechno’ sound.

Taking its name from the Japanese word for ‘triangle’, Sankaku opens with a storming, floor-focused title track, pairing hypnotic techno rhythms with shifting textures and sharp acid drops. Tsuppari follows, named after the rapid hand thrusts used in sumo. Driving percussion, Japanese instrumentation and a raw techno pulse give the track a physical, forward-moving energy, making it a natural club cut.

Side B opens with Kono Kanjitte, where acidic tones meet jazzy elements and a playful sense of uncertainty. Slower and psychedelic, it unfolds as a track for restless minds and hazy nights. Ariake, named after the Ariake Sea, moves into more spacious territory, with Japanese instrumentation creating an atmosphere of mystery and anticipation, like looking towards an unknown horizon. Closing the EP, Itsukushimi brings a melancholic blend of melodic touches and darker cinematic tension, recalling the atmosphere of a Hitchcock soundtrack.

With ‘Sankaku’ EP, Hoshina Anniversary turns Japanese imagery, psychedelic textures and club-driven rhythms into a world that feels both familiar and otherworldly.

Experimental speecore hardcore. colse to be Industrial.

mint stochk find

Screen Printed sleeve !! Thick Ink !! That's pretty solid !

The record open on a regular Atari Hardcore pusher... But the 2 other tunes are defenitly more trippy and space. The Tony Kata,na offers an epic incoming 250/260 BPM Minimalistic Hardcore.

The other side is a full-side psychedelic banger at 240 BPM, with a solid doppleganger form.

Enjoy this autoprod, limited. And handcrafted !

Im Jahr 2026 feiert Big Crown Records sein zehnjähriges Jubiläum. In zehn Jahren kann viel passieren, und das ist auch geschehen. Aus sehr bescheidenen Anfängen hat sich Big Crown zu einem der angesehensten Independent-Labels der Welt entwickelt - mit einem unglaublich talentierten internationalen Künstlerstamm und einem unvergleichlichen Katalog zeitloser Musik. Leon Michels und Danny Akalepse gründeten Big Crown im Jahr 2016 mit einem einfachen Leitgedanken: gute Musik zu veröffentlichen, an die sie glauben - unabhängig vom Genre. BCR10 - Ten Years of Big Crown ist eine Mischung aus Retrospektive und Aktualität: bewährte Perlen aus dem Backkatalog, gemischt mit grundsoliden Stücken aus den neuesten Alben. Eine Doppel-LP mit ausgewählten Titeln von Bacao Rhythm & Steel Band, Lady Wray, Brainstory, Derya Yildirim & Grup ímcek, El Michels Affair, Thee Lakesiders, Dave Guy, Les Imprimés, Homer, Thee Marloes, Lee Fields & The Expressions, Bobby Oroza, Marco Benevento, The Shacks, Paul & The Tall Trees, Thee Heart Tones, Surprise Chef, 79.5, Liam Bailey und Holy Hive. Einen tieferen Einblick in die Geschichte von Big Crown vermittelt auf perfekte Weise der Begleittext des einzigartigen Journalisten und DJs Jeff Mao.

A document of chill-out room dreamscapes transmitted from San Francisco circa 1993-1994.

Rooted in live improvisation and arriving at the sweet spot where nascent dance music collided with dub tradition, Selene Songs marked an early highpoint for Sunshine and Moonbeam Jones' enduring partnership as Dubtribe Sound System. This collection of dreamy, harmonious grooves and ambient excursions were recorded between November 1993 and January 1994, captured live in the chill-out room at the duo's legendary Come-Unity parties held at their home on Bryant Street in San Francisco.

Selene Songs was originally released on Chicago-based label Organico in 1995 as a CD and abridged 12" EP. Now it receives a full reissue that spreads the blissed-out majesty of the full seven-track album across a double vinyl pressing and CD digipak edition. Across all formats, Kristen Anderson's original artwork has been faithfully reproduced.

“… All the elements of classic ambient dub with the Tribe’s own sense of love wonderment. One from the heart." - Muzik Mag - 1995

“ We have faith that the universally accessible warmth oozing from these tracks will eventually entice a larger audience." - Billboard - 1995

Number 1 on the Eastern Bloc shop chart - Muzik Mag - 1995

A document of chill-out room dreamscapes transmitted from San Francisco circa 1993-1994.

