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**2026 REPRESS. New Orange Artwork***

TRjj is made up of several people that meet regularly since 2016. It is practiced collectively with interchanging names and roles, so the full control about disguised authorship would be guaranteed. Everyone involved was set to meet half way. TRjj is a filter for the kinship of many. Its the freedom attained, once you have gotten rid of yourself. This heteronomic practice would be ideal to advocate against reasons which are claimed, biographies that are scripted, economies that are fueled and histories that are written to be recognized as something apparently truly valid and fully finnished.

Sleepytime Gorilla Museum wurden 1999 gegründet und verbinden seitdem experimentellen Rock, Avantgarde, Theater und Performance-Kunst zu einem einzigartigen Gesamterlebnis. Entstanden aus den Bands Idiot Flesh und Charming Hostess, entwickelte die Gruppe einen ebenso präzisen wie chaotisch wirkenden Stil, der musikalische Komplexität mit spektakulären Live-Auftritten verbindet. Die nun erstmals in den USA auf Vinyl erhältliche Neuauflage ihres Debütalbums wurde von Bassist Dan Rathbun remastert und erscheint parallel zu weiteren Wiederveröffentlichungen aus dem Katalog der Band. Mit ihrer aktuellen Besetzung knüpfen Sleepytime Gorilla Museum an ihre lange Geschichte an und zeigen, warum sie bis heute zu den ungewöhnlichsten und einflussreichsten Bands zwischen Avant-Rock, Progressive Rock und experimenteller Musik zählen.

„Nowawes2“ marks the second chapter for the label, staying true to its sound without repeating itself. Poul Verner delivers another limited hand-stamped two-tracker built around warm analog textures, organic grooves and understated depth. No unnecessary tricks, no oversized moments. Just two carefully crafted cuts that unfold in their own time. The A-side, „Choose Your Future“, settles into a deep 120 BPM groove, drifting through layers of dub delays, tape noise, subtle pads and restrained chords. Equal parts dub techno and deep house, it leaves plenty of space for atmosphere to do the talking. Flip it over and „Choose Life“ raises the tempo to 130 BPM without sacrificing its hypnotic flow. Stretching across 12 minutes, it builds patiently without ever rushing its destination. More drive, more momentum, yet the same sense of space. Dreamlike, immersive and made for those moments when the dancefloor locks into a rhythm of its own. „Nowawes2“ continues to explore the space between laid back house and organic techno with patience, restraint and an unmistakably analog character. Built for long blends, late hours and selectors who know that the most subtle records often leave the deepest impression.

Barac returns to MAONO Records for the label’s third vinyl release, MAO-V003, delivering another timeless EP. The “Between Past and Present” EP unfolds through Barac’s unmistakable hypnotic sound, joined by a deep and refined remix from Electricano. On the B-side, “One Thing” completes another distinctive chapter in the MAONO catalogue. Three distinct cuts come together to form a carefully balanced record. Limited quantities available. Exclusive colored cover with lacquer finish. 180G Vinyl. Vinyl Only.

Jakob Bro, Brian Blade, Craig Taborn, Chris Cheek, Jesper Zeuthen, Anders Christensen, Larry Grenadier & Marcus Gilmore, playing compositions by Paul Motian and Jakob Bro.
The album was recorded in a single session at New York’s Power Station with engineer James Farber, following a week-long residency at the Village Vanguard.

‘Danish guitarist and composer Jakob Bro is celebrated for his pure reflective expression and penchant for celestial textures, effortlessly distilling and refining quiet sonics. At the Village Vanguard, he leads an impressive group – featuring two bassists and two drummers – for a nearly week-long residency.
‘The perfectly poised, ambient-leaning soundworld that characterizes Bro’s compositions was discomposed and distended by this octet, probing thrilling sounds and providing ample opportunity to create spontaneously. It was an exhilarating jazz night with some of the most esteemed players out there.’ ()

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

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

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

House music has truly gone worldwide and here at Local Talk Records we like to think that we're open-minded to all shades of our beloved 4/4 rhythms...

This time we've given North Africa an opportunity to showcase their take on electronic deep house...with soul of course.
Egyptian producer Adham Zahran has been on our radar for quite a while now.
With a blend of dark yet beautiful electronic themes we like to think that his sound lands somewhere between Ron Trent, Atjazz or the more electronic Glenn Underground tracks.
For his debut on Local Talk, Adham presents 'Stripped Years', a beautiful production that takes us down below with big strings, supa deep chords and a light yet bumpy 4/4 kick.
Not hard, not pumping, just sexy and deep.

In order to make the North African theme even stronger we asked Moroccan producer Cee ElAssaad to take 'Stripped Years' further beyond the limits of the original version. The result is quite Chicago-ish, slightly more soulful but still very electronic and thumping. Cee gives us two versions, the original remix but also a massive beatless version that works just as well without beats.

Nuanced, psychedelic, unapologetic.

That is Die Angst's approach to Quinoa Cuts' 9th release.

The duo, composed of Sicilian brothers Francesco and Giuseppe Di Stefano, infused a sublime combination of energies into these 4 club cuts. Growly lowends, dynamic grooves and an undeniable touch of nostalgia make this versatile record a good all-rounder for our adventures during the small hours.

Peak time? Check. Steady rollers? Check. Moments of introspection? Sign me up.

Don't let this tasty treat get away!

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

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

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

French producer KafkaCtrl lands on Source Material with 4 club-ready cuts of peak time electro. Vinyl Only. Pressed loud at 45 RPM.

