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“Warning! Night Time Listening Advised!”

In early spring 2023, with the end of COVID-19 in China, MK helped produce this album for Rubey. Focusing on the piano atmosphere and framework of the Night Piano Project, MK added some flowing sounds and textures to Rubey’s original tracks using a guitar, delay effects, and a synthesizer. At the same time, Ding Mao, another member of the band Hualun, contributed on two tracks. Of course, all production processes were completed at night; capturing the quiet atmosphere of traditional Eastern natural landscapes and transforming them with indoor amorous feelings. These melodies and notes wander and travel through different times and spaces, and ultimately converge in different rooms.

“In Different Rooms” is the second solo album by Rubey, a keyboardist from the band Hualun. It is also Rubey’s second album release since producing the soundtrack for the movie “Virgin Blue” in 2022. It includes 8 works created between 2020 and 2023. Rubey and MK are located in Beijing and Shenzhen respectively. Just like many of Hualun’s works, the original idea for “In Different Rooms” came from Rubey’s daily piano improvisation practice. Named the “Night Piano Project”, Rubey would spend his nights playing his YAMAHA electric piano.

1998 erschien das zweite Knochenfabrik Album cooler Parkplatz. Hier wurde Scheitern noch konsequent gefeiert. Statt sinnloser Fan-Edition, Promo-Tour und uninteressanten Interviews wurde die Band pünktlich zum Erscheinen des Albums aufgelöst. Es blieb bei der kleinen Erstauflage, die zu einem beliebten Renditeobjekt und Rentenversicherungs-Geheimtipp wurde. Seit 2008 sind Knochenfabrik wieder Live unterwegs und vertrösten Privatanleger am Merchandise Stand mit der Aussicht auf eine Neuauflage dieses Deutschpunk Klassikers. Um den hohen Papierpreisen Rechnung zu tragen wurde bei der nun erschienenen Nachpressung auf ein Gatefold Cover verzichtet. Dafür gibt es eine bedruckte Innenhülle, Innencoverboy Chris Scholz präsentiert eine 90er Jahre Sonnenbrillenkollektion.

At the end of 2024, Elder looked back on an unusual period in their now near 20-year career. A few years ago, the band had dropped their most progressive record yet, 2022"s highly acclaimed Innate Passage, followed by the usual heavy touring schedule (including a 24-show arena tour supporting Tool). The band had then taken a year long sabbatical to recharge their creative batteries, which instead of rest culminated in the release of multiple albums by side-projects. Convening in winter of that year for a 2 week songwriting session at Big Snuff Studio in Berlin, the band set a goal of knocking off the rust and putting together some ideas for the next record. While combing through an archive of old sketches, they hit upon an outline of a song from somewhere between 2020"s Omens and its successor Innate Passage, abandoned then for reasons now inscrutable. Picking up the pieces with fresh ears, Elder fleshed out a new version of the track, which is firmly rooted between those two albums but with an identity of its own. Building on the song"s ending, a swirling tower of synthesizers, chugging guitars and almost tribal drumming was constructed in the course of lengthy in-studio jams. Liminality/Dream State Return can be seen as a bridge between eras in Elder"s creative universe; one foot is planted in the highly melodic and sometimes alternative/grunge tinged riffing of Omens, the other in Innate Passage"s dreamy prog soundscapes, and its head in the clouds looking toward Elder"s upcoming LP 7. The vinyl version comes as a one-sided, 180 gr. translucent LP with etching on the B side (including download).

Remastered using pure analogue components only, from the master tapes through to the cutting head.

Ornette Coleman, who died in June 2015 from cardiac arrest, must be counted as one of the most influential musicians in the jazz genre. His importance does not only lie in his ground-breaking recordings in the late Fifties and early Sixties, but lies more significantly in the educational effect of his work – in the fact that he always went beyond himself to the very end.