Rooted in live improvisation and arriving at the sweet spot where nascent dance music collided with dub tradition, Selene Songs marked an early highpoint for Sunshine and Moonbeam Jones' enduring partnership as Dubtribe Sound System. This collection of dreamy, harmonious grooves and ambient excursions were recorded between November 1993 and January 1994, captured live in the chill-out room at the duo's legendary Come-Unity parties held at their home on Bryant Street in San Francisco.

Selene Songs was originally released on Chicago-based label Organico in 1995 as a CD and abridged 12" EP. Now it receives a full reissue that spreads the blissed-out majesty of the full seven-track album across a double vinyl pressing and CD digipak edition. Across all formats, Kristen Anderson's original artwork has been faithfully reproduced.

“… All the elements of classic ambient dub with the Tribe’s own sense of love wonderment. One from the heart." - Muzik Mag - 1995

“ We have faith that the universally accessible warmth oozing from these tracks will eventually entice a larger audience." - Billboard - 1995

Number 1 on the Eastern Bloc shop chart - Muzik Mag - 1995

Yr Knives is a Chicago instrumental quartet built around two very different guitar voices. The band came together sideways: composer Paul Karner wanted guitarists Andrew Trim and Brian Sulpizio to play disparate parts on a recording of his own, and when the two finally rehearsed together, a band fell into focus. Trim leads the groups Hanami and Retroreflector; Sulpizio is the constant behind Health and Beauty. Anchoring them are two Chicago mainstays, bassist Douglas McCombs (Tortoise, Eleventh Dream Day) and drummer Quin Kirchner. Two of them come up as rock and roll players, two as jazz players, and the music lives in how closely they listen across those languages.

Their debut, Begin Yr Singing, centers on two overdriven guitars merging into something neither could produce alone, over a rhythm section that can lock a groove or let it drift. The result is exploratory but grounded, "a searching music," in Trim's words, that asks questions it doesn't always answer and shifts from one performance to the next. Recorded live in a single room at Chicago's Palisade studio with Nick Broste engineering and mixed by Cooper Crain with Sulpizio, the six tracks draw on Sonny Sharrock, Neil Young and Crazy Horse, Albert Ayler, Erik Satie, and Television. The band has toured supporting The Messthetics.

Die Band ,The Black Heart Procession" besteht aus den beiden Hauptsongwriter Tobias Nathaniel und Pall A. Jenkins, die beide zuvor bei ,Three Mile Pilot" mitwirkten. Manchmal treten sie als reines Duo auf, zu anderen Zeiten laden sie Freunde ein, mitzuspielen. Mario Rubalcaba (Clikitat Ikitowi), Jason Crane (Rocket from the Crypt) und Kazu Makino (Blonde Redhead) wirkten an der Entstehung von ,Three" mit. ,Three", das ursprünglich im Jahr 2000 erschien, ist das dritte Album der Black Heart Procession in voller Länge. Die Klänge der Instrumente verschmelzen miteinander und untermalen den Rhythmus von Palls ausdrucksstarkem Gesang. Jeder Song scheint sich unaufhörlich vorwärts und rückwärts zu bewegen und spielt dabei mit dem Kontrast zwischen hellen Klängen und dunklen, grüblerischen Themen. The Black Heart Procession brechen Herzen mit der Verschmelzung von Klängen aus Klavier, Säge, Pumporgel, Gitarre, Trompete und Gesang sowie dem einen oder anderen ungewöhnlichen Perkussionsinstrument. Die Klänge mögen bei einigen von Ihnen Schmerz oder Freude auslösen - oder beides -, da ihre Musik von Trauer und Herzschmerz durchdrungen ist, doch es liegt ein unterschwelliges Element der Befreiung darin.