All tracks recorded at ROLL OVER STUDIOS, London. January 2004.

Features 10 Studio tracks including: It Mek, Israelites and Sing A Little Song.

Desmond Adolphus Dacres was born on 16th July 1941 in Saint Andrew Parish, Greater Kingston, Jamaica. As a youngster Desmond regularly attended his local church with his grandmother and aunt. Here would bring him his lifetime religious commitment and his enjoyment for singing.

Dekker moved to parish of St. Mary following his mother’s death as a result of illness. He later moved to St. Thomas, where he took up an apprenticeship as a tailor, before he moved back to Kingston and landed himself a job as a welder.

His co-workers encouraged him to pursue his singing career, he successfully auditioned for Leslie Kong's Beverley's record label and was awarded his first recording contract. As his career took off this was the time he decided to adopt the name Desmond Dekker instead of 'Dacres'.

Tracklist
A1 Daniel Bortz - I Met Her at the City Club
A2 Massimiliano Pagliara – Midnight Mirage
B1 Sam Goku - Unattached Voices
B2 Bostro Pesopeo & Tom Bioly – See You Again
B3 New Jackson – There Will Always Be This Love (OOPS POP Version)

Short Info
The third round of the Permanent Vacation XX series to celebrate the label's 20th anniversary brings together a lot of familiar faces and long-time vacationers. From Daniel Bortz, Massimiliano Pagliara and Sam Goku to New Jackson and the collaboration track between label head Tom Bioly and Bostro Pesopeo. Everyone brings his unique sound to the table, so that the EP offers a broad, yet cohesive variety of music that brings us to the essence of Permanent Vacation.

2026 Repress!

Dream Dancing have been on the hunt for something special and find it with the return of Blueless.

On the A side, two highly sought after tracks originally released on her own Capture Records in 2007.
'Groove Me' is a stunning emotive deep tech house moment which will raise the hairs on your neck on every listen.
'OK' enters more club territory, still keeping within the soulful spectrum. Restored and remastered from Blueless' own vault.

On the B side, 'Trueness' and 'Outsounding' are both fresh from the studio, offering organic rhythms, effortlessly gliding with classy musical atmospheres and warm rolling grooves.

Almost 20 years between the productions, Blueless remains true to her unique soulful style with these much welcomed heartfelt, timeless and deep sounds.

Something old, something new, all Blue!

Tooflie's anonymous archivists return for another trip through the past, this time leaving geography behind for the unruly musical landscape of the 1980s. Four edits bring together the creme de la creme of Polish rock, Danish new wave, Soviet avant-garde and Georgian synth-pop, giving each source a fresh dancefloor angle while keeping what made the original so distinctive. A Balearic rework, an Hi-NRG treatment and two more leftfield interventions turn these unlikely archival finds into records that work just as well at home as they do on a larger system. The original records behind these edits are notoriously hard to find, making Tooflie 008 a rather useful detour for diggers and collectors, as well as anyone with a soft spot for overlooked musical oddities.

BLOOM, the 2026 Grammy Award-winning album from four-time Grammy-nominated singer, songwriter, and vocal powerhouse Durand Bernarr, is a landmark release from one of contemporary R&B's most celebrated voices. The album also earned Grammy nominations for Best Traditional R&B Vocal Performance ("Here We Are") and Best R&B Song ("Overqualified"), further cementing Bernarr's reputation as one of the genre's most innovative artists. BLOOM explores the concept of love beyond romantic intimacy, weaving together themes of self-love, personal growth, friendship, community, accountability, and the freedom to cultivate spaces where love can flourish. Rich in soulful songwriting and genre-blending production, the album showcases Bernarr at the height of his creative powers.

POV zeigt Nico Santos in zwei Extremen: ganz nah und ganz groß. Sein viertes Album ist ein Doppelalbum
aus zwei vollständigen Welten: Personal und Optimist. Personal versammelt intime, persönliche und echte
Geschichten, vielleicht die biografischsten Texte, die Nico bisher geschrieben hat, für Momente, die man
allein mit sich hört. Optimist ist das Gegenstück: große Hymnen und der Soundtrack zu seinem lauten,
schnellen Leben als Popstar, für Nächte und Momente mit Freunden. Zusammen ergeben beide Seiten 18
Songs, darunter ”Why Don’t You Stay”, ”Optimist”, ”Ray of Light”, ”All Time High” und ”Body”.

ARE YOU HOUSE Records presents: Are You House Sampler 2

Following the success of the first edition, ARE YOU HOUSE Records returns with the second instalment of the Are You House Sample series — bringing together three distinctive cuts rooted in groove, rhythm and the spirit of house music.

Opening the release, June Jazzin delivers “Iksasa”, a 9-minute broken-beat journey that takes you deep into its rhythm and groove. With its extended arrangement and hypnotic flow, the track gives you the time and space to settle into the groove and let the music take you on a journey.

Track 2, June Jazzin returns with “Driver Step On It”, a driving house cut built to push the energy forward, lock into the groove and keep the dancefloor moving.

Closing the release, SculpturedMusic delivers “Sing My Blues Dub”, a 6-minute deep, rolling and groovy house journey layered with hypnotic rhythms and soulful energy.

Three tracks. Two artists. Different grooves, different moods, one unmistakable house spirit.

ARE YOU HOUSE?

