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Selva Discos is proud to present its latest release: the EP by the band Discoteca Tropicana. This record features 4 original tracks that celebrate the rhythms that have influenced Brazilian disco music, showcasing the best of this fusion: the swing and tropical flavour that bring sunshine to any dance floor.

The project is the result of a collaboration between Kiko Costato, the enfant terrible of the Brazilian music scene, and Zé Nigro, a producer and multi-instrumentalist who has won two Grammy Awards and has worked with major names in Brazilian and international music such as João Donato, Antonio Carlos & Jocafi and Natasha Diggs.

This EP is based on 4 different themes. For each one, Kiko and Zé Nigro recruited some of Brazil’s finest studio musicians – people who work with Seu Jorge, Céu, Criolo, Metá Metá, Cidadão Instigado and Tulipa Ruiz – as well as pioneering artists from the Brazilian Black music scene, such as the backing vocalists who work with the legendary Gilberto Gil.

“Corpos Celestes” is a more classic “disco diva” track, featuring string arrangements and a grand piano, as if it were the start of the evening, a magical moment straight from the heyday of disco in the United States; “Corpo Treme” is the sweat, the vuco-vuco, a song for that moment when you’ve already let yourself go, a sprint to the frenetic rhythm of the carimbó; “Tobina” is the meeting of Brazil and Africa, from which Brazilian swing is born, an original chant straight from the Congo, with a characteristic African guitar, adapted to Brazilian rhythms, just like the afoxé. Finally, the dancefloor hit “Não Pode Acabar”, a more urban disco track, which works just as well for kicking off a party with the right vibe as for closing a set with the highest energy.

Iconic Dutch techno pioneer Stefan Robbers returns to De:tuned with Nodes, a mesmerizing new 8-track album under his legendary Terrace alias. Serving as the sixth Terrace LP and the highly anticipated follow-up to 2025's Branches, Nodes further refines Stefan's signature blend of Detroit-inspired futurism and warm, dub-infused textures. Drawing on decades of studio experience, he delivers another finely balanced collection of expertly produced techno, enriched with warmth, groove and precision. Stefan's relationship with De:tuned spans many years and reflects a shared passion for timeless electronic music. From his acclaimed Phosphenes EP (2017) and his memorable remix of LA Synthesis - Agraphobia, to standout appearances on label compilations such as 10 Years of De:tuned with Estrings, Terrace has remained an integral part of the label's catalogue. Nodes is the latest chapter in that enduring collaboration. Rich in detail, depth and emotion, Nodes once again demonstrates why Terrace remains one of the most respected and enduring names in Dutch techno. The creative heartbeat of Eindhoven is still beating stronger than ever. Artwork has once again been created by Al White and Kevin Foakes (Openmind, DJ Food, Ninja Tune), while mastering duties were handled by Matt Colton at Metropolis. A separate digital edition will also be available through all major digital platforms.

Iconic Dutch techno pioneer Stefan Robbers returns to De:tuned with Nodes, a mesmerizing new 8-track album under his legendary Terrace alias. Serving as the sixth Terrace LP and the highly anticipated follow-up to 2025's Branches, Nodes further refines Stefan's signature blend of Detroit-inspired futurism and warm, dub-infused textures. Drawing on decades of studio experience, he delivers another finely balanced collection of expertly produced techno, enriched with warmth, groove and precision. Stefan's relationship with De:tuned spans many years and reflects a shared passion for timeless electronic music. From his acclaimed Phosphenes EP (2017) and his memorable remix of LA Synthesis - Agraphobia, to standout appearances on label compilations such as 10 Years of De:tuned with Estrings, Terrace has remained an integral part of the label's catalogue. Nodes is the latest chapter in that enduring collaboration. Rich in detail, depth and emotion, Nodes once again demonstrates why Terrace remains one of the most respected and enduring names in Dutch techno. The creative heartbeat of Eindhoven is still beating stronger than ever. Artwork has once again been created by Al White and Kevin Foakes (Openmind, DJ Food, Ninja Tune), while mastering duties were handled by Matt Colton at Metropolis. A separate digital edition will also be available through all major digital platforms.

Cut Rate is the debut LP from Detroit-based techno punk band Decliner. Written and recorded over the span of several years, the music reveals a sludgier, darker, and more industrial sound, representing a marked departure from their raw and thrashy roots.

Cut Rate is an album that lives at the edge of potential… a fever-dream where danger, uncertainty, and reckless hope collide. With dark humor, underdog grit, and flashes of raw beauty, it moves like someone risking everything — bravely, boldly, sometimes foolishly.

Intimate yet volatile, Cut Rate balances vulnerability and strength, chaos and tenderness. It unfolds like a roll of the dice, a shot in the dark, a chance that you can’t walk away from.

Produced by Steven Stavropoulos, the record delivers hellish, intricately designed soundscapes that establish the bedrock of each track. Tim Barrett’s guitar adds a dense layer of emotion throughout, elevating the music and further establishing the record’s stylistic ambiguity. Rob Luzynski’s vocals are at once tortured, brazen, and ridiculous, an anti-hero winking at the abyss, telling stories that no one should live by but that we all may learn from.