Seit der Gründung von 2nd Grade im Jahr 2018 hat der in Philadelphia ansässige Songwriter und Produzent Peter Gill (der auch Gitarrist der Alt-Country-Band Friendship ist) eine Reihe spektakulärer neuer Welten erschaffen ausgehend vom 20. Jahrhundert-Gitarrenpop, wobei er dessen typischen Klischees irgendwie meilenweit hinter sich lässt, indem er sie genau bis zu ihrem logischen Ende verfolgt. Girls and Boys" ist das neueste Album von 2nd Grade und das erste bei Lame-O Records eine Sammlung von zwanzig Songs, von denen keiner länger als drei Minuten dauert, vollgepackt mit unwiderstehlichen Gitarrenriffs, Power-Akkorden, rasanten Drumbeats und wirbelnden Melodien. Songs von schwindelerregender Komplexität, die man trotzdem nicht aufhören kann zu summen. Auf Girls and Boys" gelingt 2nd Grade immer wieder der wundersame Trick des perfekten Popsongs: Es so aussehen zu lassen, als wäre es ganz einfach.

Für ihre zweite LP ,Iconoclast HaHa" greift das Vierer-Ensemble Aluminum aus San Francisco den Shoegaze, Big Beat und Alt-Pop ihres Debüts ,Fully Beat" (Felte, 2024) auf und heizt die Stimmung richtig ein. Im Gegensatz zu früheren, selbst aufgenommenen Alben besteht das Album aus einer Reihe mitreißender Studioaufnahmen der gesamten Band , die alle während einer inspirierten Woche mit Toningenieur Jack Shirley im Atomic Garden Studio in Oakland aufgenommen, abgemischt und gemastert wurden. Die Leadsänger und Songwriter Marc Leyda und Ryann Gonsalves schaffen weiterhin die Balance zwischen poppiger Eingängigkeit und experimenteller Unbekümmertheit, während sie diese Songs mit Spontaneität, Unmittelbarkeit und Post-Punk-Hartnäckigkeit erfüllen. ,Wir wollten, dass dieses Album gitarrenlastiger wird", bemerkt Leyda, ,deshalb haben wir über Marshall-Stacks aufgenommen, um ihm ein schwereres Feeling zu verleihen und einen schnelleren, punkigeren Sound zu erzielen, der bei Live-Auftritten gewaltig und mitreißend wirkt." Thematisch nennt Gonsalves als große Inspiration ,die Frustration, in einem gesellschaftlichen System zu leben, das dich zum Scheitern verurteilt, in dem du immer ,nicht genug` oder ,zu viel` bist, und all die Wut, Erschöpfung und den Druck, dich anzupassen." Im Rückblick auf das Zusammenspiel von Stimmung, Botschaft und Strudel auf ,Iconoclast HaHa" erläutert Leyda anhand seiner ultimativen künstlerischen Frage: ,Wenn es sich so anfühlt, als würde die Welt in Richtung Untergang kippen, machst du einfach weiter und versuchst, etwas Kraftvolles und Sinnvolles zu schaffen - denn was bleibt dir sonst übrig?"

For Luca, Cuylan’s new album of elegant modern classical, globally informed folk and gentle electronic music, is in part a tribute to his dearly departed dog. Luca came into Cuylan’s life like a key unlocking a door, leading to experiences and experiments simultaneously new and familiar. Back then the Turkish-born musician was living in LA with his wife, leading a busy creative life, writing and recording scores for films and Netflix series, and suddenly with the adoption of Luca here’s this bouncy, furry being demanding constant attention. Cuylan accepted the responsibility like a father welcoming a child. He grew closer to his wife. He started psychoanalysis. He returned to acoustic guitar, his original instrument, waylaid for 20 years in favor of synthesizers and electronics, pulsing post-rock and skittering jazz. Luca was there in the studio when Cuylan recorded his first solo album, 2021’s No Such Thing As Free Will, which The Guardian said “seems to invent new languages for the guitar.” Without a doubt, Luca the dog made Deniz the musician more expressive and more vulnerable. Better at his craft. Better at his humanity. Luca was just five years old when bone cancer struck. He exited far too quickly, a comet of joy passing into the dark, unfathomable universe. Cuylan found his absence very hard to process–he was just right here! It took a couple years, but inevitably Luca, the catalyst for Cuylan’s current chapter, inspired new artistry after his death–from Cuylan, and from a host of collaborators from around the world who contributed to For Luca. All of them share an abiding compassion for the more-than-human creatures with whom we share this planet–dogs, cats, whales, ants, trees. The entire menagerie, humankind’s kindred. The album is a collective meditation on–and celebration of–their immeasurable essence. It was born not from despair but from a transcendent love that burns all the brighter for its brevity.

