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“ It’s like a more psychedelic , organic KLF Chill Out with deep roots and cosmic overtones“ Richard Norris

“ A beautiful trip “ Jem Finer

D.E.N 01 LAND - Composer Danny Hammond
Land is the first in a series of earth inspired sonic journeys , part sound meditation , part immersive psychedelic nature trip. Incorporating field recordings , shack instruments and spoken words from cosmic adventurers .

It originated as an installation at the 14 Hour Technicolor Drone event in Sept 2025 whereby all listeners fell into a deep nature/dream slumber.
For fans of Pauline Olivieros ,Brian Eno , Terry Riley , Don Cherry , Barbara Hepworth , Alice Coltrane , John Betjemin and all other ambient adventurers.

D.E.N
Deep Earth Network is a long term sound project exploring deep-listening , drone and sonic adventure , all inspired by the earth in all its manifestations , land , water , space , consciousness. Initiated by Danny Hammond , D.E.N will present different sonic projects and collaborations from vinyl / audio releases to sonic installations with the aid of The Deep Earth Soundsystem and the Sonic Heads ( S.H ) a collection of sculpted head audio transmitters.

reActive Lab proudly unveils its first vinyl release, marking a defining moment for the label's evolution. reActive Lab Collective 001 brings together four of the label's core members - Chrivu, Dragne, Flavius, and Pattern Tusk - to craft a 12" that perfectly captures the collective's sonic DNA: deep groove, subtle minimalism, and timeless house energy. The record opens with Chrivu - "Cell Division", a vibrant house piece driven by a confident bassline and crisp percussive motion. Built with clarity and flow, it sets the tone for a journey anchored in groove and precision. Dragne - "Get Funk" follows with playful rhythm and low-end warmth - an irresistible combination of swing, bounce, and character designed for the dancefloor. On the flip side, Flavius - "The Interview" introduces a more introspective dimension - stripped-down yet immersive, balancing atmosphere with emotion through delicate textures and steady rhythm.

Closing the release, Pattern Tusk - "We Went On" blends soulful depth with minimal intricacy, offering a smooth, driving finale that resonates with both feeling and functionality. reActive Lab Collective 001 stands as more than a debut - it's a declaration of artistic identity. A 100% in-house release from reActive Lab, crafted with authenticity and intent. A promising first step in what's clearly a long-term commitment to sound, craft, and community. Short Description: reActive Lab makes its vinyl debut with reActive Lab Collective 001, a powerful VA featuring Chrivu, Dragne, Flavius & Pattern Tusk. Four deep and groovy house cuts blending energy, warmth, and minimal precision - a pure statement of the label's identity.

Nightfall marks Maoh's first release on The Third Room, channelling a sound distilled through years of deep exploration. Four tracks evoke natural forces and instinctive motion, reshaping the dancefloor into a psychedelic, collective yet deeply personal journey driven by a relentless, precise groove. Maoh commits to a tightly defined sonic language born from tribal percussion and restrained rhythmic dynamic, creating a physical and grounded listening experience. Deeply rooted in repetition and pulse, the release remains precise in its contemporary execution, serving as a bridge capable of uniting listeners in shared momentum. As the tool-driven composition unfolds into storylines, revealing vast and unfamiliar landscapes, sparse voices surface to complete the narrative like a final breath, reminding us of the human presence within the universal expanse that the release encapsulates. Ultimately, Nightfall traces a continuous line from early collective expression to a forward-facing, technological present. Rhythm functions here as ritual and joint movement, articulated with clarity and intent.

The label suggests these sounds are something akin to if Tim Hecker met Hudson Mohawke "in a 16-bit video arcade," and we're not going to disagree. Dead Fader is now based in Berlin, but his sound remains out of this world with vapourware trails, glossy synth textures and skeletal rhythms all drenched in trippy colours and low-key melancholy. Ambient, minimal and suspensory synthscapes all drift by with far-sighted reverie encouraged before more weighty rhythms like 'Clowning' and 'fade Out' driving things with extra momentum.

Peach Discs' first release of 2026 comes from fast-rising star of the Manchester scene PACH. (pronounced "pack"). Five slippery rollers built for dark rooms, wafty terraces and the most locked-in of afters.

"The Wake-Up Call" EP represents the full spectrum of the PACH. sound, one rooted in the minimal tunes coming out of Romania but with a cheeky playfulness that can only come from a life spent in the trenches of UK club culture. The A1 "Keep It Bubblin’" is a prime example, as Todd Edwards-style vocal chops flirt back and forth with dub-inspired feedback lines, or "5am Wake-Up Call's" skipping, UKG-adjascent hats. Things get a little rowdier with "Complex Waveform's" scuzzy bassline that wouldn't sound out of place coming from the Clone Records ecosystem. Here it's bolted to a chassis of tough, techy drums and trippy vox that tickle at your peripheries. Flip to the B-side for something a little deeper – the dubbed-out percussion and disembodied voices of "Not That Kinda Party" contrasting with the moody, low-key synthetic tones of "Book The Dungeon", both sharing a mutual concept of smartly stripped-back, hypnotic jams that focus on heads-down grooves and rolling energy.

Lucas Santtana’s tenth album celebrates the vitality and musicality of the Romance languages.
The heir to Brazilian tropicalism, Santtana marks 25 years of his career with Brasiliano, a true collective celebration that brings together prestigious collaborators: Gilberto Gil, Oxmo Puccino, Flavia Coelho, Piers Faccini, Chico César, Paralamas do Sucesso, Cocanha, Dimartino, Karyna Gomes, Tainara Takua, Rachel Reis and Maria Lado.
Sung in eight different languages, Brasiliano is both an ode to linguistic diversity and a testament to its symbolic power. Carried by luminous and layered arrangements where voices intertwine like a polyphonic conversation, the album treats language as a musical instrument in its own right, but also as a political tool. Santtana questions cultural heritage, identity, colonial memory, and the possibility of a shared language. With his singular approach—blending popular rhythms, contemporary soundscapes and vibrant melodies—he celebrates the love and exchange embodied in Romance languages, where music becomes fertile ground for encounters and reinvention.

Both multi-instrumentalists and seasoned producers, J and Peter took an all-hands-on-deck approach to these original collaborative tracks. The sonic seeds of "Underappreciated" and "Facile" were planted by Peter, JKriv cooked up the demo of "Over Suffa", and all three were completed together in J’s Brooklyn production studio. With live-recorded guitar, bass, analog synths, and drums/percussion by and a cohort of Brooklyn accomplices, the Facile EP marries live elements with modern club-ready production.

The punchy horns and no-nonsense vocals on "Underappreciated" come via Peter’s long-standing stage and studio connection with Ibibio Sound Machine, Favorite Recordings staple singer Olivya delivers the soulful EP title track performance, and Samy Love’s insistent vocal on "Over Suffa" is a pleading message to end the war and suffering in his native Cameroon.

With a remix of "Underappreciated" by French producer extraordinaire Yuksek, songs in both English and French, and influences ranging from boogie funk, 80s R&B, and classic Zouk, the Facile EP is a varied and dazzling collection of music for both listeners and DJs alike.