Rasante Gitarren, hämmernde Drums und eingängige, aber tiefgründige Texte. Das sind die Mittel, mit denen Pardoner seit über einem Jahrzehnt ihre ,Slacker"-Songs formen. Auf ihrem fünften Album ,Target Practice" verfeinern sie ihren Ansatz weiter, auf der Suche nach einem himmlischen Pop-Hit Ö. Da sie einen kulturellen Rückfall in Richtung Math-Rock und Prog spüren, ist dies ihr bisher geradlinigstes Album. Fehlende sind die überraschenden Blast Beats und Szenenwechsel, die die Markenzeichen von ,Came Down Different" (2021) und ,Peace Loving People" (2023) waren. Übrig bleiben 10 prägnante Songs, geprägt von verspielter Boshaftigkeit und Satire. Es ist schwer, inmitten der feindseligen Kräfte dieser Welt kein ,Blackpilled"-Doomer zu sein. Die Angriffe der Band auf pseudo-intellektuelle Hochkunst und Kollegen aus der Szene sind jedoch nicht frei von Selbstkritik. ,Driving across the country // Preaching bulls**t gospel" wird auf der Lead-Single ,Twisted" halb gesungen, begleitet von klirrenden Gitarrenklängen. ,Target Practice" - vom ,Record Store Final Boss" abgesegnet - ist eine moderne, spritzigere Interpretation des College-Rock der 80er/90er. Flying Nun, Smudge und die lautere Seite von Yo La Tengo sind alle im Geiste präsent. Die Single ,Don't Slouch" ist ein Versuch, einen Blessed-Virgins-Song auf Xanax-Art zu interpretieren. Wann wurde diese Band das letzte Mal auf einem One-Sheet erwähnt? Vor ihrem Album-Closer ,Changing Mags", bei dem die Band ihr Herz auf der Zunge trägt, covern sie die Nuggets-nahen The Barracudas, deren Text ,Target Practice" auf den Punkt bringt: ,Ich bilde mir das nicht ein, ich sehe die Zeichen. Wir leben in gewalttätigen Zeiten."

Corps Perdu emerges from Lamin Fofana’s ongoing practice of creating immersive and multisensory sound environments, informed and inspired by the historically rich texts of scholars and poets working in the tradition of Black Studies. The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present.
The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text.
Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to its eruption, and lets us listen to Césaire’s ‘flying seed dreaming very loudly’. The album’s track titles and narrative arc hum in and out and alongside Césaire’s poetry, mainly Césaire’s 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants—a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland.
The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we’ve heard Fofana craft on previous albums (think of the ‘Obscure Light’ pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire’s Corps Perdu begins with: ‘Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word’. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a ‘lost body’.

Detroit techno visionary Keith Tucker returns through his acclaimed alter ego Optic Nerve with AUGMENTATIONS EP, a forward-thinking exploration of minimalist machine funk, futuristic sound design, and deep electronic movement.

Crafted with precision and unmistakable Detroit character, AUGMENTATIONS merges hypnotic analog sequences, mechanical rhythm structures, atmospheric synth textures, and driving electronic beats into a powerful sonic statement rooted in the city’s enduring techno legacy. Sparse yet immersive, the EP balances raw underground energy with cinematic futurism — designed equally for dark warehouse floors and deep headphone listening.

Pressed as a Limited Collector’s Edition Clear Vinyl 12-inch, PBX-38 captures the sleek, transparent aesthetic of the music itself: pure signal, machine emotion, and uncompromising Detroit innovation.


A1 — Augmented 1 (Optic Nerve Original Mix)

A deep, stripped down Detroit techno workout driven by pulsing drum programming, evolving synth modulation, and hypnotic minimalist sequencing. Functional futurism engineered for late-night motion.
B1 — Augmented 2 (Infinite Worlds Mix)

Built around a rolling funky bass line and eerie flowing string textures, this expansive composition moves through layers of atmospheric electronics and mechanical groove architecture. The track creates an immersive sense of drifting through endless digital landscapes while maintaining a sharp rhythmic intensity designed for the underground dance floor.
B2 — Augmented 3 (Visual Shapes Mix)

Abstract melodic fragments, and precision electronic rhythms collide to form a futuristic minimalist soundscape filled with movement, tension, and cinematic pulsed chords.

In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.

Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.

There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.

In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.

Die hochgeschätzte Sängerin, Songwriterin und Produzentin Mary Bragg aus Nashville legt ihr erstes neues Album seit über vier Jahren vor, das in den FAME Studios in Muscle Shoals zusammen mit dem Grammy-Gewinner John Paul White und dem gefeierten Produzenten, Toningenieur und Keyboarder Ben Tanner aufgenommen wurde. Jeder Song ist im Grunde ein Geheimnis, das man einem Fremden anvertraut. Wenn die Wahrheit klar wird, erkennt sich der Fremde darin wieder. Mit ihrem sechsten Album in voller Länge präsentiert Bragg der Außenwelt eine Sammlung zutiefst persönlicher Geschichten. Mary Bragg wird von einer Begleitband aus Größen des Southern Rock unterstützt, darunter Chad Gamble (Jason Isbell & the 400 Unit), Zac Cockrell (Alabama Shakes) und Jay Gonzalez (Drive-By Truckers), und liefert ein Album, das zugleich weitreichend und intim ist. Secrets to Strangers" ist ihr eindrucksvollster Beweis für Seele, Verletzlichkeit und hart erkämpftes Selbstbewusstsein, getragen von prägnantem Songwriting und unbestreitbarer Kunstfertigkeit. Auch wenn frühere Beiträge in Rolling Stone, NPR und Forbes bereits für sie gesprochen haben, zeigt sich Bragg hier in absoluter Bestform.

