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Movetone Wax returns with a new release from label head Maik Yells: Maya EP, featuring two originals and two remixes from close collaborators DJ W!ld and Diego Krause.

On the A-side, Real B unfolds like a space in suspension — light pads hovering over a rhythmic base that insists on movement, yet denies narrative closure. while Maya locks into a hypnotic vocal loop and driving low end.

On the B-side, DJ W!ld delivers a phat-beats reinterpretation of Real B, and Diego Krause closes the EP on B2 with a precise, floor-focused take on Maya — all tracks sitting comfortably within the release while extending its reach on the dancefloor.

Karkossyn returns to the shadows with Undergrowth, a harrowing descent into the Bristolian void that pushes dark drum and bass into its most predatory forms. The EP opens with a cold, eerie prologue. A warning that constructs a menacing world before the listener is dragged into the sonic abyss.

Drawing from dnb, trip-hop, and jungle, the soundscapes are characterized by a visceral dread birthed from the dampest corners of the South West. These tracks are built on distorted bass, gritty drums, and raw percussion, layered with atmospheric drones that heighten the feeling of suspense throughout.

Adding to the murk, Bristol’s own Pessimist provides a remix that results in a skeletal, rhythmic haunting. It is a definitive statement of UK dread, solidifying Karkossyn’s place as an uncompromising architect of industrial-tinged carnage.

Marking a milestone for the imprint, this serves as Erosion’s first physical release.

Berlin Based DJ & Producer Johannes Klingebiel returns to Claptrap with “Dolce” a four-track EP served sweet, rich, and ready for peak-time indulgence.

Three original cuts and a heavyweight remix combine for a release that’s equal parts playful and potent. Consider this your sugar rush warning.

The title track, “Dolce,” is a warm and irresistible disco-house groover. Creamy acoustic drums lay the foundation while spicy xylophones and syrupy flute lines weave through the mix, striking a perfect balance between sophistication and pure dancefloor pleasure. It’s smooth, infectious, and built to move bodies.

Next up, “Follow The Line” blends shuffled house rhythms with 303 basslines and grainy vocal stabs. On paper, it’s an unlikely combination, on the floor, it locks tight. The result is hypnotic, driving, and effortlessly smooth.

On the flip, “Pink Forest” ventures into more mysterious territory. Built around an elusive, shifting time signature (one that even jazz-trained drummer Johannes struggles to explain), the track somehow feels both unpredictable and deeply groovy. It bends perception without losing momentum, a heady but danceable excursion into the unknown.

Closing the EP, Sun Damage delivers a remix of “Follow The Line” that both sharpens and distorts the original’s trajectory. Chunkier, weightier, and slightly off-kilter, this rework injects a tougher edge while maintaining the track’s hypnotic core, primed for late-night floors and heavy systems.

“Dolce” is indulgent yet refined, a release that balances musicality with movement, sweetness with punch.
Consume responsibly.

No further introduction needed for this one

The sonic worlds of Devon Rexi and John T. Gast collide in a vital meeting between two singular mavericks!

Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and featuring elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish.

Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures.

The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record.

Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.

SEVEN brings together a fine selection of fresh producers delivering everything from proper house slappers to drifting deep house cuts and progressive house on their latest Various Artists compilation. This VA highlights a bunch of promising newcomer artists across Berlin, Paris, Hamburg and Switzerland, each with their own distinct sound - alongside the already established Nesa Azadikha, a percussionist and producer from Iran. She dedicates her music to the people of Iran fighting for freedom, using house the way it was originally intended: as a rhythmic, electronic escape and a form of cultural expression for oppressed people and communities.

SEVEN brings together a fine selection of fresh producers delivering everything from proper house slappers to drifting deep house cuts and progressive house on their latest Various Artists compilation. This VA highlights a bunch of promising newcomer artists across Berlin, Paris, Hamburg and Switzerland, each with their own distinct sound - alongside the already established Nesa Azadikha, a percussionist and producer from Iran. She dedicates her music to the people of Iran fighting for freedom, using house the way it was originally intended: as a rhythmic, electronic escape and a form of cultural expression for oppressed people and communities.