La Rama is hyped to bring you the debut 12” of an incredible Montreal based DJ/Producer, Ghazi aka Visionaire Not Millionaire. With some singles on VAs making it out in to the world over the last few years, it was time for Ghazi to have a maxi of his own. ‘Electrika’ arrives with a massive nu-school title track, the Bass/Break rumbler ‘L.O.S.T.’ & the dungeonous ‘Distress’. All this rounded off with our main man Marco Passarani’s second appearance on the label with a Passarani Club Dub!

Straight dance floor power for all your international party needs. Thank you for rocking with us :-)

Music & Mix by Ghazi aka Visionaire Not Millionaire. Mastered & Cut by Marco Pellegrino. Remix by Marco Passarani. Design by KG. Distributed by Mother Tongue & La Rama Records.

Released in 2025, the “Thirst Walk” 7” features the first new music released by post-hardcore art rock pioneers Shudder to Think since the late ‘90s.
This pressing of the 7" is on opaque pink vinyl and is available to stores for the first time. NON-RETURNABLE

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

“Carl layers willowy guitar arpeggios, foggy keyboards, and chimes over Windy’s murmured intonations and rippling basswork. Everything sounds fresh and unaffected in the careful hands of these two gentle souls. Pick it up, lie back, and allow it to lull you into an undisturbed reverie.” Big Takeover

At the time of original release it was written that the album "will transport the listener to other plains of reality.” (Acid Test). Meanwhile, Alternative Press called it “alluring and addictive.” and CMJ called it "expansive, daydream enhancing music.”

The pair have also recently released their collaborative album with Optigan Conservatory, which can be revisited here. A beautiful and hermetic energy larger than the sum of its parts was captured in the collaborative process of making this album. There are echoes of the earliest releases from Windy & Carl as well as refractions of the same opacity that surfaced in the early kranky catalog.

A fine time to be shining a light on these label stalwarts as the dark Autumn evenings roll in

2026 Repress

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

In Permanent Vacation 20th anniversary year, Joe Goddard returns to the label with You — a fivetrack EP that feels both timeless and deeply connected to the label's musical DNA. Blending disco, house, electronica and subtle folk influences, the release captures the optimistic spirit of the early 2000s while sounding effortlessly contemporary.
Across five beautifully crafted tracks, Goddard balances warm melodies, organic textures and dancefloor elegance with his unmistakable songwriting touch. The EP features three standout collaborations: Glynn joins on the uplifting "Cutting You Loose", fellow Hot Chip member Alexis Taylor lends his unmistakable voice to "Hide & Seek", while Absolute appears on the intimate closer "Gentle Man".
You is a fitting addition to the Permanent Vacation catalogue—music that looks back without nostalgia, embraces the present, and reminds us why timeless records never go out of style.

The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.

The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.

Bruce Ivery returns to Stilove4music, and we couldn't be happier to welcome him back. A true master of his craft, Bruce has delivered some of the label's most celebrated releases, each one leaving a lasting mark on dancefloors around the world.

Born and raised in Chicago and a key member of the legendary Chuck Brothers collective. Bruce's reputation as both a producer and editor speaks for itself. His latest work, a release on Ryan Elliott's Faith Beat, is further proof of his talent. This new drop is no exception—it will have you questioning your own sanity.

It's disco time once again, and it's Bruce Ivery time on Stilove4music. We're beyond excited to share these tracks, designed to create mayhem on discerning dancefloors.

Mutual Rytm's Versus sub-label returns with a dark, absorbing new EP from contemporary techno innovators Kameliia and BLANKA. Kameliia and BLANKA both previously appeared on Federation of Rytm IV and now step forward with their long-awaited debut EPs. It is another standout for Mutual Rytm's Versus series, which has already made an impact with two previous EPs from Regent and Chontane and Klint and Hemka. This third release subtly evolves the sound into more hypnotic and atmospheric worlds that bring fresh perspectives to the series. Bulgarian-born, Norway-based Kameliia’s music is rooted in cinematic, melancholic and hypnotic sounds. She translates deep emotions into immersive sonic landscapes inspired by nature, particularly the moon, the sky and their atmospheric qualities. Along with Berlin-based Spaniard BLANKA, she has released on labels such as SK_Eleven, while BLANKA also co-founded Room Trax and draws heavily on the human voice, which she considers one of the most personal and intimate instruments. She uses it to create an emotional, direct connection with the dance floor, with a clean, minimal, timeless style rich in emotion. Kameliia opens up with the weighty kicks and eerie atmospheres of 'Bird In A Cage' before 'Red Sky' layers taut kicks and icy synths into a hypnotic forward charge full of depth and darkness, then 'Lightness' has an unsettling and paranoid lead hanging in the air next to vocal fragments and haunting pads. BLANKA’s offering begins with tightly wound kicks and bass on the dubby 'Say It With Me'; 'Self Pleasure' is an immersive and rubbery rhythm with cosmic synth work, and 'Rabbit Habits' brings funky synth lines that radiate a sense of subtle light and hope amidst the darkness of the groove. Two digital bonus cuts from each artist follow: Kameliia's unsettling, dystopian soundscape 'No Longer A Desire' and the backlit suspense of 'Vivere', and BLANKA's gritty, loopy 'Dream VST' and the deep-space odyssey that is 'Gone For Good'.