Just a little more than a month after his ground-breaking release "Free Jazz", Coleman recorded the present album, in which he perhaps distanced himself somewhat from the conceptual idea, but still guided his quartet to ever more richness of detail and creativity. "Ornette!" was the first recording with bass-player Scott LaFaro and Coleman, and the difference in approach between LaFaro and Charlie Haden is noticeable from the very first note of "W.R.U.". His playing is more direct and agile, and one can hear how he drives Coleman and Don Cherry actively onwards and more aggressively than Haden’s warm, languid phrasing.

The tracks, with titles that are taken from the works of Sigmund Freud, are all gems and serve as a wonderful starting point for the musicians’ improvisations. By now, Coleman felt himself comfortable in lengthy pieces, and neither he nor his fellow musicians had trouble in filling out time, never once lacking for new ideas. Ed Blackwell deserves a special mention – he shows himself here at his very best. "Ornette!" is a superb release and an absolute must for all fans of Coleman and creative, improvised music in general.

Unknown Waveforms is the forthcoming album from Belgian trio KAU, set for release on October 10, 2025. Marking an evolution since their 2023 release The Cycle Repeats, this new record captures a more personal, immediate, and unfiltered version of the band's sound. In an increasingly digital world, KAU takes a different route, with an album rooted in human connection, live energy, and creative spontaneity. Here, the trio reflect their take on instrumental music, drawing heavily fromjazz, hip hop, and electronic influences.

At the heart of Unknown Waveforms lies the starting point of three musicians in a room, writing and composing music on the spot. For KAU, this idea mirrors their working method: long jam sessions, free-flowing experimentation, and shared moments of inspiration. Songs often take shape slowly, unfolding over hours or days, but always built collaboratively as a trio.

The album's title reflects the mystery behind how music comes together, but is also both literal and symbolic. Unknown waveforms are the sounds that arise when machines and people interact in unpredictable ways. Whether you're an experienced musician or just starting out, the creative process often feels elusive and hard to fully understand. But there are also certain moments: creative sparks that can't be planned or programmed. It ends up being more than notes, gear, or structure, it's about the process, the tension and energy that builds when people connect and create in the same room.

The title track, Unknown Waveforms, captures that exact process. It opens with a quote from synth pioneer Wendy Carlos: "I'm just trying to show you how we get some of these sounds", inviting listeners directly into the creative space. The track focuses less on a polished outcome and more on the moment before a song is "finished": it's a portrait of experimentation, feeling, and raw expression.

This commitment to honesty permeates the entire album. KAU kept overdubs to a minimum, avoided excessive editing, and prioritized spontaneous choices over calculated ones. In a time when the future of live, improvised music feels uncertain, they double down on the physical, the real, and the immediate. The album resists the pristine polish of modern production, favoring the warmth and imperfection of analog synthesis. The band embraces the character of their instruments, particularly vintage gear, where subtle flaws add beauty, depth, and personality.

One standout track, cr_eye, is driven by the Moog Subphatty-a key instrument in the band's toolkit for its analog warmth and powerful sub-bass. The track centers around the conversation between bass and drums, allowing the keyboards to recede and create space. It draws emotional threads from earlier KAU tracks like Kampala and Kautokeino, bridging past and present with a shared atmosphere and rhythmic interplay.

Another highlight, Stratford, finds inspiration in London's transport system and the UK jazz scene that has long influenced KAU. A field recording snippet of the London Underground kicks off the track, connecting it to the rhythm of everyday commutes. Built around a hypnotic sequencer line from the Roland JX-3P, the track evokes the motion of a metro journey. Artists like Nubya Garcia, Yussef Dayes, and Alfa Mist, giants of the scenethat the band has admired for years, resonate subtly throughout.

Above all, Unknown Waveforms is a statement of intent from KAU: a celebration of imperfection, creative honesty and an insight in the process.