Open Universe is a new record label founded in 2025 following an invitation to envision a series of releases for the German production music library Sonoton.

Curated by Jon Tye (Lo Recordings, Ocean Moon, Seahawks, MLO) with a remit to explore and create new worlds of sound in which to dwell and discover. Prismatic Fields is a collaboration between Ocean Moon and Silver Ley (Jon Tye & Bethany Ley), together they create metaphysical pop from another dimension where warm oscillations mingle and resonate to conjure a world alive with light and life.

An album that leans lightly into the worlds of fantasy synth and sacral medievalist electronics where silken harp glissandos, synth waves and enchanted vocal tones mix with lush fourth world textures and clusters of rhythmic invention.

Tripping into spaces modern and game-like, soundtrack moods that dip into the liminal dream states found in the work of Daniel Lopatin, Susumu Yokota and Boards Of Canada. Music that is both functional and formless, designed to stimulate and facilitate, to inspire and motivate.

Ocean Moon & Silver Ley will be performing live alongside Sonic Boom and Alexis Taylor at the Sonoton Music Label showcase @Schmidtchen, Hamburg 17th September 26.

Straight into fifth gear.

Texan beatmaker Flobama continues his Astrophonica journey with the four-track EP ‘Soundboy’s Return’, exploring fuzzy Jungle/Hip-Hop crossovers with the help of the now-iconic Amigo software. The results so far have been full of character and depth, marking the emergence of a distinct artistic identity. Now more than ever, a unique sonic palette feels essential—and Flobama has one in bucketloads. From the first pad, chord or whiff of a breakbeat, his sound is instantly recognisable: a fresh, modern take on a classic formula.

Match Box continue an unstoppable run of form. Following their 2026 12” on Neptune Discs and relentless support from Job Jobse, they link with Amsterdam’s Mixolydian for a summer-closing split that marks their debut on the label. The record brings Mixolydian’s slick tech-house sensibility together with Match Box’s vibrant prog palette.

Played by Peach and Gabrielle
Kwarteng during their b2b at Junction 2, the A1 pairs catchy vocal cuts with a relentless, festival-ready groove — while Bliss Inc. joins the ozone on remix duties on A2 with a heads-down, tunnelling dose of wormhole prog.

The B-side is built for movement. ‘Go’ locks shuffling hats, alien bleeps and whispered fragments into a restless club groove. The B2 is pure vortex prog: warm trance pads, a hypnotic inward pull and a huge, ecstatic breakbeat that arrives out of nowhere at the breakdown.

Four club tracks spanning vibrant prog and heads-down pressure. Limited edition 12” and digital.

Each year, countless people slip quietly out of their own lives, leaving no trace behind. The Japanese have a word – 蒸発 “joha’tsu” – the ones who “evaporate.”

Some flee mundane and heavy lives or simply the shadow of themselves. A few turn to the – 夜逃げーや “yonige-ya” or “night‑movers” – companies that specialize in helping someone vanish and begin again in some distant place.

Als genreübergreifende Meister des Stoner Metal präsentiert sich die neueste Besetzung von Sleep mit Gründungsmitglied und Hauptsongwriter Al Cisneros, der nun gemeinsam mit dem Ausnahmetalent Dale Crover (Melvins, Redd Kross) am Schlagzeug und dem ikonoklastischen Bubba Dupree (Void) an der Gitarre. Während einfachere Geister vielleicht die Redundanz einer monotonen, sich wiederholenden Übung suchen, ist der Fahrplan des neuen Albums ,Hempispheres" eine explorative Vision, die Überladung durch Nuancen und Subtilität ersetzt und dennoch das Zusammenspiel bewahrt, das die Band von Anfang an so besonders gemacht hat. Während also in den Diskussionen auf Foren und in den Kommentarbereichen das einvernehmliche Ausscheiden des langjährigen Gitarristen Matt Pike beklagt wird, werden echte Fans, Visionäre und aufgeschlossene Wahrheitssuchende gleichermaßen belohnt - nicht mit dem Sleep-Album , das sie erwartet oder erhofft hatten, sondern mit ,Hempispheres" als dem Album, das gerade gebraucht wird.