A warm Mediterranean summer night. The day’s heat lingers on the walls as the sea breeze carries fragments of conversation into the dark. Time slows, hearts open, and a melody drifts by familiar, yet impossible to place. Minutes later, you’re humming it. This is Tonight In Tunisia... If you know, you know..
With these remixes for Re:Imagine, the now well-established pairing of Chez Damier and Ben Vedren continues to blur the lines between deep house tradition and contemporary expression.
Built around warm rhythms, sun-drenched melodies, and irresistible vocal hooks, Tonight In Tunisia balances sophistication with immediacy. Rooted in jazzy sensibilities, it offers a version for every mood: open-air dancefloors, late-night terraces, and those summer moments that seem to linger long after the music stops.
Effortlessly uplifting and deceptively simple, it’s the kind of record that slips into your mind on first listen and refuses to leave.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

repress 2026

not many artists are able to develop a distinct sonic identity releasing just 5 solo records. through his selective output in the course of 5 years on nina kraviz's Trip, vladimir dubyshkin gained not only an army of loyal fans analysing his live sets for new music, he also inspired many who followed and continued to develop his unique sound.

his tracks, many of which became underground hits like "lady of the night", "ticket to childhood" or "russian porn magazine", always stand out and are immediately recognisable. be it weird syncopated euro dance reminiscent bangers with crazy vocal snaps or haunting hypnotic beauties on a techno side. his music always has that genius dubyshkin groove, a pinch of irony and the ability to make just anyone dance, from a small underground club to a huge festival dancefloor. this universal appeal ensures his tracks resonate across sound systems of all sizes, embedding themselves in the listener's consciousness long after the music stops.

on "ivanovo night luxe", his first double ep on Trip, vladimir sounds as amazingly unhinged as ever embarking on a surreal journey, from the eerie echoes of a haunted funfair ride to the core of a peak-time set.

"ivanovo night luxe" continues to captivate and intrigue, solidifying dubyshkin's standing as an artist of unwavering integrity and reminding us that sometimes 'less is more'.

Rapidly gaining momentum, Drumcode’s new DC4 series returns to serve up a collaborative feast for its fourth edition.

Since debuting in summer 2025, DC4 has done exactly what it says on the tin: serving up four elite tracks that deserve the spot to shine.

You know you’re going to get A+ quality when you cue up a Victor Ruiz & Alex Stein collaboration. The Brazilians have a long history of studio jaunts and they deliver the goods via ‘Core’, a brilliant brain-scrambling outing with a strong dramatic arc.

Charles D & Weska follow up last year’s ‘The Answer’ on 1001 Recordings with ‘Can’t Get Enough’ feat. Bexxie. With a foot in prog and techno alike, this is driven by low-slung grooves and Bexxie’s sexy vox, packing an exhilarating energy throughout.

Enter two Drumcode debutants – SCRIPT & OKAYVAL. The former is a fast-rising American artist who is coming off collaborating with Brazilian superstar ALOK, while the latter is a Colombian born, US-based artist whose earned gigs at EDC Vegas and Tomorrowland this year. ‘LIKE THAT’ is a high-energy jam marked by tight rolling percussion and a sharp vocal loop designed for peak-time impact.

Another pair of fresh faces land on the comp as Martin Costas & Gabriel Gil drop ‘It’s All Around’. Lock in for a pulsating slice of prog driven by hypnotic rhythms and lush melodic textures. A versatile cut fit for a variety of party situations.

Wisconsin house music legends Solid Gold Playaz return with Minds Beneath Atlantis EP, a timeless deep house gem first released in 2003 on Silver Network before receiving a sought-after reissue from Still Music in 2017. Long out of print and highly coveted by collectors, copies have regularly fetched upwards of £50 on the second-hand market. Thankfully, Still Music have answered the call with a welcome repress, making this essential release available once again for DJs, collectors, and deep house enthusiasts who missed out the first time around.

Decoder arrives on Toca with "Vaanavil", his first solo outing on the label. This EP carries a more refined, emotionally driven approach from previous works while maintaining a simple, clear motif throughout the 4 tracks. Vaanavil translates to "Rainbow" in Tamil, which is reflected deeply throughout the release: colorful, explosive, and melodic moments that capture the spectrum of light, and just in time for the upcoming summer months :D

"Surface Noise Isn’t A Crime" continues NOREPRESS’ exploration of texture, pressure, and imperfect sound as core elements of underground electronic music. Across four tracks, the release moves through Deep Tech House, Dub Techno, Electro, and Breakbeat without settling into fixed genre boundaries, balancing functionality with experimentation throughout.

A1. Tvardovsky feat. Andrey Zverev – Flute Meditation opens the record with a dense, slowly unfolding trip built on dub space, electro tension, and hypnotic Tech House movement. Organic flute phrases drift through layered percussion, evolving bass pressure, and spacious analog textures, creating a strange collision of futurism and nostalgia. The track resists obvious peak-time formulas, choosing gradual transformation over immediate impact and rewarding deeper immersion with every transition.

A2. Osman Öz – Regrets moves into softer territory without losing rhythmic weight. Warm breakbeat structures, airy melodic fragments, and fluid low-end movement give the track a calm but persistent momentum. Osman Öz keeps the arrangement restrained and precise, allowing groove and atmosphere to carry the emotional core of the composition naturally.

On the B-side, Kirill Matveev appears under his Natural Piece Of Aloe alias with two contrasting interpretations of the project’s dub-informed language.

B1. Salto Mortale is playful, unstable, and constantly mutating. Rhythms stretch and reorganize themselves around shifting tonal fragments, while the arrangement moves with the loose unpredictability of an improvisation session. Despite its complexity, the track never loses control, maintaining a strong forward pull through every unexpected turn.