Hallelujah Trial is Tom Roberts (Cranebuilders, Beatowls) and John Canning Yates (Ella Guru): two Liverpool songwriters who knew each other for twenty years before they ever played a note together. Roberts brought a folder of songs to Yates' front room. Yates answered with piano. A weekly ritual of tea and talk became a repertoire, the repertoire became a debut performance at the final La Violette Società, and a few weeks later the songs became an album, recorded in May 2026 in the Gustav Adolf Church, the Scandinavian seamen's church on the edge of Liverpool's Baltic Triangle.

The sound is spacious, stripped back and gloriously melodic: voice, guitar and piano, songs in a room, storytelling that recalls Bill Callahan, Lee Hazlewood and the late Johnny Cash records. Yates' Ella Guru drew a Peel session and 'the best debut album since Marquee Moon' from the Independent on Sunday. Roberts' Cranebuilders recorded two Peel sessions of their own. The pedigree is genuine. The songs are better.

Recorded, mixed and produced by John Canning Yates. Mastered by Jason Mitchell (PJ Harvey, Aldous Harding). Sleeve by Pascal Blua, after a rose from William Turner's herbal of 1568. The closing 'Reprise' carries a hallelujah chorus of friends and family, recorded live in the ch

Following hot on the heels of the Frequency Damage EP, DJ Quest returns to Cyberfunk with Squeaks / Snake Style— a two-track release that dives deep into the unmistakable sound that made Quest’s productions stand out during the early 2000s.
Rather than simply recreating the past, both tracks tap directly into the DNA of the original Cyberfunk sound: rolling breakbeats, huge basslines, twisted analogue synths and the kind of distinctive production that became synonymous with DJ Quest at the height of the Bassline Breaks era.
Built around original analogue synth work throughout, Squeaks / Snake Style is a deliberate throwback to the raw, futuristic sound of the early 2000s, produced with the weight and clarity needed for today’s sound systems.
It’s classic Quest, strange noises, big bass, rolling drums and plenty of attitude.

A. Squeaks
Everything DJ Quest became known for rolled into one track. Squeaks is an unapologetic throwback to the classic Quest sound of the early 2000s, driven by heavyweight breaks, deep bass and original analogue synth work throughout.
Twisted electronic squeaks and evolving analogue sounds weave their way around the drums, giving the track that instantly recognisable combination of funk, darkness and futuristic weirdness that characterised so many of Quest’s early productions.
Raw, energetic and built firmly for the dancefloor, Squeaks takes the spirit of the original Bassline Breaks era and brings it straight back onto a modern sound system.
AA. Snake Style
On the flip, Snake Style takes the same analogue-driven approach but moves into deeper rolling territory.
A more hypnotic, heads-down breaks roller, the track develops around a heavyweight bass groove, rolling drums and constantly shifting analogue synth lines. There’s less emphasis on the immediate impact of the A-side and more on building a groove that locks into a DJ set and keeps moving.
Still unmistakably Quest, Snake Style combines the rawness and character of early-2000s breakbeat with modern low-end weight and production, proper rolling Cyberfunk business.
Special Vinyl Edition
Making this release particularly special for collectors, the 12” vinyl comes with an exclusive book showcasing the artwork from some of DJ Quest’s biggest and most memorable releases.
The book looks back through Quest’s extensive catalogue and the visual identity that accompanied the records, bringing together a selection of classic release artwork from across his career plus photo collages of memories made across his journey.
It turns Squeaks / Snake Style into more than just a new DJ Quest 12”, it’s also a celebration of the music, artwork and history surrounding one of the original pioneers of the Bassline Breaks sound.
For long-time followers it offers a piece of Quest history alongside two brand-new productions, while newer listeners get an introduction to the catalogue and imagery behind the sound

The Sound Of Soulfuric Vol. 3 continues the label’s commitment to vocal-led, soulful house music, bringing together four standout cuts that balance classic songwriting with contemporary club production.

This is another DJ-focused selection built for the dancefloor, moving between uplifting vocal house, deep grooves and energetic remixes. From the driving Romeo Louisa rework of Urban Blues Project’s ‘Testify’ to Souldynamic’s take on The Lab Rats’ ‘Music Is My Way Of Life’, each track brings its own character while keeping the Soulfuric sound firmly in focus.

Featuring vocals from Jay Williams, Lisa Millett, Michelle Weeks and Kelli Sae, with remixes from Romeo Louisa, Souldynamic, Fouk and D’Ambrosio & Tappert, Vol. 3 brings together some of the scene’s strongest vocal talent and production names across four highly playable house cuts.

Seven years after 2019’s ‘The Dusk Loom’, Petrels returns with a pair of new albums, Infangthief and Outfangthief. The first of these releases, Infangthief, was originally written and recorded in 2022, before being reworked in light of a subsequent album, Outfangthief, due to be released later this year.

The two albums act as companion pieces, mirrors revealing facets of the other, overlapping in sound and subject matter. Though Outfangthief may have been written after Infangthief, it is no mere follow-up, with it's own creation causing a re-visiting and re-working of the earlier album, which in turn informed the writing of its twin.