Collecting Orders For 2025 Repress

Ruff n’ ready torque collides with the nocturnal as Argentinian donny JUAAN enters the fray.

A properly intoxicating melange of boisterous, straight-for-the-jugular biz and late-night seduction. Four distinct, durable traxxx tailor-made for the witching hour. Icily moody with a bit of menace and dread about it. It’s also very slick, optimised and fine-tuned for maximum dancefloor impact.

Critics often highlight his ‘90s-indebted approach, and while those influences remain ever-present, this one has more in common with dancefloor styles prevalent a decade prior. Shades of darkwave, Detroit In Effect and the nascent years of Chi-Town house depending on the track, but never do we run the risk of falling into pastiche.

Pure forward momentum with a decidedly mean streak coursing throughout. Plenty of sci-fi flourish, funked-out where it counts. Flush with dystopian romance and a decent dose of weirdo flex.

Quintessentially Kalahari.

Demi Riquisímo welcomes Jhobei and B.Love to the Semi Delicious fold with their debut EP on the imprint R U Listening. A solid four-tracker destined for the most discerning of dancefloors, the Bizarre Trax head honchos also enlist French master of the sultry groove Sweely to remix the title cut, bringing his signature deep house introspection to the release. Bursting with low-slung grooves, rolling basslines and club-ready energy, across the four original tracks Jhboei and B.Love demonstrate their shimmering, confident and at moments unorthodox style, honed through years of crate digging and musical exploration.

As Bizarre Trax, their own imprint and party goes from strength-to-strength, 2025 saw B.Love releasing on the esteemed 20:20 Vision and Dias De Campo records, and Jhobei on giants like FUSE and Up The Stuss, the pair successfully straddling a multitude of sounds, while maintaining their ethos of prioritising connection and feeling over trends in their house music. With Demi a frequent supporter of the pair’s releases, and vice versa, this anticipated label debut – paired with a new look for Semi Delicious’ artwork – makes a statement for the label’s intentions in 2026.

Four classic US house vocals. Four club-ready remixes. One essential Sub-Urban EP.

Sub-Urban returns with Volume 3 in its much-loved vinyl series, a four-track, vocal-driven house EP built for DJs who want real vocals, real soul and real dancefloor impact.

Featuring iconic voices including Kathleen Murphy, Helen Bruner & Terry Jones and Ceybil Jefferies, this release delivers timeless house songwriting reworked into modern, club-ready cuts by respected underground producers.

This is a no-filler DJ tool, every track works in warm-ups, sunset sessions, peak-time soulful moments and late-night deep floors.

Back on Celestial Echo Records with CER010, a record that’s been a fixture in the right record bags for a long time.

Africano – “Open Your Hearts” is a serious modern soul tune for the Chicago DJs. Super funky, big on feeling, and powered by explosive instrumentation that just keeps driving. — strong, emotional, and made for proper dancefloors.

It’s been spun for years by DJs like Mark Grusane, Theo Parrish, and others in that Chicago scene — and it works every time. Part 1 on the A-side is the one you know, while Part 2 on the flip stretches things out and lets the groove roll on.

As always, Celestial Echo is about soul records that have earned their place. Remastered with care and pressed properly, Africano is one we’re proud to finally put back out there.

2026 Repress

A further exercise in musical curation, Child Of Nature is our latest sonic confluence of self-released tracks from the loners, hippies and outsiders of the 70s and early 80s. A collection of privately pressed music, able to breathe and be created free from the constraints of heavy handed commercialism, yielding a pure vision of artistic expression. Child Of Nature features ten songs of brooding soft rock and psychedelic folk steeped in melancholia. Some ache for better times or past lovers, while others seek spiritual fulfilment or social progress.
A compilation to evoke the raw and unobstructed, to summon the occult, to fundamentally conjure a vivid portrait of our untamed natural environment. Recorded on the north coast of California, Luellen Reese’s ethereal “Silvery Waterfalls” drifts and swirls with electric guitar as her unearthly vocals transcend across a seven minute opus, fit for the golden age of labels like 4AD or Dedicated. “The flowers are dancing just for you …”, Reggie Russell croons over glistening Key Of Creek’s title track “Child Of Nature”, evoking a utopian world of natural harmony free from the present day realities of industrial decay.
Tap into your inner primal being, to embrace wholeheartedly, with frivolity and without reserve, your own child of nature.

It's been more than ten years since Rolando debuted with his sought after self-titled EP on 030303 and it is thrilling to see the producer - who has always managed to remain a sort of best kept secret, admired only by the heads - still surf those high waves of creativity. Lifephorce is bound to be an instant classic, leaving instant marks on the listener's soul with unsettling yet mesmerising chord changes, a heavy throbbing bassline and generally a deep, introspective outlook on the dancefloor. Sterilize the Club brings back memories of face masks (thank you Rolando), but soundwise this is face to the ground stomping braindance material. Just as driving but more melancholic are Dot Zoner and Exit Your Own Realm. Classic Rolando Simmons, this one. If you know you know...

Windy City label Identity Spectrum is back with a third volume in its The Way Of The Rave series, and again it offers authentic techno from across the US East coast, the Midwest and Mexico. ViiV opens with a dubby, low-key groove packed with suspense and muttered vocals on Dollar Shake. Sister Zo's 'Diamond Hands' then cuts a rugged groove with razor sharp percussion and jungle breaks just about contained in a moody techno framework, then Snad strips things back to an abstract minimal groove with loopy rhythms and broken glass before Titonton Duvante serves up his smooth signature tech house cruiser, 'Unrequited.'

Constellation Tatsu welcomes US artist Brendan Principato aka Saapato for what is a hugely conceptual new album based around decomposition. It was sparked when Saapato saw a dead fox lying by the side of the road on his way home from a job in a local warehouse. He used that as a jumping-off point to interrogate "transformation, interconnectedness, and renewal" and the five stages of decomposition, namely fresh, bloat, active decay, advanced decay and dry/remains. Several collaborators help him on his way as he sketches out various instrumental textures which variously have occasional shards of light, lingering melancholy and a subtle sense of hope.

Two legends from New York City here for the price of one, as Downside Up Recordings boss Brandon De Carla - noted for his incendiary PAs and DJ sets around the Big Apple from the 90s onwards, as well as releases for labels as luminary as Kevin Saunderson's KMS - enrols the even more celebrated Joey Beltram to add a remix to his three originals here. De Carla's productions sure are uncompromising, not so much as inviting you onto the dancefloor as prodding you on with their itchy, wriggly sense of metallic funk and spaced out atmospherics, especially the latter on the beatless but substantial, grungy DJ tool that is closing track 'Valley Of The'. Beltram's mix, meanwhile, is pinned down by handclaps that sound like they were forged in a steelworks, but again manage to wrangle a sense of irresistible funkiness from the heaviest duty ingredients. Proper 3am techno gear, make no mistake.

2026 Repress

A gift to the overthinkers and overworked. Those who are over-concerned and always preoccupied. This is an invitation to hang up the bootstraps, take a load off, and visit a place in the mind where the sun is shining, the breeze is soft and the waves lap softly at your feet. Vacation From My Mind is a sonic realignment of melancholic soul, breezy soft rock, & mellow jazz-funk.