Als genreübergreifende Meister des Stoner Metal präsentiert sich die neueste Besetzung von Sleep mit Gründungsmitglied und Hauptsongwriter Al Cisneros, der nun gemeinsam mit dem Ausnahmetalent Dale Crover (Melvins, Redd Kross) am Schlagzeug und dem ikonoklastischen Bubba Dupree (Void) an der Gitarre. Während einfachere Geister vielleicht die Redundanz einer monotonen, sich wiederholenden Übung suchen, ist der Fahrplan des neuen Albums ,Hempispheres" eine explorative Vision, die Überladung durch Nuancen und Subtilität ersetzt und dennoch das Zusammenspiel bewahrt, das die Band von Anfang an so besonders gemacht hat. Während also in den Diskussionen auf Foren und in den Kommentarbereichen das einvernehmliche Ausscheiden des langjährigen Gitarristen Matt Pike beklagt wird, werden echte Fans, Visionäre und aufgeschlossene Wahrheitssuchende gleichermaßen belohnt - nicht mit dem Sleep-Album , das sie erwartet oder erhofft hatten, sondern mit ,Hempispheres" als dem Album, das gerade gebraucht wird.

2026 Repress

Regelbau chief Natal Zaks, who you may better known as Danish house talent Central, returns to his Picture alias hot on the heels of a full-length under the same moniker on his usual home, Short Span. This EP comes on P-TON, NMP's sub label, and is pristine dub techno with clean lines and minimal fuss. 'Faaaaaaaaa' has the right amount of swing and pop under sleek chords, 'Gaaaaaaaaaa' is less about firmware demotion and more about locking you in an endless cycle of brain cleansing thought. 'Kaaaaaaaa' is a darker world of cavernous bass and icy futurism and 'Tuuuuuuuu' nods to the best of Basic Channel. Proper dub techno that reinvents nothing but does everything exceptionally well.

After cutting his teeth in the late '70s No Wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveils Branca's visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC's downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans.

The title track is easily Branca's most-accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Philip Glass. Never before (or since) has minimalism sounded so euphoric. "Dissonance" is the A-side's polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process.

WHIMM formed around the shadowy heart of the Toronto post-punk underground over a decade ago. The partnership between Mounir Al Shami and Andrew Matthews has emitted sporadic musical shards over time, while slowly evolving into something so much bigger than its beginnings. Ideas seep out of every corner of No Promotion, showcasing a burning desire to explore and challenge while delivering very direct sonic offerings. The result is an album that feels as if you took the entire Coil discography and smashed it into pieces, assembling these precious songs from the fragments. Or as if Vangelis beckoned Section 25 to the studio in hopes of recording the score to a seedy film. The resulting LP is in a state of flux – equal parts motion and decay.

Patrick Flegel, of Cindy Lee, welcomed Al Shami and Matthews into REALISTIK Studios in Montreal to engineer half of the tracks for the album, including lending guitar to the opening track "Five in Decline." That influence is evident early on, as the first three songs are taken from those sessions. "Five in Decline" throbs and barks before racing through the hallways closing in around it. "Another Labour" slows to a spidery waltz as anxious melodies call out to one another. "Returnal" pulses, floats through the night sky and haunts you forever. "Rye" carves a percussive pathway toward similar travellers like Terry Riley and Jon Hassell, before the lament of "A Death Remembered" forms the perfect midpoint for the record. A slow build countered by twitching drums and blanketed by organs recorded at Metropolitan United Church in Toronto, it feels like emotion right on the edge of resolve.