Taking their titles from Old English legal terms ("thief seized without" and "thief seized within”), the central thread running through both albums is the illusion of assumed human authority - that which is given and that which is taken by force. With Western society seemingly hellbent on willingly embracing a brutally destructive economic model (even in its death throes), these albums attempt - in their own small way - to undertake the essential task of imagining alternative ways of being.

Petrels is the solo project of musician and artist, Oliver Barrett. Since releasing his debut, Haeligewielle, in 2011 (#9 in A Closer Listen's Best Albums of the Decade), Petrels has toured across Europe and shared a stage with the likes of Jóhann Jóhannsson, Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Working from his home in Somerset, UK, Barrett has released numerous albums through his Floating Limb imprint, as well as mixing and/or mastering hundreds of releases for the likes of Keiji Haino, Loren Connors & Alan Licht, Judith Hamann, Incapacitants, Mette Rasmussen & Sofia Jernberg, Yasunao Tone and more

“Petrels sidesteps the chilliness found in much of the music of his peers, replacing it instead with an almost spiritual ecstasy, his ravishing synths and almost choral vocal treatments calling out in cosmic, wide eyed wonder at the universe.” – Paul Margree, Louder Than War

"Things are looking better than ever for GENERATION STEEL! The quintet from Wetzlar/Germany, has reinvented itself on all fronts and is set to take the music world by storm with its upcoming third studio album, Steelmachine.

With the addition of guitar wizard and songwriter Thilo Herrmann - who made his debut in 1985 on the FAITHFUL BREATH classic “Skol” and has written heavy metal history throughout his career with RISK (including “Ratman”), RUNNING WILD (including “Black Hand Inn”, “Masquerade”), and GRAVE DIGGER (including “Ballads of a Hangman”) - bandleader and guitarist Jack the Riffer now has a living legend by his side.

There has also been a change behind the mic: from now on, Swedish vocalist Mike Stark - who currently sings for the Argentinian band FEANOR and the Swedish group STORMBURNER - is setting the tone. His powerful, high-pitched yet dynamic voice gives the new tracks an absolute seal of quality.
GENERATION STEEL stands for authentic, traditional, '80s-influenced heavy metal, combining the styles of ACCEPT and JUDAS PRIEST.

The ten neck-breaking tracks on the band's third full-length album were produced by Piet Sielck (IRON SAVIOR), who has previously refined classics by GAMMA RAY, GRAVE DIGGER, HEADHUNTER, STORMWARRIOR and BLIND GUARDIAN.
The cover artwork, designed by Gyula Havancsak (who has also created artworks for POWERWOLF, ACCEPT and BLIND GUARDIAN, among others), is equally eye-catching.

Anyone who loves honest, traditional German metal will quickly embrace “Steelmachine”, because the quintet not only takes us back to the '80s, but also shows just how timeless true metal is. Ten home runs, including the four singles “Steelmachine”, “Witches Cross”, “Wings of Fire” and “Fields of Pain”.
Stay Metal – Stay Steel!"

Omasta step into their own voice with “Hits Different”, marking a new stage in their evolution as musicians and storytellers.

Following their debut “Jazz Report From The Hood", which proved a major success and brought attention to Omasta as one of the most distinctive groups emerging from the contemporary jazz scene, the musicians return with their second album, “Hits Different”. The record develops the language established on their debut, pushing it into new territory and shifting the perspective from that of the protagonists themselves to that of a narrator telling the story.

While the debut album was a story about the lives and emotions of the band’s members, “Hits Different” adopts the perspective of a narrator, giving the album a more cinematic structure. As on the first record, the story is never told explicitly. The track titles merely point the way, leaving space for listeners to bring their own emotions, imagination, and experiences to the music. Each track becomes another scene in a story that moves through a broad spectrum of emotions, from happiness and excitement to anxiety, tension, and disorientation. It is a story that allows everyone to create their own interpretation, but its ending leaves no room for doubt. There is no happy ending here.

Drawn From Life, originally released on Virgin Records in 2001, was a full collaboration between Brian Eno and J. Peter Schwalm, the two having met through Eno’s longtime friend Rolf Engel. It will carry that joint billing for the first time. The album featured Holger Czukay, Laurie Anderson, Nell Catchpole and Leo Abrahams, and was supported by a tour taking in Porto and Lanzarote before a headline appearance at Japan’s Fuji Rock Festival. The rights to Drawn From Life reverted to Opal when Citigroup acquired EMI and the album has not been available since. The 2026 reissue will be available across all formats and includes the bonus track ‘Bloom (Instrumental)’.

Dark Entries is Elbow Deep in the Hoopla thanks to J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Elbow Deep collects the scores from three late 1990s fisting-focused Club Inferno films: At Arm’s Length, Hand Over Fist, and Heads or Tails. Never before released, these works show Slater digging deeper into the electronic music production techniques that were blossoming in that era, like loop-based sampling. Says Slater, “Suddenly I could have access to every instrument in the world. My whole concept of sound and structure evolved with the technology.” The works here are trance-inducing groovers, laced with acid and dosed with brooding ambience. Check out the Gregorian vibes on “Grand Fuck,” the legato lurch of “Stallion Funk,” or the frosty atmospheres of “At Arm’s Length.” Elbow Deep in the Hoopla comes with an insert featuring an interview with J.D. Slater. Starkly sexy, these tracks remind us of Slater’s creed: “The main rule for writing a porn score is to remember what you are writing for.”