This album is a thoughtfully curated collection of 12 rare and obscure tracks from 1973 to 1981. From Jeanette Baker’s hypnotic 70’s soul title track “Vacation From My Mind” to the Latin rhythms of David Buckland’s jazz-funk “Celia”, this compilation was lovingly crafted to ease the stresses and worries of modern life. The Care Package’s song “The Storm” is a larger-than-life production of dreamy harmonies not often found on privately released 45s. Utopia’s “Lejos De Mi” is a slow-burning slice of Bolivian psych that will have you searching for similar sounds. Whatever your preference, we hope that this album will give you a vacation from your mind.

Detroit original, Terrence Dixon, returns to Tresor Records to kick off 2026 with ‘When Stars Remember’. Despite his thirty-year career, Terrence has always managed to keep a lower profile than his peers; he has given few interviews, preferring instead to speak through his music, with cryptic song titles hinting at the thoughts swirling around their creation.
However, ‘When Stars Remember’ finds him stepping forward. “I wanted to get closer to the dancefloor. I consciously made this one feel louder…made with Tresor specifically in mind.” And the EP does just that: whilst many of the hall marks of a Terrence Dixon production are present, the drums are more forward; the synth arpeggios so bold that ‘monumental’ seems a better descriptor than ‘minimal’.
“I put three or four sounds together on the same track, layering to make something bigger”, he says of opening track ‘Mono Collapse’, though the statement could apply to any of the music appearing on the release as all four pieces fold in sonics to create something hypnotic; more than the individual parts: “If you stick with the same layered tones, and repeat it over, after a while your brain changes it on its own; you hear a lot of things: things that you didn’t notice at first, things that maybe aren’t even there.”
The absence of things is another main theme of the EP, especially what Dixon sees as ‘The Forgotten’, a group of fundamental principles like common sense, trust, loyalty, honesty and respect that are missing from modern life. “This world is different…the love is gone. But I love everybody, man. I think, secretly, everybody love everybody, but they just don’t know it.”

If it is nice, collaborate twice. Once again a track from the Building Instrument (Mari Kvien Brunvoll’s Band) gets the Ricardo Villalobos treatment.

It's all about the frequencies.

Dutch DJ and digger Pete Blaker is ready to unleash his vision of editing and his
ability in song extension. Four cuts that every edit lovers can't miss!

2026 Repress

Up next in Champion’s LTD 12 inch reissue series is Sandy B’s club stomper, ‘Make The World Go Round’ with Washington D.C. don’s Deep Dish on remix duties. Iconic ’96 stateside house gold. On the B, Deep Dish take on, ‘Ain’t No Need To Hide’ with their ‘97 Sequel Re-edit with a dose of vocal house at its finest.

New 12” from WEorUS Records, catalog number WU009, is titled "First Dip" by Wetsuit. The record is written and produced by Vincent Lemieux and Ohm Hourani, two acclaimed figures known for their contributions to forward-thinking electronic music. This fresh EP features three tracks: “It’s OK” on one side, with “Believe it” and “Papapi Papapa” on the other, promising a genre-blurring journey ideal for discerning selectors. Jazz infusion and eclectic electronic production is the best way to identify this masterpiece.
Mastering is handled by Cristobal Urbina, ensuring high-fidelity audio.

Ruf Dug flies to Duca with 4 edits showcasing his Ruf Kutz have never been far from the mind.

Rhythm Section, International Feel, Pinchy & Friends, Wolf Music, Music For Dreams and Klasse Wrecks all released the Dug, it’s super honouary to board.

Manchester to Guadalope to Ibiza, his reputation as a DJ, producer and toker is example to all. Here we go. Dug dives in, drum machines ready, mutated across scenes. Street Soul, si! Industriale, buono! Beatdown, no problemo !

Ruffy’s Big Decision is UK Disco meets back alley Boogie, love pains galore over driving funk bass. You Are The One !

Ruffy’s TV Channel is metalica. Heavy beats, unrelenting. Funk to 11. Sherwood. Ciao. Pursuit of trivia. Television, The Drug Of The Nations !

Ruffy Electric Bill. Now we move. Cowbell chiunque? New York ‘81. Smoke stacks. Cars bouncing Downtown. Nobody gets to meet the Duke. Set. It. Off !

We are pleased to present a new E.P. of carefully selected, previously unreleased tracks from the vaults of Megaton, aka Roberto Cagnoli.
Produced between ‘97 and ‘99 during one of the artist’s most prolific periods, the record explores multiple facets of Roberto’s creative omniverse: from acid-infused, dubby techno on the A-side to more trance-leaning, progressive territory on the B-side. Remastered by Manmade Mastering.

Super Rhythm Trax are proud to present this reissue of one of the most loved, most underground and most sought after Breakbeat Hardcore records from 1991. Raw rugged and authentic, no silly chipmunk vocals or twee piano here, oh no!

Carefully remastered from the original dat tapes, both original versions of Underkut “Both Ends” are now available at a reasonable price after 35 years!!

Since its original release in 1991 it quickly gathered legendary status with it’s super slamming breaks and ‘that’ huge Bassline, it doesn’t get any better than this.

On the DAT tape, we also chanced upon an unreleased, unheard version, and We include this unheard vocal mix as an ‘of it’s time’ artefact for the collectors, as it really accentuates the record’s obvious HipHop leanings and there are parallels to be drawn with the whole Britcore movement of the time, where crews like Hijack, Gunshot, Cash Crew, Demon Boyz and London Posse were flourishing.

Jazzprint is a curated compilation by Italian label and collec tive Beat’s Tailors featuring 20 instrumental tracks by 23 producers from around the world, connected by a shared approach to jazz-influenced beatmaking.
Blending jazz elements with hip hop, chillhop and instrumental beats, the record offers a smooth and cohesive listening experience across both sides, showcasing a wide range of moods and contemporary production styles.

Massimiliano Pagliara celebrates 20 years of music production with a special anniversary compilation on Funnuvojere. The release brings together solo productions and collaborations spanning a rich and abundant period that began when Pagliara acquired his first analogue machines, five years after moving to Berlin from Milan, where he worked as a professional dancer and choreographer.

The compilation features 20 previously unreleased tracks, deeply infused with italo grooves, wonky bass-lines, balearic pads, drama, love, sex, and dreams. These tracks evoke a wide spectrum of moments, ranging from intimate, pleasure-driven home listening to full-blown dance-floor euphoria. Throughout the compilation, one can feel Pagliara’s enthusiasm for discovery—his excitement in encountering new machines and immediately putting them to work.

Pagliara’s sonic identity is unmistakable, present in every track and in the compilation as a whole. Like the facets of a crystal, the music reflects his many nuances while maintaining a strong, coherent core. Tracks such as Waves of Desire pay homage to Dream House, reimagined through contemporary production with cosmic tones and infectious drums. Flicker Of Us reveals a dramatic tension between a rowdy bass-line and melancholic pads, while We Can Touch The Sky features Pagliara himself on vocals, blending synth-pop with elements of new wave and glam rock. Cool Breeze unfolds as a sunlit, optimistic walk through a wide Berlin avenue—funky, warm, and filled with curiosity for what lies ahead.