What is the source, and why does it matter? Marking three years since his debut LP, area127 honcho Tadan steps forward with his second solo record. Built on a trance language of his own, it dives into tripped-out sonic terrains where introspection meets organic force.

The journey begins with ‘Pure Idea’, as waterborne harmonies ripple like the first morning rays through glowing tones. ‘Level 27’ ascends into a haze of suspended energy, flickering and pulsing to bridge rhythm and reflection. With ‘Muses’, the record transcends into hypnotic rite – nocturnal breaks and avant-garde melodies conjure a dialogue between psyche and body. ‘Evolution’ wraps it up in future-driven, past-echoing psychedelia, lucidly carrying the answers you might be looking for.

The Modulator, AKA Freddy Fresh is back in town !

LTD 100 COPIES !!!


To share this event in the best way i asked him a few questions...
Official Interview now begins :)

Tool : The last Analog Records USA was in 2000... Why did you stop it and why do you wish to realese vinyls again ?


Mr Fresh : Ii actually never stopped I just made alot of other styles of music that I do not think were proper for my Analog and E.M.F. labels (Analog is now run by Mike McLure of SAuto Kinetic we work together on that label and Electric Music Foundation is all my label.. we did some great digital releases on E.M.F. recently with ADSX / Scott Radke/Dave Olson / Poor Boy Rich etc.. and can be found here

for me my last Techno Analog vinyl 12” Release was in 1997 Quiver 12"


But I did release a few Techno/Electro style tracks on my Electric Music Foundation labels as 12” singles
in 2003 I made these
Black Out

Orange Krush


I always continue to make music and have hundreds of unreleased songs that I think some are not worth putting on 12” single as I fear to weird, experimental etc.. I try to isolate myself and make unique music hopefully not sounding like what others are making but try to be my own self




Tool : What are you favourite machines or software to make music these days ?


Mr Fresh : I still use many vintage synths like my Jupiter 8, Arp 2600, Roland System 100M, 303’s etc.. but now I also use some Eurorack Modules E950, Clouds, Metropolis Sequencer etc.. also TR8, Twisted Electrons Acid 8, Teenage Engineering Factory, PO Calculators, Korg Volca Sampler, Electrix Filter Factory, Space Echo (Boss) and MPC 4000 controlling Hardware and I usually record random ideas to a flash recorder and sometimes import into ableton tracks etc.. then use Reaktor or some other soft synths but I always start Analog. I also use Critter and Guitari Looper to record organic sounds to use for percussion.




Tool : What are your forthcoming projects on vinyl in the near future ?


Mr Fresh : I have a remix electro style for New Zealand Independent Cardboard and Computers soon on 12” single

I have COMACID EP coming out of Belgium on 12” single very soon which features some older tracks (Binder, Scared, Slow Death, Spacefunk) mainly re-release of Techno/Acid stuff all analog of course

Then I have two releases with Toolbox Records and possible new stuff with Acid.Paris and hopefully we start a nice relationship with Toolbox for a long term ha ha! My daughters start school next month so I am preparing new Eurorack Modules and getting Syncussion to really hit it and spend some serious time in the studios. I am really inspired to do the more electronic vibes now and feeling the A.C.I.D. alot lately with the newer technology

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Amsterdam indie stalwarts Pip Blom and Willem Smit, respectively the songwriter & vocal force behind Pip Blom and the driving creative mind behind Personal Trainer, have come together after a decade of intermittent collaborations to launch a new project: Long Fling. The duo's self-titled debut album arrives 3rd of October, 2025, unveiling a collection of charming, offbeat guitar and drum machine, kraut-rock tinged anthems, touching on everyday oddities like socks, shoes, and the allure of staying home.

Unlike typical duets, Long Fling doesn’t focus on harmonies or traditional back-and-forth vocals. Instead, Pip and Willem trade lines over minimal, melodic arrangements that reflect their shared sensibilities. The songs are direct but often playful, shaped by a mix of guitars, drum machines, and off-the-cuff lyrics.