Dark Entries is Filling Your Silence with the help of J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Having spent years in front of and behind the camera, 1999’s Filling Your Silence was his debut as maestro. This album collects the soundtracks from the first two Raging Stallion films - Sexpack One and Sexpack Two - to bring us nine tracks of sleazy beats and trance-like moments of pure ecstasy. Album opener “Seduction” begins with the iconic synthetic pan flute, one of the defining sounds of the 1990s, before pulling us along with its wild grooves.

Halfway through its nine-and-a-half- minute course, it breaks down to bust out a jazzy electric piano vamp. “Running with Scissors” ups the tempo with some crunchy breakbeats to undergird its portamento-laced lead synth. Elsewhere, like on “Mercy” and “Mercy (2nd Movement),” we see Slater embracing a bleep-adjacent sound close to early Nightmares on Wax or 808 State. Filling Your Silence’s endless grooves pursue that oceanic feeling. This record comes with a one-sided insert that includes archival Raging Stallion press materials. In the words of the Bay Area Reporter, Filling Your Silence is “quite possibly the best music for sex ever written.” A bold claim, but we can’t help but agree.

2026 Repress
30 years of Fuse means 30 years of road paving.

An ode to the past and a hint to the future, Fuse shares this milestone with its original guests from 1994 all the way to its fresh party goers of the past years as a promise to keep its dance floor focused on quality music and timeless moments.

In over a quarter century, the Brussels club has stood the test of time by rooting itself in ageless music and employing pioneering artists - large or small, international or local - to command the decks of Belgium's longest running dance floor. A celebration of this legacy and the renewed imprint is in order, coming in the form of a 30 track compilation of techno's best and brightest from around the world. One track for one year, this collection of recordings highlights the status quo of enduring club music, beginning with a nod to the past: a re-release of Jeff Mills iconic 'Step to Enchantment' from 1993. This glance to the past quickly shoots us forward into the current state of techno with legendary artists like Planetary Assault Systems, DVS1, Steffi, Rodhad, Donato Dozzy, DJ Nobu and many others who headlined the club in recent years. Cementing itself as a respected escapist institution, Fuse also calls on its growing local scene to prove why Brussels continues to remain a reference in the scene even outside of its own borders.

The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.

The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.

A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.

– INCOGNITO

There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.

The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.

Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.

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

Originally released by Umor Rex on cassette in 2018, Rafael Anton Irisarri’s Sirimiri is now available on vinyl for the first time, newly remastered for this edition. This LP marks the fourth and final installment in a series of four reissues released throughout 2026 to celebrate the 20th anniversary of Umor Rex.

It is a fitting way to close such a special anniversary year. Rafael is not only an artist who has released three albums on Umor Rex, but someone who has been part of the label’s history for more than a decade. His sensibility and way of listening have complemented and nourished the label throughout the years, while his mastering work has helped shape the sound of many of our releases. A close friend, and an essential part of what Umor Rex is today.

Sirimiri roughly translates as “drizzle” in Basque, and we can’t think of a better word to describe its content. The album consists of four long-form pieces, each shaped through different processes and with its own distinct identity, in which Irisarri seeks to blend subjective time with the listening experience through loops, repetition, and subsequence-based sound. Following Eno, nothing happens in quite the same way twice: perception is constantly shifting, and nothing stays in one place for long. The desolation and despair—in a strangely positive way—that we heard in The Shameless Years (Umor Rex, 2017) and later in FAÇADISMS (Black Knoll, 2024) are present here, but the impression is more concrete, unfolding through rawer, less rhetorical landscapes. If The Shameless Years existed somewhere between beauty and active tragedy, this record travels through the beauty and melancholy of an observing eye—a quiet, rebellious insurrection.

Written, produced, mixed & mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Carl Hultgren: Guitars on “Sonder”, Taylor Jordan: Electric Piano on “Mountain Stream”. Design by Daniel Castrejón.

Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.

Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”

Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”

“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.

Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.

“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.

Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.

Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”

Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”

“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.

Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.

“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.

Presenting the 5th edition of the legendary West-Coast House label, Pacific Coast House reissue series. Here we bring The Coastal Commission / Boing – The Conversation / Currency back onto one 12” for the first time on limited Orange Vinyl.