A notable strength of the compilation lies in its collaborations, which highlight Pagliara’s joy in working with other producers and vocalists. Each collaboration reveals a distinct character: the balearic sensibility of A Journey of Discovery with Gatto Fritto, the French house flavour of Neon Memories with Alinka, the 70s disco inflection of It’s In Your Eyes with the late Aérea Negrot, and the driving techno attitude of Whirlwind with Fabrizio Mammarella, to name just a few.

Ultimately, this compilation stands as both a gift to Massimiliano’s long-time fans and an open invitation to new listeners. It offers entry into a world shaped by beauty, order, balance, and ecstasy—guided by an enduring love for the craft.

For more than two decades, Eamon Harkin has helped shape New York’s communal pulse. As a founder of Mister Saturday Night, Mister Sunday, Planetarium, and Nowadays, he’s created and DJed in spaces where dance, listening, and connection blur into something deeper — places where people come together to make sense of the world through sound.

On his new album, The Place Where We Live, Harkin turns that lens inward. Drawing on 25 years as a DJ and curator, he moves between house, techno, and ambient currents with a sense of stillness and searching. The result is a record that feels both physical and introspective — the sound of the dance floor seen through memory.

The title comes from psychoanalyst D.W. Winnicott’s idea of “the place where we live,” the psychic space between the inner and outer world — where play, art, and culture help us build meaning. For Harkin, an Irish immigrant long settled in another land, that idea resonates both philosophically and personally. The Place Where We Live captures the tension and beauty of the pulse of the club and the quiet of reflection — an album about belonging, transition, and the quiet resonance of finding home somewhere in between.

Tartelet is pleased to kick off 2026 with a display of warm-hearted tech funk from Italian house maestro Paffetti. Having made his name with a strong run of sample-rooted deep house as Black Loops, Riccardo Paffetti unveils a new alias to explore a more club-focused, trippy sound.

Even with the shift in sonic focus, Paffetti maintains a razor-sharp instinct for low-downgrooving deep house dynamics that course through every inch of the UTOPIA EP. It's plain to hear in the rolling bassline and shuffling drums that mark out 'B.Y.M. ' and the disco-licked strut of 'Escucha Me'. The difference is the decoration on top, where mind-massaging zips and pings and artful samples add a subtle touch of psychedelia to the sophisticated house music blend.

Across five cuts, UTOPIA unfolds with a strong sense of momentum and melodic intent, marking a confident new phase in Paffetti’s ongoing exploration of deep, hypnotic club sounds.

Indiana Jones and the Last Crusade original motion picture soundtrack, now available on sand colour vinyl, featuring music composed and conducted by John Williams.

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.

Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.

With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.

Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).

The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

Erstauflage als "Sparkle Starlight Vinyl" 2LP mit Etching auf der vierten Seite. Im technischen Sinne war jedes bisherige Album des französischen Trios SLIFT eine Fantasie - ein Mix aus Genres und Formen, der es der Band ermöglichte, zu improvisieren und so lange zu jammen, bis sie sich scheinbar gemeinsam ins All zu winden schienen. Ihr gefeiertes drittes Album, "Ilion" aus dem Jahr 2024, war eine Science-Fiction-Geschichte, aufgebaut aus 10- bis 13-minütigen explorativen Eskapaden, die oft mit Doom Metal oder Stoner Rock begannen, bevor sie sich frei in glorreiche instrumentale Vergessenheit drehten. Doch mit einer gewissen absichtlichen Ironie heißt SLIFTs viertes Album tatsächlich "Fantasia". Es ist ihr bisher schlankstes und direktestes Album. Es ist auch ihr bisher fesselndstes Album, eine pointierte Saga über die Überwindung internationaler Umbrüche, vorgetragen von einer Band, die mit voller Kraft vorangeht und dabei keine einzige Sekunde verschwendet. Obwohl nur Jean und Bassist Rémi Fossat verwandt sind, ist SLIFT im Grunde eine Band von Brüdern. Mit Schlagzeuger Canek Flores sind sie schon seit der Highschool befreundet, und 2026 markiert ein Jahrzehnt zusammen in diesem Trio. Sie proben mit religiöser Regelmäßigkeit in einem Keller auf dem Land in der Nähe von Toulouse, in dem Jam-Raum, in dem sie schon lange ihrer Vorliebe für langatmige Wunder frönen. Für die Albumaufnahmen zu "Fantasia" überquerten sie die französische Nordgrenze nach Belgien, um in dem riesigen Live-Raum der Daft Studios ein kompaktes Set aus schlanken, agilen und druckvollen Songs aufzunehmen. Die vielfältigen Einflüsse der Band sind offensichtlich: Das Album erinnert an Clutch in voller Wildheit, John Coltrane, Charlie Parker, den sowjetischen Schriftsteller Michail Bulgakow, Pink Floyd und Black Sabbath aus der "Master of Reality"-Ära. Und das klangliche Gewebe wird durch das gekonnte Mixing von Kurt Ballou (Converge, Cave In, High on Fire) unterstützt. Den Songs fehlt es nicht an der Komplexität oder Intensität, die SLIFT zu einem aufstrebenden Star der Heavy-Musik gemacht haben; sie haben einfach neue Wege gefunden, die Komplexität ihrer Vergangenheit in jedes Stück einzuflechten, wie ein Wandteppich, der jedes Mal, wenn man hinschaut, eine neue Ebene offenbart. Damit vermitteln sie eine bestätigende und dringliche Botschaft: Gemeinsam können wir die Zeiten, in denen wir leben, noch immer verändern. Heutzutage ist es furchtbar leicht, sich machtlos zu fühlen. SLIFT setzt sich auf "Fantasia" direkt mit dem modernen Ansturm von Grausamkeit und Absurdität auseinander, sei es die Gleichgültigkeit gegenüber unserem Heimatplaneten oder zueinander. Aber in diesen acht Songs geht es darum, auf eine verborgene Kraft zu vertrauen, um zurückzuschlagen, um an eine Welt zu glauben, in der etwas, das wir noch nicht in Worte fassen oder definieren können, nicht nur einen Weg bietet, den Status quo zu durchbrechen, sondern ihn vielleicht sogar vollständig zu zerstören. SLIFT sind laut, heavy und aggressiv in diesen Hymnen. Sie bereiten sich auf einen Kampf vor, von dem sie glauben, dass wir ihn noch gewinnen können.

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

James Ruskin's Blueprint Records continues its 30-year celebrations with a new EP by Kr!z who returns with his fourth EP for the label. Kr!z made his Blueprint debut in fine style with his "Neutrino EP" in 2022 and went on to deliver the "Revelation EP" in 2023 and "Horo EP" in 2024 so it's fitting that he's back to join in this landmark label anniversary.

Kr!z has been at the forefront of techno for more than a decade. Influenced by the hypnotic and energetic sound helmed by veterans such as Jeff Mills, Steve Rachmad and James Ruskin, he gradually but steadily developed his own identity in the international techno scene.