"Rhymes of December" screeches through on a solitary train under the towering cityscape as the flickering lights blur past, its doors opening to the candlelit altar of "After the Last Sky" (those beautiful organs again) with an operatic swirl. "K'20" throws you into a claustrophobic and chaotic cab ride (Who is talking? Are those sirens?) until you finally find the quiet of the early morning, waiting at the window for the sun to join you once again as the first notes of "No Promotion" are delicately plucked. The final song from the Flegel sessions, it is over eight minutes of contemplative beauty. A restless heart that is ready to rest. Closing with a final apparition in the key of The Caretaker, "After the Last Sky (Reprise)" is a return to melody when words lose all meaning.

Al Shami and Matthews weave their lyrics throughout, words describing a search for lucidity, and of reactions and reflections. Al Shami – speaking from the Palestinian diaspora – ruminates on displacement, both personal and collective. His journey from having "been without a land and I can still see clearly" in "Rhymes of December" to a more defiant "we will be back again, no matter how it ends or where we've been" in "Returnal" takes a very insular turn on No Promotion. That sense of alienation pulls at the very center of a relationship when land and circumstances separate: "And after our last breath, all that's left in me is our flesh and fears, your last words would swim for years, you'll never find a home in me." Hearts on the outskirts that know the direction.

Mit der 30th Anniversary Edition von Weekend wird eines der pragenden Alben der deutschen Nachwendegeneration elektronisch gepragter Independent-Musik neu aufgelegt. Als das Album 1996 erschien, markierte es einen entscheidenden Wendepunkt fur Kreidler: Die Dusseldorfer Gruppe bundelte erstmals die unterschiedlichen Einflusse aus Electronica, Post-Rock, Krautrock und improvisierter Musik zu einer eigenstandigen kunstlerischen Sprache. Entstanden aus Live-Improvisationen und weitgehend direkt im Studio eingespielt, entwickelte Weekend eine bemerkenswerte Naturlichkeit und Dynamik, die bis heute nichts von ihrer Wirkung verloren hat. Nationale und internationale Medien feierten das Album als wichtigen Beitrag zwischen Clubkultur und experimenteller Rockmusik, wahrend der Titel "Reflections" der Band erstmals großere Aufmerksamkeit verschaffte. Die Jubilaumsausgabe wurdigt nicht nur einen Meilenstein der Bandgeschichte, sondern unterstreicht zugleich die anhaltende Relevanz einer Gruppe, die auch drei Jahrzehnte spater kreativ und produktiv bleibt.

Norwegian Paris- based producer and multi-instrumentalist Sprutbass (Eivind Henjum) returns to on the European music stage with his latest EP RALLY SKANDINAVIA EP(Musique Large 2026) This album is a high-octane, hard-hitting sonic journey deeply rooted in the rich heritage of Scandinavian electronic music, fusing the historic legacy of Norwegian space-disco with a glittering and funky cosmic futurism.

The EP is co-produced and mixed by the legendary norwegian dj and producer Prins Thomas and features contributions from innovative trombonist Rick Parker (Mingus Big Band, Wu-Tang Clan) and avant-garde drummer/percussionist Håkon Berre (Peter Brötzman, Otomo Yoshihide).

London duo Kassian trade darkness for daylight on Gradients, their third EP for !K7 Records

The EP arrives as a bridge between last year's debut album and a new live show and sophomore LP, due in 2027

As Kassian, Warren Cummings and Joe Danvers continue to sit apart from any one scene. Their fruitful relationship with !K7 has spanned eclectic and global club cuts, including the spatial breaks and bass of 2024's best-selling Supercontinent EP. 2025's debut album, Channels, emerged from lockdown so leaned slow, downtempo and introspective, but this new EP points toward a clubbier, more physical direction that will carry through into album two.

Crucially, the record was written and played live on an array of studio gear rather than assembled piece by piece in the box. It's a way of building towards their first fully live show in 2027 - a hands-on, jam-first approach that leads to "happy accidents" and the unpredictable textures that hardware throws up and no amount of in-the-box planning can replicate.

Gradients is built for the floor without playing to trends and marks some of the duo's most melodic work to date. Rather than sitting purely in heads-down territory, the EP folds in hooks and vocal fragments that lift you out of the smoke and the shadows of the club. The low ends are still rooted in techno with potent drums and bass, but deft vocal hooks and subtle melodies bring a brightness that deliberately steers away from the darker, meaner aesthetic dominating much of dance music right now.