ADULT. kooperiert nicht. Seit über 25 Jahren verkörpert die dystopische Detroit-Synth-Punk-Institution, gegründet von Nicola Kuperus und Adam Lee Miller, unbeirrbare Frustration, Misstrauen und Beklemmung. Man könnte erwarten, dass sich die Kanten mit der Zeit abschleifen, doch ADULT. hat kein Interesse am Komfort eines Vermächtnisses. Noch nie klang die Musik des Duos so unmittelbar, so dringlich und so unverhohlen wütend wie auf dem abschließenden, kompromisslosen Kissing Luck Goodbye.Mit aufgerüstetem Equipment und einer neuen Klangbibliothek gebaut, ist das Material erdrückend dynamisch, lauter - und zugleich klarer. Kuperus' dominante Darbietung rückt im Mix stärker in den Vordergrund und skizziert ein Arsenal aus lebhaften, ätzenden Rufen, Sprechchören und Gedankensplittern. Lachen - ob in den Texten oder als besessene Präsenz - fungiert als Leitmotiv und verweist auf die bedrohliche Absurdität der modernen Zeit.,THE CHAOS IS WHAT THEY WANT", singt sie in ,R U 4 $ALE" - zugleich eine Absichtserklärung: einer brennenden Welt aus Gier und Unordnung mit trotzigem, meisterhaft zusammengebautem Chaos zu begegnen. ,Du hast in dieser Höllenlandschaft, in der wir gerade leben, zwei Möglichkeiten: kämpfen oder depressiv sein", sagt Miller. ,Beides ist okay. Aber, na ja, die Entscheidung war einfach."ADULT. ist bekannt für hochriskante Katharsis auf der Bühne und griff kürzlich auf seinen Backkatalog an Bassgitarren-Songs aus den 2000ern zurück, wobei sie die vorausschauende Anxiety Always-Ära erneut nachzeichneten - teils aus Notwendigkeit angesichts der heutigen politischen und technologischen Angsttemperatur. Die Reaktion war sofort spürbar: ,Wir waren in Paris, und die Kids sind von der Bühne gesprungen. Und ich dachte nur: Das ist großartig. Das ist irgendwie die Energie, in die ich wieder zurückwill", sagt Kuperus.Diese Erkenntnis fiel mit einer Reihe von Rückschlägen zusammen - Kuperus' Anfällen von chronischem Schwindel, dem Verlust ihres engen Freundes und Kollaborateurs Douglas McCarthy von Nitzer Ebb, dem das Album gewidmet ist - alles unter dem drohenden Regime noch einmal erheblich verschärft. ,Wir dachten nur: Alles zerbricht. Wir zerbrechen. Wir sind kaputt." Dieses Gefühl hielt jedoch nicht an, denn letztlich waren sie viel zu sehr von Wut aufgeladen, um stillzuhalten. Die Stimmung vor Kissing Luck Goodbye waren vier Mittelfinger, die kerzengerade nach oben zeigten.Anstatt sich zurückzuziehen, konzentrierten sie sich auf den Prozess und überarbeiteten ihr Setup - inklusive der ersten neuen Mikrofone seit 20 Jahren. Hält man das Album an irgendeiner Stelle an, zählt man wahrscheinlich ein Dutzend Dinge, die gleichzeitig passieren, in seltsamer, schwindelerregender und dissonanter Harmonie. ,No One Is Coming" attackiert Untätigkeit angesichts des Faschismus - ,NO ONE IS COMING TO YOUR RESCUE". ,None of It's Fun" feuert mit atemloser Dringlichkeit, rasenden Glissandi und pointierten Zeilen wie: ,OH I AM TEARING MY GUTS OUT / LOOK AT ME_ DO YOU THINK THAT THIS IS AMUSING?"Eine geradlinige Basslinie und Kickdrum prallen im Abschlusstrack ,Destroyers" auf pulsierende Mantras, werden dann vollständig gesättigt und kakophonisch. Ihre jüngeren Ichs hätten den Song vielleicht sich selbst zerstören lassen, doch hier gelang es ihnen, die Lautstärke durch alle Extreme hindurch zu stabilisieren und Raum für ein eindringliches, abschließendes A-cappella zu schaffen: WE PAY THE PRICE FOR THOSE IN POWER EXPLOITING YOU EXPLOITING ME CONSUMING YOU CONSUMING ME SICK SICK SICK SICKENING IT IS US THAT ARE DEVOURED BY EVERYTHING I WILL EAT YOUR HATE

"Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."

Gold Nugget Vinyl, limited to 400 copies. "Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."

Tenuous Links welcomes Torino’s very own VIOLA to the label with his new ‘Wrinkles’ EP. As the label owner of Reflue Records, VIOLA first caught my attention with his debut full-length release, a body of work that showcased a deep, rugged sound and a clear technical prowess shaped by his surroundings rugged coastlines and industrial landscapes of Torino in northern Italy. After speaking with Cristiano for over a year, it felt like a natural progression to bring his music to Tenuous Links. “The music I write almost always functions as a visceral soundtrack to whatever environment surrounds and infects me while I'm creating. Deeply rooted in the architectural contrasts of the places I’ve inhabited.”

‘Wrinkles’ is VIOLA’s second full-length body of work, yet the years of graft and dedication behind it are immediately apparent. Across three original tracks and a remix from London’s Jay Duncan, the EP delivers pure grit and crunch, inhabiting large, cavernous atmospheres grounded by pummelling bass, dynamic drums and intricate rhythmic detail.

The title track ‘Wrinkles’ is an ode to club spaces and the scene that revolves around them. Its broken rhythm channels the dancefloors of Cristiano’s formative years, spent partying in abandoned bunkers and warehouses in and around Torino. VIOLA explains: “Crafting such a raw, gritty bassline felt like an absolute necessity during the writing process, retracing memories of long nights spent dancing in silence.” The track’s cavernous atmosphere mirrors those pitch-black, unlit spaces, drawing us deeper and deeper into the abyss, with only brief glimmers of light offering reprieve from its relentless, all-enveloping bassline.

‘Mon Tom’ draws heavily from VIOLA’s hometown and his complicated relationship with Torino ,a city where tranquillity and beauty sit alongside heavy industry. The calm of the coastline is violently interrupted by vast steelworks and plumes of black smoke, leaving an imposing industrial mark on both the landscape and its people. The track reflects these contrasts. Metallic yet fluid, it moves at a faster pace, built around a driving 4/4 rhythm designed to suspend the listener while skittering percussion creates an increasingly uneasy sense of movement. It’s a meeting point between the beauty and brutality of the environment that inspired it.