After making a name for himself as a skilled DJ with sharp focus and a quick mixing style in home country Belgium and the Netherlands, Kr!z launched Token Records in 2007. It has since been a leading outlet for heady, purist sounds. He rapidly established the label as a fixed value with a timeless and powerful sound and took it around the world with label nights on every continent. Token remains important in defining techno today - always straightforward, sometimes weird, often catchy - all under the helm of Kr!z as avid A&R.

After 12 years spent assiduously focused on curating the Token discography, showcasing artists he has nurtured and supported over this time, and incorporating the connoisseur's knowledge and experience he has cultivated in his work as a DJ, in 2019 he released his own debut EP "Mantra" on the label, earning high acclaim from both media and key DJs. Since then, he has continued to develop a strong body of work, regularly releasing on the influential Blueprint Records and SK_eleven alongside his own Token imprint, and producing aseries of notable remixes. This steady output has established him as a key figure within the techno landscape, recognized for both consistency and artistic depth.

Kr!z's latest Blueprint EP "Footprints" is released 13th March on vinyl and digitally.

Ein Album mit dem Titel ,Roses" würde sich mit romantischen Gesten befassen. In den zehn Titeln, aus denen sich das siebte und neueste Widowspeak-Album zusammensetzt, werden intime Räume und Phasen der Liebe durch eine nostalgische, mit Vaseline überzogene Linse eingefangen. Kerzen brennen in rotem Glas, während sich Liebende in einer Lederbank näherkommen. Porträts von Prominenten blicken wie Engel in einem Restaurant herab. An anderer Stelle sind Nelken in ein schwarzes Buch gepresst, und Tänzer ziehen sich gegenseitig an sich. Widowspeak ist eine Band, die große Emotionen thematisiert, ohne sich selbst allzu ernst zu nehmen. Die Süße, ja sogar Albernheit einer ausgedehnten Verliebtheitsphase, die so alles verzehrend wird wie ein kitschiger Taschenbuchroman. Autos und ihre Fahrer dienen als Mittel, um über gegenseitige Abhängigkeit zu sprechen. Wenn Musik gleichzeitig naturalistisch und noir, gesättigt und üppig sein kann, dann ist das Widowspeak. Sie sind eine Band, die es versteht, eine Szene zu inszenieren. Diese Songs nutzen intime Momente, um über tiefere Herzschmerzen zu sprechen: die der modernen Existenz innewohnende Unruhe, das Herumwarten darauf, dass etwas geschieht. Oder das Gefühl, im Widerspruch dazu zu stehen, eine Rolle im eigenen Leben zu spielen. ,Roses" mag das romantischste Widowspeak-Album sein, aber es ist auch das zutiefst realistischste: Die Bühne wird nicht mit dramatischen Ouvertüren bereitet, sondern vor dem Hintergrund der Kleinigkeiten und Wiederholungen alltäglicher Handlungen. Kleine Beobachtungen vor, während und nach der Arbeit: das Ritual, Kunden Wasser einzuschenken, sich an seinem freien Tag eine Erkältung einzufangen. Davon zu träumen, im Lotto zu gewinnen, oder vielleicht zu erkennen, dass man bereits gewonnen hat. Hier ist Liebe ein Mittel, um darüber zu sprechen, was uns antreibt, und Widowspeak suggerieren, dass sie der eigentliche Sinn sein kann. Das Licht, das die dunklen Ecken eines Tages, eines Lebens erhellt. Ein Grund, weiterzumachen, trotz des Schmerzes, den es verursachen kann. Widowspeak sind eine der produktivsten und fleißigsten Bands der Szene, die knapp unter der Oberfläche brodeln. Molly Hamilton und Robert Earl Thomas bilden den Kern der Gruppe und sind ihre Songwriter; sie haben ihren Sound über sechzehn Jahre hinweg und mit einem beeindruckend konsistenten Werk verfeinert. Als eine von vielen Bands, die in der fruchtbaren New Yorker Musikszene entstanden sind, begannen sie damit, ihre Ausrüstung zwischen mittlerweile geschlossenen Veranstaltungsorten und ihrem Proberaum im Monster Island Basement hin- und herzuschleppen. Widowspeak ist heute ein Ehepaar, das in der eigenen ,Nebensaison" Tagesjobs ausübt. Robert ist Tischler, Molly Kellnerin. ,Roses" ist Widowspeak in Bestform und schöpft aus zeitlosen Einflüssen. Die Magie der Band liegt nach wie vor im Zusammenspiel zwischen Molly und Robert in ihren beiden Hauptrollen: ihrer trägen, facettenreichen Stimme und seinem instinktiven Gitarrenspiel. Im Kern ist ihre Musik etwas Besonderes, weil sie echt ist: vor allem für die Menschen, die sie machen. Zerbrechlich und vergänglich, und doch lohnend, wie die Liebe selbst.

Michigan Band EJ & the Echoes: Rediscovering a Soul Legacy

The story of EJ & the Echoes represents a remarkable chapter in Michigan's music history and the early American soul scene. Its origins date back to the late 1950s, when Everett J. "EJ" Gronda was already active as a young musician. While studying at Central Michigan University in the early 1960s, he met the talented vocalist Manuel "Manny" Holcolm. Together with other musicians, they formed vocal groups that soon performed throughout the state and even recorded near Detroit's legendary Motown studios.

In 1963, Gronda founded EJ & the Echoes, a band that quickly gained popularity at dances, clubs, and weddings across Michigan. With Manny Holcolm as lead singer, the group developed a distinctive harmony-driven sound, blending influences ranging from the Beatles to James Brown. The band served as a house band in Traverse City, opened for national acts, and performed regularly at well-known Detroit venues.

Between 1964 and 1967, EJ & the Echoes released several singles on the Diamond Jim Records label. Although major commercial success eluded them at the time, their recordings later found international recognition. Today, their songs remain staples of the British Northern Soul scene.

After the band dissolved, the members pursued different paths. EJ Gronda became a schoolteacher but remained devoted to music throughout his life. In 2006, the musicians reunited for an emotional jam session. EJ Gronda passed away in 2022, followed by Manuel Holcolm in 2024. Their musical legacy endures-on this vinyl release, dance floors, and in the memory of a remarkable era.

Our sincere thanks go to author and blues historian Fred Reif. He wrote the accompanying text and provided all the pictures of the band printed in the gatefold cover. Without him, this project would not have been possible.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Given Beatrice M.’s reputation as a prolific collaborator, the LP naturally features a few heavy-hitting joint efforts. Bristol-based Sir Hiss features on the subby, 140bpm techno thumper ‘Juice’, while the LP title track, ‘Sinking’, brings forward Beatrice M.’s fresh take on influences from Tectonic’s past in a bass-driven 4/4 number that demands physical movement. ‘Dear Dubstep’ allows a moment to reflect, placing us in a spacious aqua-cave where atmospheric sounds are punctuated by wumping sub-bass, before we surface with ‘Help’ to catch our breath in the melancholy of the moment.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? With the album SRDNG x LPZG, the duo AMAS, together with double bassist Frithjof-Martin Grabner, delivers a radical answer on May 15th, 2026. The work does not merely translate Bach’s legacy; it consistently reimagines it within the aesthetics of Minimal, Dub-Techno, and Ambient. The creation of this extraordinary abstraction spanned three years and two geographical poles: the raw isolation of Sardinia and the academic precision of Leipzig.