Gracie Abrams’ highly anticipated third studio album, Daughter from Hell, is out July 17, 2026

The Weather Channel is the new instrumental album from Bad Brains bassist Darryl Jenifer. It follows his 2010 solo debut, In Search of Black Judas. The record features a venerable lineup of heavy-hitters from the jazz world, including the likes of John Medeski, Ben Perowsky, Jack DeJohnette, and Lenny White, among others. The tracklist includes nine new compositions, as well as new interpretations of two Bad Brains classics.

Baba Stiltz continues to showcase his songwriting capabilities with Relief.
Backed by Ilari Larjosto on drums, Relief sees Stiltz delving deeper into the slacker-country territory explored on his last album, Paid Testimony, though here the sound is more refifined and hi-fifi. The track hints at the indie apathy of decades past while maintaining a distinctly contemporary sensibility.
A dubby yet fractured-sounding bassline and sparse three- chord verse structure intertwine with Theo Stocks’ beautiful lap steel arrangement, while Larjosto’s steady, Moe Tucker- esque drumming keeps the song moving forward.
Lyrically, Stiltz navigates pop songwriting tropes with restraint and precision. The repeated refrain of “congratulations” feels both strung-out and melodic, while fragmented, Garielle Lutz- like imagery — “tick tock, wrist watch, clif bar, trunk car, its cargo” — quietly sets the scene. Somehow, the juxtaposition resolves elegantly.
When asked about the theme of the song, Stiltz simply responded: “There is relief in acceptance.”
With Relief, Stiltz offers another compelling glimpse into his evolving songwriting practice, and perhaps an indication of what is still to come. The release follows a prolifific start
to the year for Stiltz, including Blurb 2 with Okay Kaya, co- production, writing and mixing work on Ana Roxanne’s Poem 1, and co-production and mixing on the SY3 EP for Music From Memory.

Fedo serves up an assortment of styles wrapped in mystery and vivid texture. The dive opens with dark minimal laced with glitches and misdirection, followed by a more tech-leaning structure. From there, the overall sound design pushes into deeper realms of the trip, accessible only to experienced divers. It all closes with a deep ballad — floating pitch and colourful pads carrying you back to the surface.

Der Singer-Songwriter Max Subar aus Chicago legte den Grundstein für ,Anything Could Be", sein Debütalbum, in einem Haus am Ufer eines zugefrorenen Sees in Wisconsin. Subar kehrte zu der klanglichen und geistigen Landschaft zurück, die er während der ersten zehntägigen Session geschaffen hatte, und blieb ganz im Moment, indem er nur dann arbeitete, wenn er sich wirklich voll und ganz darauf einlassen konnte. Die meisten der zusätzlichen Sessions, die dem Album Textur und Farbe verleihen, wurden in Subars Heimstudio aufgenommen, in demselben Haus, in dem Case Oats, die von Casey Gomez-Walker geleitete Band, in der Subar Gitarre spielt, ihr 2025er Debüt ,Last Missouri Exit" aufnahmen. Sein Bruder, Sam Subar, spielte Schlagzeug. Weitere Instrumentierung kommt von den Case Oats Bandkollegen Spencer Tweedy (Schlagzeug bei ,I Never" und ,Way Up"), Jason Ashworth (Kontrabass) und Scott Daniel (Violine) sowie den häufigen Mitarbeitern Chet Zenor (E-Gitarre), Kelly Hannemann (Klavier) und Sarah Weddle (Vibraphon, Orgel und E-Piano). Die Arrangements, die dabei entstanden, sind großzügig und erhellend und verleihen den Grundzügen der Live-Gitarren- und Gesangsaufnahmen von ,Anything Could Be" Substanz, ohne dabei ihre Spontaneität zu opfern. Im Ergebnis ein fesselndes, offenherziges Debüt, das mit dem Hörer wächst und Zeit und aufmerksames Zuhören belohnt. Seine 11 Songs sind durchdrungen von dem, was die Dichterin Adrienne Rich ,eine wilde Geduld" nannte, einer radikalen Stille, die selbst eine Reise hin zu Bewusstsein, Frieden und Selbstwahrnehmung ist. Es macht keine Versprechungen darüber, was als Nächstes kommt. Dennoch lässt es die Hörer in atemloser Vorfreude darauf zurück, was das sein mag.