‘P Maggiore’ was written between 2019 and 2020 while VIOLA was living in Rome’s chaotic Porta Maggiore district. Surrounded day and night by the grinding noise of trains, screeching tram brakes and beaten metal, he translated those raw auditory memories directly into high-pressure sound design. Yet, in contrast to the intensity of his surroundings, VIOLA deliberately pulls back the tempo.

Rounding off the EP is a skeletal remix of ‘Wrinkles’ from London’s Jay Duncan. She strips the original back into a techy, rolling cut, retaining its atmosphere and darkness while introducing a lighter touch of minimal-esque sound design. The result is a subtly transformed take on the title track that provides a fitting conclusion to the EP.

‘Wrinkles’ EP is a record shaped by place, by architecture, industry, memory and the physical spaces that leave their mark on us. From Torino’s industrial coastline to the chaos of Rome and the darkness of abandoned club spaces, VIOLA turns his surroundings into sound. Coming to vinyl and digital October 16th of October.

Label head Len Faki joins forces with Icelandic dub techno pioneer Exos for Infinity In Loop, a joint exploration into cavernous depths and shifting tonal landscapes.
Two versions of the title track fill the entire A-side, each unfolding with patient intent. Drifting across icy atmospheres and static hums, Infinity In Loop’s first incarnation slowly builds into a mesmerizing, minimalistic loop—punctuated by delicate percussion and a faint, comforting sprinkle of melodic warmth amidst the arctic chill. The second iteration leans more into a classic 90s dub techno framework, launching straight into a steady pulse anchored by echoing chord pairs and crisp, high-energy percussion.
On the B-side, the duo shifts towards raw, dancefloor-driven territory. Aurora delivers impressive tension with dry, jacking rhythms, snappy percussion, and haunting vocal fragments cut up to drive the groove forward. Closing out the EP, Circuit Flux pairs sub-heavy low-end with unpredictable rave energy. Nostalgic 90s vocal cues, pitched-up hooks, and fidgety FX swell and recede over staunch synths—creating a dynamic, deeply layered track that constantly shifts between space and peak-time momentum.

Limited White Label reaches a milestone with LTDBLBL025 – our first ever LP. For the occasion, we’re handing the catalogue over to Boris Graus aka Borka & The Gang for a 12-track journey through House, Jazz-House and Deep House Electronica. The double LP brings together years of Boris’ work and collaborations, connecting electronic production with the feel of live musicianship. Across the record, House grooves meet jazz, disco, funk and deeper electronic textures, moving between warm, rhythmic cuts and more atmospheric moments. Boris plays the keyboards, glockenspiel and percussion himself, while the record features contributions from a wide range of musicians from both his local circle and further afield – including Malou de Sel on vocals, Jürgen Leutnant on saxophone, Bruno dela Rosa on bass, Dario Cei on flute and Bruno Freitas on guitar.

Pressed on double 12” white vinyl, LTDBLBL025 is not only the first LP in the Ltd, W/Lbl catalogue, but also a milestone for Borka & The Gang – bringing together a body of work that reflects Boris’ long-running connection between electronic music and live musicianship. LTDBLBL025 – 2×12” White Vinyl / 12 Tracks

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


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


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


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


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


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

Anna Records is back with her second release, again displaying two different souls:

on the A side, after more than a decade spent behind the decks and rooted in Stuttgart’s club scene, D.N.V. emerge as a new production alias from the Basement Operations tribe, with two deep and atmospheric cuts produced during the long pause of the pandemic. Moving between progressive drive and darker, dub-infused territory, the two tracks capture their particular take on electronic club music.

A1 ‘48 Points’ sits comfortably in the space after the peak, pushing forward with energetic, progressive movement while deep arpeggiated melodies weave through the groove. A2 ‘Primeval Mind’ heads somewhere more mysterious, with dubby rhythms, shadowy pads and distant vocals creating a hazy, late-night atmosphere.

On side B you will find Matteo Point, fresh talent from northern Italy:
B1, "You Can't Stay in the Disco" is an highly energetic track, lead by a strong kick and progressive touch. As a trademark from the producer, the highly pitched synth will drive you in the depth of your dreams, while the drums keep rolling and guide you straight back to the dancefloor. B2, "Amore futuro", despite the title, is somehow filled with nostalgia with a compelling motive that keeps coming, eliciting deep and sweet thoughts, accompanied by a driving bassline.