The project found its origin in the seclusion of Pula, at the southernmost tip of Sardinia. There, AMAS extracted and digitally dissected the rhythmic and tonal essence of 14 selected works by Bach. In a temporary local studio, these minimalist sequences fused with field recordings of the surroundings to form a hypnotic framework of electronic structures. Back in Leipzig, this foundation met Frithjof-Martin Grabner. In an intense session held in a hall of the historic HMT Leipzig, spontaneous improvisations emerged that breathe the spirit of Miles Davis’ approach to "Ascenseur pour l’échafaud": free play based on rudimentary sketches, an intuitive reaction to the material—comparable to Davis’ iconic scoring of silent film images. It is a deliberate prioritization of atmosphere over technical perfection. Grabner utilizes the full spectrum of his instrument, creating sounds that, in post-production, often blur the line between analog depth and synthetic texture.

The result is an organic symbiosis: the vastness of Sardinia (SRDNG) meets the intellectual density of Leipzig (LPZG), while the strictness of the Baroque dissolves into the repetitive energy of Minimal Techno. To do justice to this conceptual ambition, the album will be released in an uncompromisingly audiophile edition. Limited to 200 copies worldwide, the double LP is pressed on 180g vinyl and features a front cover with a special 3D effect, continuing the visual tradition of the AMAS series. An album for listeners who understand Bach as a living origin of modern sound art—and for lovers of electronic music seeking a new, organic soul within the repetitive depth of techno.

EP2 Limited 2 x 12" Vinyl & Digital Release The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP — but far too important not to be heard. The double pack also includes the title track off the forthcoming album ‘Now More Than Ever’, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording sessions. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration. The EP features seven tracks, including reimagined and extended versions of classics such as Kenlou Cult Classic ‘Moonshine’, Jackson and Heron’s ‘Lady Day and John Coltrane’, and ‘Home Is Where the Hatred Is’, plus a deep focus on ‘Racetrack in France’ — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album. Highlights include: The MAW (Masters at Work) Live Mix of ‘Moonshine’, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone. A sprawling 12" version of ‘Home Is Where the Hatred Is’ — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance. The 12” version of ‘Lady Day and John Coltrane’, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement. A masterful reworking of ‘Racetrack in France’ featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The instrumental version is also included in this 2 x 12” EP. Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever ‘EP Two’ is an essential release — a bridge between the past, present, and the music still to come.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
The album's lead single and sole vocal track, ‘In Touch’, showcases Beatrice M.’s split UK-France upbringing. The track unites French MC Kaba and UK MC Jinnal for a bass-driven anthem that seamlessly trades French and English lyrics. Next up is a vinyl exclusive track: the ‘Remedy Mix’ VIP of ‘Poison’, a rolling, bass-driven tech house/techno crossover version of a track originally released on the Tectonic Sound collection from last year.
‘Here’ sees Beatrice M. collaborating with Jay Carder to create a soulful broken-beat flavoured track as ‘Years’ rounds off the journey with contemplative melancholy, providing a deep and dubby closer.

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis Five years in the making, "Music For Tombak & Synth" bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploringexperimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s exploration of improvised electronic music and his desire to craft a performance-ready setup. Over
several years, the project evolved from capturing the energy of his live shows into a fully composed studio work.

"Music For Tombak & Synth" stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father’s voice reciting the poetry of Ahmad Shamlo on the track Dar Shab ,?? ??collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.

With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. "Music For Tombak & Synth" invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

Bliss Point is proud to welcome the Bogotá born, New York based Matük to the label with Sendero, a collection dripping with life, with lust, with joy in the face of it all.

Birthed from weekend-long studio sessions in the heat of New York summer, Sendero is luscious and visceral party music, crackling with the spontaneous possibility that runs through city streets as temperatures peak, asses throw and emotions run high.

Hailing from Colombia and deeply immersed in the New York underground, Matük’s influences collide into an ecstatic tapestry on Sendero, blending the rich traditions of Afro-Caribbean musics with experimental and club sonics, long the sounds of joy as defiance from deep within the imperial core.

Many paths cross on Sendero. “Ricotta” features vocals from BRAVA, the Basque DJ and MC whose raw, infectious spirit has injected new energy into the international bass and footwork scene. She is joined by Argentinian-Colombian artist FEDRA on synth and vocals, transforming voice notes the trio sung into their phones over a long weekend of dancing into a party anthem of their own. “Lio”, the EP opener, pairs Mexico’s Renn Loop with Matük himself, trading sultry, heated frustrations over latinx futurist production. Things slow down on “De; Dioses y Pantallas”, a yearning, introspective plea to the night sky, before returning to the party with the bouncing, acid-fueled remix of “Ricotta” from Mexico City’s Soos.

Sendero is a snapshot of a scene in motion, a document of serendipity and collaboration, music made in the long tradition of enjoyment as a revolutionary act.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 1 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Opening track ‘Ever’ plunges us into deep waters with a sense of dubwise command. The momentum picks up on ‘Ocean’, where the vocal snippet "everyday life" circles around reverbed stabs and intricate hi-hat moves. ‘Motion’ sets the pace with its jumpy but rolling rhythm, leading straight into the eyes-down, party-time energy of ‘Disco Corner’.

Definition of spin doctor: a spokesperson employed to give a favorable interpretation of events to the media, especially on behalf of a political party. Spin Doctors weren't part of a political party but spread the word about romance.

The band was formed in New York City, best known for their early 1990s hits "Two Princes" and "Little Miss Can't Be Wrong". Those 2 songs were hits all over the world, and are still big hits in the streaming era. Pocket Full of Kryptonite is the first studio album (and second release) by the Spin Doctors, and originally released in August 1991.

The album was a top 10 hit in many countries, including the UK, Denmark, Germany, Norway and Sweden. It was the band's bestselling album and was certified 5x Platinum in the US. Not to be confused with the 3 Doors Down song 'Kryptonite' from 2000, the Superman theme was all over the Spin Doctors' album, with the title, a song called "Jimmy Olsen's Blues" and the album cover showing a phone booth (referring to Clark Kent frequently ducking into a nearby phone booth to change into his Superman attire).

This pressing of Pocket Full of Kryptonite is a limited 35th anniversary edition of 4,000 individually numbered copies on green vinyl. The jacket has a deluxe leather-texture laminate finish.

Roger Sanchez announces his new studio album ‘SPECTRUM’, marking his first full-length release in two decades. The record is following on from his 2006 LP ‘Come With Me’.

Six years in the making, ‘SPECTRUM’ features a wide range of collaborators, including Fedde Le Grand, Karen Harding, Donae-o, Kelli-Leigh, Kele Le Roc, Chico Castillo, Aaron Sevilla & Kristen Knight, Escala, Carnao Beats, Stealth, Leo Wood, and Melanie C. The announcement comes alongside the release of a new single, ‘Temptation’, a collaboration with Low Steppa and Ragdoll.

Speaking about the track, Sanchez said: “Teaming up with my brother Low Steppa was a perfect merger of our New York to London roots. And working with Ragdoll for the first time was a joy… She absolutely kills it on the vocals! This is currently one of my favourite tracks in my box to set off the dancefloor and one of my favourite collaborations.”