Over the course of ten years, Willem and Pip’s songwriting process evolved from tentative beginnings filled with creative tension to a natural, collaborative flow. Willem reflects: “Over the years, I feel we’ve grown more comfortable making music together... Assembling a record we have been accidentally making without the goal of making a record was fun, but also weird. It felt a bit like archaeology sometimes. We tried to change things... but found out quite quickly that it made most sense to stay true to the initial ideas we had.”

we each asked our dads whether the album sounded more like a Willem album or a Pip album, they both said the other’s name. I really feel like we made this album together - it’s a true blend of the both of us.

Perhaps it was a cold winter day or a warm summer night in Finland - but it was around 2010. Someone came up with an idea to combine bluegrass, Finnish folk and rock/metal music. The outcome was and has since been Steve 'n' Seagulls. The kind of band you've never heard before but you do want to hear again. Hailing from Finland in Northern Europe - this flock of musical energy keeps on going and flying faster than ever. In 2025, the sun will lay its rays on the long-awaited fifth Steve 'n' Seagulls album - The Dark Side of the Moo! Recorded and produced with the same crew as the previous one, Steve 'n' Seagulls have again found and torn down the limits of progressive bluegrass and newgrass. The album combines elements from genres that are hard to imagine together. Yet they meet and shake hands like old friends. Steve 'n' Seagulls' originals and some re-arranged classics form yet another interesting musical soup ready to be served on their The Dark Side of the Moo -tour around Europe in 2025.

The Alien Dub Orchestra is ragtag collective of Bavarian musicians, featuring members of The Notwist and G.Rag y los hermanos Patchekos. The cohort formed around the idea of performing the standards of the fabled Breadminster Songbook, aka the back-catalogue of lone dubman Elijah Minnelli. Minnelli is known for constructing wheezy, forlorn odes to his hometown, both as highly sought-after self-released 7" singles, and a critically-acclaimed debut album, ‘Perpetual Musket’ for FatCat Records, lauded by the likes of The Guardian, The Wire, and The Quietus. ‘The Alien Dub Orchestra: Plays the Breadminster Songbook’ finds group covering Minnelli’s cumbia-infused dub reggae with full band, playing an eclectic array of instruments including: guiro, accordion, melodica, sousaphone, trumpet and assorted percussion.

The tale begins in 2022, when Minnelli was invited to lend his unique dubbing style to a pair of remixes for The Notwist, and what followed was an ever-flourishing relationship between the Breadminster native and the wider Munich scene. The seeds of the Alien Dub Orchestra were sown during a support gig for The Notwist, where assorted musicians joined Minnelli for a encore, reinterpreting one of his dub remixes across woodwind, brass and assorted percussion.

“The idea of real, competent professionals playing something you’ve muddled together on a computer in a damp basement is quite overwhelming,” reflects Minnelli on the process, “hearing them interpret and improve these melodies is a real joy and privilege.”

Despite the non-traditional origins of the source material, the inherent musicality of Minnelli’s songwriting shines through across his releases, and this creative kinship is what attracted the Orchestra to reimagining his work. The first live collaboration led to recording sessions and further gigs, with the Orchestra building a full set of Minnelli’s music.

The resulting album puts forward the strongest case yet of the shared musical throughline between the acts, where cumbia, dub and folk sensibilities coalesce to something all together unique. The tracks are wrought new, with melodies fleshed out and broader instrumentation expanding the sonic possibilities of the compositions. The tactility of the tracks is perhaps best demonstrated on the gorgeous ‘Vine and Fig Tree’, with it’s layed vocals and expressive bassline returning as a cavorting sousaphone line. Elsewhere, fan favourite ‘SLATS’ sounds as if it was simply written to be performed this way.