Curses' dark, romantic take on electronic music is often linked to EBM, new beat, synth-pop, and the offshoots in between - but, as the artist states, it's feelings, not genres, that motivate his music. Especially the underground and its niche sounds, brimming with collective energy, drive and passion, make for a major impetus. It's no coincidence that he's drawn to the era when man turned to the machine, as a collaborative force, and a new kind of liveliness, timelessness, emerged. In Curses' practice, this synergy translates into an enticing mix of synthesisers and voices, electronic drums and guitars. Nostalgia operates as an influence rather than a motive, though: despite its affinities with the past, his music is stridently contemporary and idiosyncratic. On the "Perfect High" EP, this approach is rendered in a resolutely dancefloor-oriented selection. It's rich in detail and constantly evolving; each time a new element appears, it's treated with such delight and care that you could imagine the track to flit off and turn it into the main theme. This doesn't happen, however, as the sense of cohesion and momentum is paramount: there's a relentless forward drive that keeps engagement tight from start to finish. The detuned, chorus-heavy leads of title track "Perfect High" and the clockwork-tinged percussion of "Weapon Of Time" jell with lustrous hooks. The ominous choirs on "Dare To Dream" and the proto rolling-and-scratching squelches of "Killer Instinct" similarly fall into place. Bravado never stands in the way of flow. Everything is kept in check by gated R-50 rhythms, and in the vocal department, Curses finds the sweet spot between his own voice and a slew of off-kilter samples. On closer "Blasted" NYC royalty Andi joins for a slab of synth-driven groove. It's shiny and sensuous, like patent leather - a perfect distillation of club music channeled through pop aesthetics, and thus a right coda for ALT028.

Fila Brazillia is the name of the decidedly singular collaboration between Steve Cobby and David McSherry, born in the coastal town of Hull in the UK. Bending—and often outright breaking—more or less every rule in the book, they've been effortlessly blending deep house, downtempo, breaks, ambient, and wry humour, sampling anything they can get their hands on. Their first outing was the 1990 single-sided white label 12" Mermaids, an airy deep house tune featuring a cheeky sample taken from the theme from Robison Crusoe. Since then, they've released a boat load of singles, seven highly regarded full-lengths, and more than 60 remixes for artists such as Radiohead, Busta Rhymes, and Lamb.

Black Market Gardening is their third full-length and marks a creative high-point for the duo. Over nine tracks, Fila Brazillia guides you through hazy, bass-heavy trip hop, cosmic synth lines, brisk breakbeats, funky guitar riffs, and even touch of drum 'n bass (it's the mid-1990s after all...). There's just so much to take in, leaving the listener wondering where the samples end and the live instrumentation begins. Yes, Fila Brazillia's output fits squarely within the chill-out tradition prevalent in the UK at that point in time, but their unmatched creativity and boundless approach to the studio process makes their music truly timeless.

Black Market Gardening is available as a 30th anniversary edition for the first time since 2001.

For the third instalment of our wax series, we welcome the regional talent Bood on board with a gorgeous four-tracker that perfectly defines our sound.

This EP was produced from the heart with some sounds from the analog and early era 16-bit digital domains, and a sprinkle of wild imagination.

In it are deeper house tones for a variety of dancefloors, and different times of the day.

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

Richly progressive folk-informed heavy post-rock and a sick burn to boot. - The Obelisk Rebecca Vernon (SubRosa), the driving creative force behind THE KEENING returns with her second album, Devotion. The new album sees Vernon and company releasing one of the year's most evocative albums; a truly compelling mix of slow burning, ethereal post-rock, folk, goth, and soaring doom. For Vernon, the writing process for Devotion took place in two starkly different environments. It ranged from the contemplative solitude of a friend’s cabin in a deserted Idaho ski resort, to the hectic reality of a 55+ senior living community in Spokane, Washington, where she was staying with her father. This shift resulted in an explosive album with a subtle duality that resonates throughout its most poignant moments. Take the lead single, "A Little Bit of Blood," for example. Quiet, acoustic guitar strums give way for Vernon's haunting vocals, before the backing instrumentation explodes into a soaring chorus reminding the listener that sometimes the best paths taken are the most difficult. "You drew a little bit of blood to show me Just a little bit of blood to make me see It took a little bit of blood to wake me Just a little wound in the night to free me" In a 2024 interview with Decibel Magazine, Vernon discussed the drastic shift in heavy music's themes in recent years, highlighting a willingness to convey raw emotion: "Metal is beginning to share more vulnerable things, more confessional things. Metal has almost become a safe place to talk about those things. People are being open with their struggles. Twenty years ago, they wouldn't have." Devotion lays these emotional confessions bare and showcases a truly bright burn. Devotion was recorded in April 2022, again at Hallowed Halls in Portland, with Billy Anderson and Nathan Carson featured in their same roles as heard on Little Bird. Once again, Vernon showcases her writing prowess, having a heavy hand on all the instrumentation for Devotion; Vernon played drums, guitar, piano, organ, and hammered dulcimer, and provided most of the vocals on both albums, with a few guest vocalists added to the mix.

With over 26 years, 8 full-length albums and performances in 40+ countries, GOTHMINISTER is regarded as “one of the most iconic gothic/industrial acts” (Terra Relicta). For the first time, the entire album is fully recorded, produced, mixed and mastered by Bjørn Alexander Brem himself – delivering the raw and uncompromising sound he always envisioned. Gothminister, an acclaimed icon in the gothic industrial metal scene, delivers a monumental masterpiece with “We are all Demons.” This 11-track album plunges into the depths of our inner darkness, revealing that we all carry demons beneath the surface. Through its bold thematic arc, the album urges listeners to confront their darkness, embrace strength within it, and emerge fearless. Musically, it’s a powerful fusion of gothic industrial metal and modern EDM elements. Expect ferocious synths, thunderous drums, and industrial guitars that cut like steel. Screaming vocals intertwine with female duets, soaring operatic moments, and grand choral sections. All of this creates a dark yet beautiful atmosphere—one that culminates in unity and completion. This is not just an album; it’s a legendary sonic journey, cementing Gothminister’s iconic status.

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