Earlier this year, Sanchez shared ‘Come My Way’, the only solo production on the album. He noted that recent summers spent working in London played a role in shaping the record’s direction.

‘SPECTRUM’ is available as a special 3LP limited-edition pressed on red transparent vinyl.

Hand Stamped, hand numbered! Strong limited! True groovin techno.

This tune was destined to be the one when Adam and SG Lewis met in Los Angeles in 2023. They hit it off immediately—why wait to collaborate on something when you can use the time in between Coachella weekends to go to a studio in LA together? That’s where „Be The One“ came to life. Refined and road-tested in the months that followed, it’s finally seeing the light of day as a record that thrives on both artists’ mutual penchant for captivating hooks and heartwarming emotional depth.

Germany's most exciting new indie voice BROCKHOFF opens a bold new chapter and announces her debut album Easy Peeler, out June 5th 2026 via PIAS Recordings. “Easy Peeler” is the ambitious culmination of BROCKHOFF’s musical coming-of-age journey. It's an album that bridges grunge-laced indie rock and early-2000s pop textures, wrapped in a deeply authentic songwriting voice. It’s a reminder that even when life feels uncomfortable, there’s beauty in being an easy peeler. For Fans of: Modern indie acts Phoebe Bridgers, Snail Mail, Soccer Mommy as well as 90s bands such as Weezer or The Cardigans Tracklist: 01. Easy Peeler 02. The Carpet Song 03. Willows 04. Sunny Day (Deadline) 05. Blue Star 06. Front Row 07. Nothing Can Be Fixed In This Place 08. Dirty Dream 09. Japanese Garden# 10. I've Stopped Getting Chills For A While Now 11. Cruel 12. Sleep It Off 13. It Never Happened 14. Hot Wheels

Seit der Veröffentlichung seines von Kritikern hochgelobten Debütalbums 'Come Around and Love Me' im Jahr 2023 hat Jalen Ngonda eine kometenhafte Karriere hingelegt. Der Song 'If You Don’t Want My Love' wurde zum viralen Hit und wurde bis heute 253 Millionen Mal gestreamt. Jalen war in einer Reihe von großen Fernsehsendungen zu Gast, darunter 'The Graham Norton Show', 'The Late Show with Stephen Colbert' und 'Later with Jools Holland'. Er war Support-Act für Thee Sacred Souls auf ihrer US-Tournee und hat als Headliner unzählige Clubkonzerte auf der ganzen Welt ausverkauft. Jetzt, im Jahr 2026, während die Glut seines Debüts noch hell lodert, bereitet sich Jalen Ngonda auf die Veröffentlichung seines mit Spannung erwarteten zweiten Albums 'Doctrine Of Love' vor.
Die harte Arbeit und die unermüdlichen Tourneen nach seinem Debüt haben sein Handwerk gestärkt. Seine Botschaft: 'Die Lehre der Liebe besagt, dass jeder Gedanke und jede Handlung in erster Linie von Mitgefühl für andere geleitet sein sollte, denn Liebe ist der höchste Maßstab für den Wert eines Menschen.' Die Titel des neuen Albums sind aus diesem Credo entstanden. Mit seinem tiefen Wissen und seiner Liebe zum klassischen Soul vermittelt Jalen Ngonda Authentizität in Hülle und Fülle. 'Doctrine Of Love' verbindet Pop-Sensibilität und soulige Melodien mit roher Kraft und Groove und erweitert die orchestralen Arrangements von 'Come Around And Love Me' um bläserreiche und gospelartige Backing Vocals, wodurch ein äußerst stilvolles Beispiel für moderne Soul-Kunst entsteht. Tipp!

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

Wah Wah 45s present a limited edition vinyl special from Afro-dub masters, Soothsayers. With a history that goes back three decades, having released two classic LPs (Tradition and We Are Many) and numerous EPs and remixes on the imprint, the band deliver two brand new and exclusive versions of one of the highlights of their new LP, entitled Fly Higher.

Love Will Find a Way features vocalists Maia Avery and Akin Soul, both former members of Youthsayers - a South London based music performance and education group, taught by Soothsayers band members. With new mixes by acclaimed Sao Paulo based producer Victor Rice, it's a stepping reggae vocal duo piece with a strong, universal message asserting that despite the current divisive political rhetoric and the championing of greed over human empathy by those in power, love will always be a more powerful force than hatred and division. Maia and Akin Soul's distinctive voices blend and weave beautifully over a hypnotic groove with a fresh and poignant emotional energy contributing to what should be a future steppers classic. These previously unreleased mixes are available in both vocal and dub versions on hand-stamped 7-inch vinyl and Bandcamp only. "We are so proud and happy to be able to feature Maia and Akin on this beautiful song. Both are former members of Youthsayers, the youth music education organisation set up by Soothsayers in 2016. Maia (from recent Wah Wah 45s signings Kotoa) and Akin are now great artists in their own right and it feels very satisfying to feature them on this new Soothsayers release." Robin Hopcraft (Soothsayers)

a A1: Love Will Find A Way (Light Still Shines Version) [feat. Maia Avery & Akin Soul]
[b] B1: Love Will Find A Way (Victor Rice Dub) [feat. Maia Avery & Akin Soul]

[a] A1 | Love Will Find A Way (Light Still Shines Version) [feat Maia Avery & Akin Soul]
[b] B1 | Love Will Find A Way (Victor Rice Dub) [feat Maia Avery & Akin Soul]

Seit der Veröffentlichung seines von Kritikern hochgelobten Debütalbums 'Come Around and Love Me' im Jahr 2023 hat Jalen Ngonda eine kometenhafte Karriere hingelegt. Der Song 'If You Don’t Want My Love' wurde zum viralen Hit und wurde bis heute 253 Millionen Mal gestreamt. Jalen war in einer Reihe von großen Fernsehsendungen zu Gast, darunter 'The Graham Norton Show', 'The Late Show with Stephen Colbert' und 'Later with Jools Holland'. Er war Support-Act für Thee Sacred Souls auf ihrer US-Tournee und hat als Headliner unzählige Clubkonzerte auf der ganzen Welt ausverkauft. Jetzt, im Jahr 2026, während die Glut seines Debüts noch hell lodert, bereitet sich Jalen Ngonda auf die Veröffentlichung seines mit Spannung erwarteten zweiten Albums 'Doctrine Of Love' vor.
Die harte Arbeit und die unermüdlichen Tourneen nach seinem Debüt haben sein Handwerk gestärkt. Seine Botschaft: 'Die Lehre der Liebe besagt, dass jeder Gedanke und jede Handlung in erster Linie von Mitgefühl für andere geleitet sein sollte, denn Liebe ist der höchste Maßstab für den Wert eines Menschen.' Die Titel des neuen Albums sind aus diesem Credo entstanden. Mit seinem tiefen Wissen und seiner Liebe zum klassischen Soul vermittelt Jalen Ngonda Authentizität in Hülle und Fülle. 'Doctrine Of Love' verbindet Pop-Sensibilität und soulige Melodien mit roher Kraft und Groove und erweitert die orchestralen Arrangements von 'Come Around And Love Me' um bläserreiche und gospelartige Backing Vocals, wodurch ein äußerst stilvolles Beispiel für moderne Soul-Kunst entsteht. Tipp!