Closing the record, B2. Columbo Beat, Kirill Matveev - Sundub pushes deeper into darker territory. Acid sequences slice through heavy dub atmospheres while rugged drums and saturated low-end pressure drive the track forward with raw physical energy. Distortion, space, and movement interact continuously, turning the track into a hypnotic late-night tool designed for more adventurous dancefloors.

"Surface Noise Isn’t A Crime" captures NOREPRESS at its most confident: raw textures, deep space, broken edges, and timeless club influences reconstructed into a modern dub-driven framework.

NOREPRESS is a division of MixCult Records

2026 Repress

Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.

'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.

On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.

Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.

The vinyl saga between Planet Rhythm and Derailed Records rolls on with a full album from none other than the mighty Tensal. Landing as a double 12", this release carries the unmistakable VVS signature: uncompromising, high-impact techno and a selection of heavyweight prime-time cuts made to ignite the dancefloor. We’re excited to welcome Tensal to the label, whose unmistakable sound makes this vinyl release a truly special addition to the catalogue. '' I Want VVS's More Than Ever ''

MRD's highly anticipated "August Memories" EP is OUT NOW — available in both vinyl and digital. The Norwegian producer further asserts his versatile and distinctive sonic identity. The result: 2 techno weapons and 2 peak-time anthems fusing trance, 80s guitar riffs, and shoegaze intensity. Expect pure euphoria on the dancefloor. Spotify, Apple, etc: bfan.link/august-memories-1 Mastering: Charles Accarisi Cover Picture: Hugo Wirth

A much loved and missed record label headed up by Jacob Kelly (J.Cub) & Leena Sharma. A label that isn’t there to follow fashion, trends or be the next big thing, but a record label that is a platform to release music from Artists they love and support.There are no boundaries with the style of music they release, after all it is an Eclectic Avenue. WE ARE EAR!

Kicking things off on the A side is "Baby I’m 4 Real" is a summertime feel Deep House groove with a beautiful Soulful vocal running throughout.

On the flip is "That Storied Word" another Deep House groove with Steve Cobby playing a beautiful bassline that takes you throughout the whole track.

Rounding off the EP is "Juvenile Delinquent" which takes a step back in time with a break beat, heavy baseline and a familiar vocal sample, one for the “Heads”.

After a long wait, Metroplane is finally bringing their original 2019 club anthem ‘Be Where I Am’ to vinyl for the first time. Featuring Daniel Wilson's powerful vocal performance, the track slowly but surely made it into everyone’s set thanks to its timeless delivery and production.

On the B-Side US electronic pioneer Morgan Geist brings his signature touch to the original. Best known for his for pioneer work as half of Metro Area, Geist is also the man behind Storm Queen and the UK Number 1 ‘Look Right Through'.

House of Groove presents Marc Cotterell’s “Connection”*, now pressed on a limited edition marbled vinyl. Known for his signature garage and soulful sound and for his work through Plastik People, Marc delivers a record built for the dancefloor, with six cuts selected from the full project. Side A A1. Connection With You (Plastik Vocal Mix) A2. Connection (Plastik Vocal Mix) A3. Smooth Groover (Yambow & Cotterell Mix) Side B B1. Connection With You (Roméo Louisa Remix) B2. Connection With You (Baka G Remix) B3. Quicksand (ZAV Club Piano Mix) From the warm groove of **Smooth Groover** with Yambow to Roméo Louisa’s peak time interpretation, Baka G’s remix and ZAV’s piano driven club mix, the record moves between garage, soulful house and pure club energy while keeping Marc Cotterell’s identity at its core. Pressed on a striking clear and white marbled vinyl with black splatter, each copy has its own unique visual character. Mastered by Benoit Daudin at Perception Mastering. Marc Cotterell, Connection Limited Edition Vinyl House of Groove

Electrumos is said to be a lost continent hidden somewhere on Earth. Some believe it lies beneath the surface, others claim it drifts invisibly through the atmosphere or exists between different layers of time. Despite countless attempts, nobody has ever managed to locate it.
On this EP, pdqb becomes the first known traveller to access Electrumos, intercepting and decoding the mysterious electromagnetic transmissions emanating from within.
He transforms these signals into irresistible electro-cognitive frequency patterns.
Featuring remodels by dynArec and DMX Krew, along with artwork by John Armleder.

Yore Records proudly welcomes back DJ Alone Again from NYC for a second journey into timeless House aesthetics.

Across four cuts, DJ Alone Again moves effortlessly between raw, uplifting New York energy and deeper late-night moods. From classic swinging drums, dusty stabs and peak-time pressure to warm chords and smoother hypnotic grooves, this EP captures different shades of the unmistakable 90s house spirit.

Stripped-back, soulful and driven by pure dancefloor functionality, these tracks feel both familiar and refreshingly honest — a tribute to the golden era without sounding trapped in the past. A sincere nod to classic underground House Music and another statement by yours truly YORE RECORDS.

For his debut on Hard Times Records, Manchester's FLETCH delivers 'Lift Me Up’ - a four-track EP rooted in rolling grooves, warm musicality and a refined dancefloor energy.

The release follows a busy run for FLETCH, with releases on Circoloco, Three Six Zero, MVSON and ANOTR's No Art, where his Play House EP reached the top of the download charts. His connection with Hard Times began behind the decks at the label's sold-out Miami Winter Music Conference showcase, where a shared appreciation for the music soon developed into plans for a release.