To further instill the cylindrical nature of these collaborations, the entire second half of the album is made up of dub versions of the Orchestra’s renditions. For these dubs, Minnelli is joined by Raimund Wong, who had caught his ear with his ambitious live sets, a daisy chain of tape machines and FX pedals. Again, despite their differing creative processes, the two bonded over a shared love of dub music. Each dub was a one-take, with Minnelli riding the faders and Wong’s filters and FX supplying a sound that doesn’t seek to imitate dub, so much as it tries to be it’s own chaotic self. The droning, psychedelic hypnosis of ‘Pundit Dub’ stretches the material to a whole new realm that feels outside of anything else Minnelli has produced before, an ode to the benefits of recycling sound if ever there was one. The whole second half is a perfect closing note to an album that is undoubtedly a love letter to folk tradition, dub ideology and, most importantly, the joy of uninhibited collaboration.

​Elijah Minnelli - voc, guiro, percussion
Philip Gross - accordion, melodica
Theresa Loibl - clarinet, melodica
Cico Beck - electronics, keyboards
Sascha Schwegeler - congas, steel drum, percussion
Micha Acher - sousaphone, trumpet
Markus Acher - drums, voc
Dub mixes performed live by Elijah Minnelli & Raimund Wong at Breadminster County Council Studios

Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and songwriter/technician Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue a different musical direction.

Turner claims that the idea of Deux Filles came to him in a dream, and the novel fiction/roleplay would be strictly maintained throughout the girls' short career. As well as posing in costume for the album covers, the duo even performed live without the audience realizing that the girls on-stage were actually a pair of blokes from south London having a giggle.

Deux Filles released two highly collectable albums: Silence & Wisdom (1982) and Double Happiness (1983)

2025 Repress

Portland was produced by our mate Dave Clark aka Sparky and was the first record we released in 2002, about a year before the first ever Numbers party took place.

Originally recorded live to tape using an MMT8, a Microwave II, and an ESi32 in the summer of 1998, it was released on an old label of ours named Stuffrecords and formed part of a somewhat rambling compilation called STUFF001. We hastily stuck this record out without any proper distribution, because at the time we didn't know any better. Despite this the record did pretty well, selling 500 copies to a few select stores who had faith in what we were doing.

Fast forward a year or so to when Numbers kicked off and the track became one of the first bonafide anthems in the club. It was our tune and it would tear the roof off at any of our parties.

A couple of years later, we booked DJ Pete, aka Substance, to play. We're talking about the record in the pub when he suddenly informs us that Ricardo Villalobos is crazy about it and even charted it. This was a deep, almost Drexciyan electro track and here was the king of crazy experimental minimal house music caning it in his DJ sets.

Not long after that night, the Numbers label was up and running and the idea to re-release Portland with a remix from Mr Villalobos was brought up almost as a kind of pipe-dream. Now in 2013, with a little help from Gerd Janson, it has finally happened. Recorded live in one take and clocking in at over 30 minutes long, it's cited as an "experiment" by Ricardo. Designed to play at two speeds, at 33rpm its almost like an early 90s Black Dog track stretched out to infinity, whilst at 45rpm, it's a club-ready groover with an almost Dopplereffekt rhythm to it - the sort you could imagine sneaking into a DJ Assault or Godfather Ghettotech mix. Somehow, it also manages to be classic Villalobos.

To finish off the record Dave gave us a two unheard tracks from those original Portland sessions in 1998. The malevolent electro of 'Jigsaw' would instantly have become another Numbers anthem if only Dave had let us hear it ten years ago, and closer track 'Wilson St' heads down an ambient route.

What About Never debut from Intertoto, who deals a tracky beatdown ace in ‘If I Take You Home’ — a late-night/early-morning house instrumental that hints at ambiguous post-club activity. Bridging the eclectic spirit of the Motor City with the raw, textural styles of European contemporaries like NWAQ and Kassem Mosse, ‘If I Take You Home’ filters these ideas through the experimental aesthetics that have long simmered in the underground of Intertoto’s native Scotland.