Vocal touches throughout nod to what's going on in the wider underground without tethering to tried and tested tropes. Opener 'Blush' rides warm, soft yet bold melodic riffs, looping in arcs over a hunched, speedy tech house groove. 'Ritmo' is a muscular bouncer with spring-loaded bass, 'Inner Dance' has lurching drums and a cavernous rhythm with vocals that make a playful nod to sound system culture. Last but not least, 'Sweat' is the brightest and most bubbly cut on the EP, with a tight techno low end infused with a velvety whispered vocal.

The Gradients EP is a bright, hardware-built prelude to Kassian's next chapter and a typically well-crafted four-tracker that pairs physical weight with classy emotional release.

Frenchman Janeret heads up the second release on fledgling label Species. Deep in the game for over a decade now, Janeret has an innate ability to blend emotive layers of electronic funk with sultry grooves and hypnotic rhythms. His output is impeccable, each release encapsulating his emotionally rich approach. On the road, he’s an in-demand selector, channelling his love for sharing music that moves people into spellbinding sets from Europe to the USA, Australia and South America.

On the Vibrations EP Janeret embodies the essence of what makes him unique: combining the core foundational components of his sound to produce four dancefloor-ready cuts that epitomise where he’s at right now…

The EP opens with its title cut, ‘Vibrations’, a steppy production with an enchanting riff and mythical melodies. A reggae vocal utters “vibration” intermittently, accompanied by a hip hop sample, demonstrating Janeret’s broad sonic palette. Layered drum arrangement and deep bassline make this one a surefire dancefloor groover.

Up next it’s ‘No End’, a mesmerising trip driven by crisp percussion and a mean b-line. As the drums roll out, Janeret introduces jaunty layers that add cosmic funk to the cut. With each stage of progression the swirling funky synths envelop the listener more and more, immersing you in their wistful vibrations. A spinetingling break allows space for a short breather before the beats come back in, guiding us to the close.

On the flip we have ‘Fazed’, which kicks off with sturdy breaks and a highly effective, simple melody. The low end is immediately captivating, complementing the melody with a little more complexity. Together, the beats, bass and uncomplicated melody build steadily, with more elements added bringing further depth to the cut. This is one for closing your eyes and really losing yourself in the moment.

Finally, ‘Sub Pressure’ closes out the EP with a dreamy, yet bass-heavy atmosphere. Soft pads glide across the top layer, while a hefty b-line balances things out in the bottom end. Janeret’s exquisite production keeps things progressing with subtle elements creeping in throughout, creating a symphony of electronic sound and vibration. Let the brighter layers tantalise your spirit, while the bass moves your body.

Masterful work from Janeret here, with four versatile tracks designed to move the dancefloor across mind, body and soul. Feel the Vibrations…

Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.

A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.

Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.

Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.

Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.

The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.

Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.

Craig Alexander drops back with the Soul Revival repress — a raw, deep house cut built for heads who know. Originally released on Transparent Records, now back on wax through Phonogramme.
Limited-run energy, timeless groove, straight-up dancefloor business.

Feedbacks:

Dave Huismans (ex_libris, In Transit) : Nice to get Soul Revival digitally, thanks!
Ben UFO (Hessle Audio / Rinse FM) : absolute classic
Laurent Garnier : SOUL REVIVAL is super cool track Will play
Mike Shannon (Cynosure) : Nice to have this one back! thx
Prosumer : this a journey into sound
Red Eye (Crash Planet Rec, R.E.A.D., Red/Shift, Lavish Habits, Multipass) : ahh i have this original vinyl. Glad to have a digi!!!
Dorian Paic (Raum Musik) : good re release too. Soul Revival is the one for me, in the past and now as well. ;) Thx for the promo !!
Hunee (Rush Hour) : lovely reissue
DJ Bone (FURTHER) : Lovin Feelin works for me, thanks
Chloe Caillet (Smile Records) : love these!
Franck Roger (Real Tone Records) : soul revivais is dope as always !!!
Terence :Terry: (La Vie En Ros / Freak N Chic) : what a good remember we use to played it a lot " Soul Revival" super track to surprise everyone Terence :Terry:
Tripmastaz (Plant 74) : tight cutz
Jorkes (Freeride Millenium) : soul revival is cute
Girls Of The Internet (Classic) : Classic!
Geir Aspenes (G-Ha (Sunkissed)) : Thanks
Terry Francis (Fabric) : nice
Sven Weisemann (Mojuba Records) : absolute classic!!!
Pacific Coliseum (Dublab, Teen Daze, Noire & Blanche) : DEEP!!! These are gorgeous, thank you so much for sending!
Pat Hyland (Northside Loft Society) : A welcome release from Craig. Three pure dancefloor heaters with Soul Revival topping!
Fred P : Dope...
Doc Martin (Sublevel) : Good Grooves!!!!
Mark Farina : good stuff. thanks!
Samuel Deep (SlapFunk Records) : yes
DJ Steaw (Rutilance / Steaward) : Nice ep thanks :-)
Lea Lisa (Phonica Records / Folklor Club) : Soul revival for me !
Brothers' Vibe (Luv4Wax) : Bangers!
Anthony Collins (Frank & Tony / Scissor & Thread) : great record
Carlos Valdes (Is Burning) : Loved it since the first time I've heard it! Happy to have the digital file!

Twenty years after the release of Anjanas, Pablo Bolivar returns to the album that marked the beginning of his distinctive and deeply emotional approach to electronic music.

Originally released in 2006, Anjanas became an important milestone in Pablo’s musical journey, introducing the atmospheric textures, hypnotic rhythms and subtle emotional depth that would shape his sound for years to come.

To celebrate its 20th anniversary, Pablo has revisited and remixed every track, bringing a fresh sonic perspective while preserving the essence and timeless character of the original album.

More than a look back, Anjanas 20th Anniversary is a dialogue between past and present — a personal reimagining of where it all began, seen through twenty years of experience, evolution and musical exploration.

Continuing its mission to bring classic records to a modern audience, Tresor Records celebrates the 30th anniversary of The Infiniti Collection with a remastered & expanded edition of this classic compilation from Infiniti, an alias of Detroit originator Juan Atkins, available on vinyl for the very first time.

First gathered together in the mid-'90s, The Infiniti Collection draws together tracks Atkins cut under the Infiniti name across a number of labels into a single, cohesive listen. Where his Model 500 work pushed toward the electro-funk that built Detroit techno's foundation, Infiniti was always the deeper, more
playful persona concentrated on what was then a nascent yet burgeoning techno sound. The collection stands as a document of Atkins at his most exploratory: futurist, hypnotic, and unmistakably human despite its machine architecture.
This collection brings together some of Atkins’ most essential work with tracks like "Sunlight", "Flash Flood", fan favourite "Game One", and the deep dub of the Moritz von Oswald remix of "Think Quick". Alongside Infiniti's Skynet reissue, a significant part of the Infiniti catalogue now lives in Tresor
catalogue, forming the ultimate archive.

The Infiniti Collection will be available from 30th October on triple vinyl and digitally with a cassette version being available exclusively through Tresor.

The meeting of 2 legends Armin van Buuren and Adam Beyer remixing the classic D-Shake 'Techno Trance'.

On the flip we have "No Mercy", their second joint venture and first fully original production together, released jointly through Armada Music and Drumcode. The track first saw a live preview during their B2B performance at Coachella 2026.

Pressed on tri-colour black white & pink effect vinyl and housed in a designed sleeve.

Yes, yes funky people, another super sexy, soul, classic dancer makes it onto the DYNAMITE CUTS 7” series. This all-time soul gem “That what friends are for” by the amazing Madeline Bell and Alan Parker. This version is taken from her solo album, uplifting, with a touch of Latin hip movement, is the fresh, must-have 45 everyone is waiting for. On the flip “That’s the way I like it” is a banging version club mover. When you get the best British Library musicians with one of the hottest American soul singers, the magic happens. The band is made up of some of the biggest library legends; Alan Parker, Alan Hawkshaw, Chris Karan and Duncan Lamont to name a few.