"After playing for the Hard Times crew in Miami, I told them how I'd been a fan of the label for years and that i’d love to release something with them one day," says FLETCH. "I sent over some tracks that I felt were a natural fit and the guys signed them on the spot. The rest, as they say, is history!"

The title track sets the tone for the EP with rolling drums, elastic basslines and understated vocal hooks, while 'Stand Up’ leans into swung percussion and classic chord stabs. On the B-side, 'Touch Me' shifts into deeper territory with stripped-back, late-night groove, before '1000 Years' closes the EP with dusty scratches, crisp hats and an understated sense of drive.

Since its digital release, lead track "Lift You Up" has received strong support on BBC R1, plus heavy DJ support from the likes of TSHA, Hilit Kolet, Laurent Garnier, Jamie Jones, Groove Armada, Riva Starr, and more.

FLETCH's sound continues to evolve while remaining firmly rooted in the traditions of house, making 'Lift Me Up' the perfect debut on Hard Times.

Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.

If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.

While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.

From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.

Building on the promise of nearly 10 years testing limits within club music, Batu presents his debut album Opal. Experimentation is a well-established facet of Omar McCutcheon's identity within the leftfield techno zeitgeist, but more than ever on Opal he seizes the opportunity to incorporate ideas beyond dancefloor impetus into his animated, forward-leaning sound.

Through the course of 11 tracks, rhythmic forms are mutated and manipulated, sonic matter bends across the frequency range and narrative structures coalesce and dissolve according to Batu's own internal logic. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint. It's a sound intrinsically connected to the superlative string of club 12"s, EPs and collaborations Batu has spun behind him thus far, even as it moves into unfamiliar terrain, guided by abstract inspiration from coastal landscapes and the mineral matter all life on Earth is built on.

Debut album from Batu on his own Timedance imprint following releases for Livity Sound, Hessle Audio or XL Recordings.
UK & Worldwide press campaign led by Dawn Creative. International press cover TBA and strong media (RA, Mixmag, DJ Mag, XLR8R) and radio coverage around the release (Jamz Supernova, KEXP, Dublab, Rinse France)
Extensive touring schedule for 2022 includes US, Mexico, UK, Europe, and features headline slots in multiple high profile festivals (Sonar, Dekmantel, Outlook, Dimensions, Waterworks and more)

Impossibly rare slab: a capital-C-cult bit of millennial business from perhaps the most enigmatic member of the Gush Collective crew, who in the early 00s not so much redefined, but refined UKG… and then some. Alongside folks like Herb-LF and Lorenzo, Yoshino was a stalwart: releasing and remixing on the legendary but somewhat overlooked German labels Draft Recordings and Gush. It was here these cats smoothed out the UKG sound with a spliffed out vibe that fucked with the raw warm herby sounds of Tyree Cooper and QX-1; Yoshino, more than most though, flirted with sounds you wouldn’t expect to find in the UKG realm: think ethereally stuff man, I’m talking Placid Angels with the pseudo Japanese pop sensibilities of Faye Wong - but when when the cards fall down, his productions equally bang. So: splice in a bit of Serious Danger and Makesome Breaksome, light a phat one or zwei… & welcome to the wheelhouse.

‘Back to Basics' is a celebration of Yoshino as an artist: featuring a repress from our favourite Gush Collective stash (which is now so dear it makes me wish I’d better taken care of my records at after parties); three first time cuts of his on wax that we’ve curated from over the years that feature appearances from Peaky Beats and Miss Angel - and of course, there’s a killer remix from deep digging DJ and producer, Enchanted Rhythms (whose Youtube archive is packed to the veritable rafters with the most overlooked gems and updated with such frequency that it is hard to keep up). Apart from being a head’s head, Rich is also part of the Pace familia, so we're happy to welcome him to the catalogon a terrain he has endlessly kept fresh since day dot - he knows his shit here, and of course, he taps into that Yoshino flava big time.

Len Lewis arrives on Amsterdam’s Dzungla, digging into the tech house veteran’s vault for a mix of archival material and previously unreleased cuts. Four tracks spanning from 2003 to 2021, showcasing his trademark dark, driving sound, with three tracks being released for the first time.

The A-side reissues the original “Paradise People”, the highly sought-after 2002 cut and enduring spaced out favourite. On the A2 comes the previously unreleased “Paradise People (2003 Dub)”, a more dubbed-out version produced in 2003 but never released before.

The B-side opens with “Bare Back”, an eerie high-energy groover, while the B2, titled “A1”, takes things into wonkier, more stripped-back territory. Two contrasting cuts that work across the dance floor, from peak-time sets to the opening hours.

Y-3, the pioneering sports-fashion collaboration between adidas and Yohji Yamamoto, has for three decades dwelled calmly within the ''tensions of existence''. In conceiving the brand's long-awaited return to runway format at Paris Fashion Week, these codes laid the groundwork leading up to the Spring/Summer 2025 season. Whilst the focus for runway is traditionally placed on garments, models, styling, environment, and the pageantry in between, it was crucial that music play an integral role in the conversation. Three seasons later, sound has informed creative direction from the very earliest phases of ideation. Commissioning all-original compositions has become a natural part of this ideology. The return to runway has invited the opportunity to define a new sonic palette for the brand, and beyond that, to usher in a new era of sound for Y-3 that echoes across music & culture. Following this ethos, and with a mandate to support obscure talent, Montreal duo Solitary Dancer have emerged as the first collaborators in shaping the intimate brand architecture of noise & feeling. With a body of work now spanning over a trilogy of seasons, the genre-defying Y-3000 imprint provides an outlet to disseminate & recontexualize the original compositions beyond the traditional runway. The label embodies Y-3's enduring commitment to explore innovation within opposing cultural forces. The works, originally released on Y-3000 as a series of white labels, are now being featured as a 6x 12'' vinyl compilation. Designed by Trevor Jackson and limited to just 99 examples, the recordings will also be made available both digitally and on streaming services for the very first time.

Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.

Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.

„No Tourists“ wurde von Liam Howlett in seinem Studio in London-Kings Cross geschrieben, produziert
und abgemischt – auch wenn es sich, wie Liam betont, „durch und durch um ein Band-Album“ handelt.
Maxim und Keef Flint sind voll und ganz mit von der Partie und steuern ihre legendären Vocals zu diesem
siebten Studioalbum der Formation aus Essex bei. Zwar gibt es vereinzelt Gastbeiträge, doch im Kern
ist dies der Sound des Prodigy-Kerntrios, das sein explosives Klanggewand sowohl altem als auch neuem
Publikum präsentiert – fast drei Jahrzehnte, nachdem die Band mit dem epochalen Album „The Fat Of
The Land“ das Gesicht und den Sound der elektronischen Musik nachhaltig verändert hat.

Recut and repressed

Every now and then, there are tracks that stand the test of time. Tracks that are more than just another DJ-tool. Tracks to remember. When „Fom Within“ was released 13 years ago. the track found its way into almost every DJ-Case that summer, and to this day, people playit out at special moments. When Gregor Tresher started to mix Celeda´s „Music Is the Answer“ Acapella over it, inofficial remixes popped up everywhere. We decided to actually never release that version, as we believe some things should be in the DJ´s hands, as there´s nothing quite magic as if a DJ-Mix creates something new. We are happy to give to you an official repress of one of the strongest tracks from our label´s history. Play it out and let it work it´s magic.

The next chapter on Skip Audio arrives with S.O.N. at the controls, presenting three original productions that move between hypnotic rhythms, rolling basslines, and immersive atmospheres. On remix duties, Romanian heavyweight Sublee reshapes one of the originals into a deep and elegant dancefloor journey. A carefully curated collection of four trippy, groove-driven tracks made for long nights and discerning selectors.

Pressed on vinyl only. No repress guaranteed.

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Agents Of Time return to Afterlife with two heartrending audio expeditions.

Italian act Agents Of Time have established a sterling reputation over the years. Their mesmerising approach to club music blends emotive melodies and transcendent rhythms, with dance floor-centred beats.

The Mirage EP begins with its title cut; enveloping the listener is a swathe of atmospheric synth and pad work from the off. Oscillating frequencies complement the sultry rhythms while a life-affirming riff forms the stirring centrepiece. On the flip ‘Northern Lights’ is a sensitive, emotive composition which gradually increases its emotional impact as it builds and evolves.

I hope you will enjoy it as much as I do!

Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.

This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.

He went on to study further at Morris Town Junior College in Morris Town, Tennessee.

Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.

His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.

Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.

Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.

A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.

Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.

The annual Bonkers Music compilation is back with another dose of high-energy bangers. For its seventh anniversary, the series takes a fresh step forward, exploring a slightly evolved musical direction while keeping the distinctive sound that defines it. “Year VII” lands on 12” vinyl.

A1 David Meyer & Ludviq – Mandanga 2.0 (Feat Nick Hanzo)

The collaboration between Ludviq and David Meyer strikes a compelling balance between tension and movement. Drawing from underground electronic influences, Mandanga 2.0 evolves through hypnotic layers, acid-driven momentum, and a powerful groove, resulting in a distinctive cut that feels both immersive and uncompromising. Mandanga 2.0 is a dark, hypnotic electronic track built around squelching acid sequences, deep rolling grooves, and haunting vocal elements from Nick Hanzo. Atmospheric textures and a relentless rhythmic drive create a tense, immersive journey through shadowy soundscapes, blending raw energy with a refined sense of space.

A2 Neskeh – Liquid Sky

A raw trip built entirely around samples from Liquid Sky, Neskeh’s one of all-time favorite films. Crunchy saturated highs, basement-shaking low end, heroin-soaked wonky vocals, and freaky alien leads drifting through the mix. A warped tribute to an iconic soundtrack. Welcome to the space trippy club

A3 Your Reference – Afterparty

Julia Konor aka “Your Reference” one of the hidden gems of Barcelona’s underground scene, lands for the first time on the label with “Afterparty”
”Afterparty” draws inspiration from abandoned industrial spaces, empty warehouses, and nights where the only thing that mattered was the music. No rules, no expectations. Just raw energy, dusty air, concrete, and people completely immersed in the moment. The track is a personal postcard from that world.

B1 Lebollet & Mar Bravo – Aleta

“Aleta” is one of those Colombian words that somehow made its way into our shared language. We use it for raw, intense, dark tracks. Hard to translate. Makes sense when you feel it.

B2 Funboys – Skin In The Game

“Against the persistent ebb and flow of a breaking heart’s pulse, echoes of half-faded memories tease your attention… On the edge of forgetting, you can almost remember. And then it hits you – the coalescence of feeling into colour and form, warm in its familiarity, powerful in its simplicity. Uncanny, because it was right there all along. Don’t hold your breath… Listen!”