Michael J. Blood expands on the after-hours theme with the cannily titled ’Walk of Shame Mix’ — a cracked reflection of the original that channels the essence of Theo Parrish, Delano Smith, et al. His ’Morning After Mix’ flips the pace entirely, layering hypnotic chimes and dark New Jersey–style synths with an almost overwhelming sense of dub-wise dread.

Curated by DJ Simas Slabačiauskas, this double LP introduces a fresh and distinctive sound: Baltic Balearic.

Born on the shores of the Baltic Sea, it’s a sun-soaked yet soulful journey—blending ambient textures, downtempo rhythms, and Balearic-inspired grooves with a heartfelt Baltic touch.

Featuring original tracks and remixes by Simas — including reworks of beloved Lithuanian
bands — the compilation also brings together international contributions from Autarkic, Saphileaum, and Auntie Flo, while introducing a wave of fresh new talent.

This collection is more than music; it’s a reflection of a lifestyle — the calmness of a summer
evening, the beauty of untouched nature, and the sense of community that comes from gathering on the beach to witness the setting sun. It’s an invitation to slow down, take your shoes off, and spend an hour with this music — ideally while watching the sunset, or simply with your eyes closed.

“This album is us appreciating how amazing this thing we have is. The realization of how lucky we are that we get to be part of something like this for 25 years, and to have built a community that cares for each other in the way it does. It’s not about any of us individually. When we all work together to make something happen, something bigger happens.” - Jono, Paavo and Tony – Above & Beyond.

If much of the mindset and mantra behind Above & Beyond over the last quarter of a century has been born from the idea of connection, then their fifth artist album ‘Bigger Than All Of Us’ is best summed up in one word: reconnection. It’s been seven years since Jono Grant, Paavo Siljamäki and Tony McGuinness released their fourth electronic album, Common Ground. A #3 on the Billboard charts – an achievement that speaks to the British band’s huge, arena-to-amphitheatre scale profile in America, a level of success replicated in pretty much every other corner of the world.

The time since has seen a series of projects come to life both collectively and individually: 2019’s ambient, yoga-and-meditation-friendly album Flow State, streamed over 400 million times worldwide; a series of club ready instrumentals under the Tranquility Base moniker; radio records ‘See The End’, ‘Over Now’ and ‘Crazy Love’. In the meantime, the band embarked on personal projects outside of the Above & Beyond framework. Grant collaborated with long time friend Daren Tate on 2022’s self-titled synthwave JODA album. In 2023 Siljamäki, reprised his P.O.S. alias, releasing dance floor focussed album Deeper Tales. Last year, McGuinness dug in his own crates for Salt, an album based on a studio-freshened selection of emotional singer-songwriter compositions originally written as the ’90s rave and Britpop fever-dreams faded. A worldwide touring schedule, their weekly Group Therapy radio show, and overseeing a family of iconic dance labels, Anjunabeats, Anjunadeep and, most recently, Anjunachill – it’s never quiet in the world of Above & Beyond.

1 FLUORESCENT 2 VAINCRE 3 RADIANT Note by label owner Muallem: I am happy to present the first 12" on my new born 2020 baby CHILDHOOD. It is by no one else than the living legend and overall wonderful human that is DJ DEEP from Paris. I've met Cyril via booking him at one of my parties ages ago. When I opened Blitz he became part of the closer family and started to play regularly. Over the time we exchanged ideas and thoughts about music and life in general and when I told him that I'm planning to start a label, he instantly sent me VAINCRE, a timeless 3-track masterpiece that sits in between dubby House & Techno. It got me hooked straight away. Be it at home or on the dance floor - yes, I managed to road test during these crazy times - these tracks serve goosebumps full on and set the perfect groove to a dance floor. I've put a lot of love into the artwork and packaging and on top of this, the first 300 copies contain a CHILDHOOD sticker pack. Enjoy listening and dancing!