B3 Milla Campollo – Brote Psicodélico

“Brote Psicodélico” emerges from a hypnotic intersection of acid rhythms, psychedelic textures and raw downtempo energy. The track slowly unfolds through repetition and movement, creating a constantly evolving state between tension and release. Dark, trippy and physical, it is built around a groove that pulls you deeper with every layer. Distorted elements and acidic patterns weave in and out of the rhythm, giving the track an organic yet alien character. A journey designed for listening, less about following a linear narrative and more about entering a state of mind, where the boundaries between rhythm, body and psychedelia begin to blur.

In celebration of the 40th anniversary of Talk Talk's iconic "It's My Life" album, it has been cut at Half-Speed by Matt Colton at Metropolis Studios, overseen by Talk Talk drummer Lee Harris and Charlie Hollis, son of Mark Hollis, giving the album a greater depth. Originally released in February 1984, "It's My Life" is the band' second album and followed the 1982 release of their debut "The Party's Over" which initially received moderate success in the UK reaching number 21 in the UK chart and finding some global success.

By the time they came to writin and recording "It's My Life" the band had gone from the four piece to a three with Simon Brenner leaving the band. The album initally found considerable international success. "Such A Shame", the album's first single was a top 10 hit across Europe and the album's title track entered global Top 40's including in the US.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

Space Ghost returns with Back From Reality, his first solo album since 2022. Blending ambient, downtempo and house, the LP explores themes of escapism, introspection and the search for moments of calm in an increasingly overwhelming world. Out October 9th, 2026 via Space Ghost’s own Peace World Records.

Drawing influence from late '90s and early 2000s ambient and electronic music, the record channels the nostalgic atmosphere of PS2-era video game soundtracks, console startup screens, and save menus. “I used to play games like Spyro, Crash, Ape Escape, Gran Turismo. It's fun for me to reimagine songs that could have lived in games from that era. ” The project reveals Space Ghost's interest in writing music for video games, with tracks such as "System Reset" reimagining an alternate PS2 startup screen or “VGM” visualizing a stage selection screen for an imaginary game.

Visually, the project emulates the minimalist design trends of album artwork from the same era: sparse industrial landscapes paired with minimal type. Space Ghost took the cover photo himself while driving around the quiet, empty Oakland ports at night. Tracks like “Sugar Cube” and “Back From Reality” mimic these late night environments and create a downtempo zone for listeners to get lost in. “One of my favorite things to do after writing songs, is to drive around Oakland listening to them. It's almost like the final test for the songs, to see if their emotion holds up.
”
Written over the course of five years, Back From Reality reflects Space Ghost’s experience of balancing everyday life with the desire to be creative. “This album is me coming home from my day job and returning back to the place where I feel the joy and freedom in making my music. If I could, I would work on my music full time, but for now it's part time and often a form of escapism. ” Beneath its calming surface, the LP quietly wrestles with larger questions. Against the backdrop of global conflict, environmental decline, and economic uncertainty, the album searches for small moments of optimism through creativity and introspection. Back From Reality holds a moment of space away from these overwhelming times, allowing listeners to pause and recharge.

Back From Reality releases on Peace World Records October 9th, 2026

In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."

It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.

Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.

Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.

Xistence Records reaches its eighth release with what may be its most important record so far, bringing together four artists whose music carries the spirit and evolution of Detroit techno. With selections reaching back three decades alongside new material, the EP connects different eras of tracks that exemplify the raw soul, machinery and futuristic thinking at the style's core. Sean Deason opens with 'Time Warp', originally appearing on his Matrix label in 1996 and finally receiving its first vinyl release. Thirty years later, its dramatic entrance and surging rhythm have aged perfectly. Energy is matched by genuine depth and soul, with its futuristic energy at the heart of it all. Label owner Arbilla follows with 'Electric Storm', harnessing the power of a great techno groove creates a blend of infections elements working in harmony. The second side reaches back to 1998 for a previously unreleased DX-9 production. A pounding Chicago warehouse beat meets the mechanical precision of Detroit, while a heavily over-arching acid line fuses the marriage these two deep-rooted cities. Legendary producer, Orlando Voorn closes proceedings under his Basic Bastard alias with 'Alone Together'. Perhaps the sickest groove of the EP. opens up a spacious atmosphere that gives the track an almost celestial quality. Inspired by Detroit techno’s evolution and its key figures, Xistence continues to show why it has become one of the rare trusted homes for proper techno.”

(Tim Humphrey from Electric Cafe)

180 GR welcomes Vick Lavender for his first release on the label, presenting the two-track The Endless Possibilities EP, shaped by his distinctive approach to deep-rooted house music. Endless Possibilities moves through warm, hypnotic territories, balancing flowing rhythms with a spacious, reflective feel. Out Of The Fire takes a more direct route, bringing deeper pressure and driving energy while keeping musicality and depth at the centre. Together, the two tracks offer a focused introduction to Vick Lavender's sound: soulful, rhythm-led, and built for both the dancefloor and longer listening sessions.

Little Green Men is the deep house music project of UK duo Chris Scott and Scott Bradford, best known for their acclaimed releases as New Phunk Theory on the legendary Paper Recordings, as well as on their own Forensic label.

Originally released in 1999, this rare holy grail has become a highly sought after collector's item, with original copies regularly selling for hundreds of euros on the second hand market.

A true double sided underground classic, this is Little Green Men's rarest and most coveted release, finally back on vinyl. Faithfully remastered and reissued by Endell Street. Essential.

Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”

2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.

Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.

The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.

Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.

The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.

Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.