Die erste Veröffentlichung des Labels "From Cool Waters" aus Nairobi kombiniert traditionelle kenianische Folk Elemente mit minimalistischer Elektronik und klassischer Marimba. Entstanden aus dem Zusammentreffen dreier MusikerInnen - dem in Nairobi ansässigen Nyege Nyege-Kollaborateur und Schlagzeuger Sven Kacirek, der 83-jährigen "Queen Of Dodo" Ogoya Nengo und dem Sänger/Songwriter und Gitarrenbauer Olith Ratego - schafft PALAGOMA eine einzigartige elektroakustische Synergie. Die Künstler haben bereits zuvor in verschiedenen Konstellationen zusammengearbeitet: Der in Deutschland geborene Kacirek war Produzent und Toningenieur von Nengos faszinierendem Debütalbum Rang"ala, das 2014 bei Honest Jon"s Records erschien, während Ratego und Kacirek 2018 das Duo ODD OKODDO gründeten, das 2019 und 2023 beim einflussreichen Nyege Nyege Festival in Uganda sowie bei Veranstaltungen auf der ganzen Welt auftrat.

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

"aethermead", das neue und 20. Studioalbum von Of Montreal, lässt die Sounds der frühen Jahre wieder aufleben, während es gleichzeitig die künstlerischen Grenzen ihres unverkennbaren Indie-Pop/Rock-Stils erweitert. Frontmann & Songwriter Kevin Barnes, bekannt für seinen einzigartig-produktiven Output und großartigen Kollaborationen mit Künstlern wie Solange, Janelle Monáe und Jon Brion, nahm die LP mit Toningenieur Drew Vandenberg (Faye Webster, Toro y Moi) in seinem neuen Heimatort Brooklyn auf. Die Grundspuren wurden live mit Barnes’ langjähriger Live-Band auf einer 16-Spur-Bandmaschine eingespielt. Das Ergebnis schimmert mit Indie-Pop-Elementen ihres 2004er Albums "Satanic Panic In The Attic" sowie der rohen, energiegeladenen Live-Atmosphäre von "Lousy With Sylvianbriar" (2013). Wunderschön-melodische Akkordfolgen wechseln sich mit Rock'n'Roll-Krachern ab, auf eingängige Hymnen folgen surreal-experimentelle Klangwelten. Mit einer neuen Tour am Horizont (erstmal durch Nordamerika) feiern Of Montreal weiterhin ihr Vermächtnis und gehen gleichzeitig mutig in die Zukunft.

Good Life sees Detroit icons Inner City return on KMS with one of the most celebrated house records of all time, presented here on fresh 12” vinyl.
A defining track of the late 80s and early house movement, Good Life remains a timeless anthem, driven by uplifting melodies, soulful vocals and unmistakable Detroit energy.
This edition features a remastered version of the original alongside an Inner City edit of the Carl Craig remix, plus a Dub Mix, offering both classic playback and updated DJ functionality.
As a cornerstone release from the KMS catalogue, the record continues to resonate across generations of DJs and listeners, maintaining its place as an essential dancefloor staple.
Back on fresh 12" vinyl, this repress offers strong appeal for both collectors and DJs looking to stock a truly iconic house record.
An essential catalogue piece for stores supporting classic house and Detroit heritage releases.



c B2: Good Life (Remastered) Dub Mix

DMV-born rapper and producer kuru is already a veteran among their contemporaries. Spurred by the online renaissance that accompanied the pandemic, they began to foster a cult following while in high school, their Soundcloud releases leading to production work with artists such as Black Kray and Destroy Lonely. Over the past few years, as Kuru began to prioritize their own voice, they prioritized their solo endeavors. Growing up in Maryland, kuru was inspired as much by the work of Future, Hikaru Utada, Yuyoyuppe, and the sounds of Japanese math rock as he was by his native DMV’s rap scene. He first began making music in 2019, garnering buzz with early tracks like “clueless”, “typo” (4M Streams), and “atmosphere” (9M+ Streams) — cuts brimming with the catchiness you’d expect out of a mainstream pop hit, but uncharacteristic of the internet rap landscape at the time.

The forthcoming sophomore album is a summation of all of kuru’s work in both electronic and hip-hop. It’s the artist’s most focused effort to date, and touts credits from Lucy Bedroque, frequent collaborator xaviersobased, and a rolodex of Soundcloud’s most cutting-edge producers. “Backstage Hologram” ties together a mosaic of the current internet underground’s landscape with a veneer of dusky futurism, and panoramic wide post-production.

Eingeklemmt zwischen dem Canyon und der Karibik gingen Cathy Hamers zwei privat gepresste LPs in den Hippie-Nachwehen der Me-Decade unter. Aufgenommen 1979 und 1980 bei Threshold Recordings, dem bekannten Bluegrass-Poerhouse aus Roanoke, Virginia, zeigen diese 11 Originalsongs die ganze Bandbreite des kosmischen amerikanischen Regenbogens - von Folk über Country bis hin zu Yacht Rock. Die remasterte LP kommt in einer Tip-On-Hülle mit einem Begleitheft mit Notizen und den wenigen wertvollen Fotos, die aus Hamers kurzer Zeit als Lady des Canyons überlebt haben, voller Träume und ohne Ziel.

Eingeklemmt zwischen dem Canyon und der Karibik gingen Cathy Hamers zwei privat gepresste LPs in den Hippie-Nachwehen der Me-Decade unter. Aufgenommen 1979 und 1980 bei Threshold Recordings, dem bekannten Bluegrass-Poerhouse aus Roanoke, Virginia, zeigen diese 11 Originalsongs die ganze Bandbreite des kosmischen amerikanischen Regenbogens von Folk über Country bis hin zu Yacht Rock. Die remasterte LP kommt in einer Tip-On-Hülle mit einem Begleitheft mit Notizen und den wenigen wertvollen Fotos, die aus Hamers kurzer Zeit als Lady des Canyons überlebt haben, voller Träume und ohne Ziel.

Blood Sanctum Vinyl w/ Poster

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Originally released in 1994.

The legendary album from South Africa’s House and Kwaito master Doctor House being reissued for the first time with a full remaster from the original DAT tapes. Nelson Phetole Mohale released a series of albums as Doctor House. Cutting his teeth in the 80s as a session player for a host of big names like Volcano, Senyaka and Obed Ngobeni, he moved on to programming for acts like La Viva and Jivaro, also contributing to Carlos Djedje and others. Still barely out of his teens he became one of South Africa’s first rappers as part of PT House, co-written and produced by Danny Bridgens. Their debut album Big World was released in 1991 and followed by Big City Taste a year later.

Denver Cuss presents her first 7" single release and her debut with UK independent label LRK Records.

'Crossed My Mind' backed with 'You Don't Get It' is out on streaming services on the 30 January, with the 7" out on the 27th February. It follows her 2024 album 'Leaving Me', which was described as "a nostalgic masterpiece" - Sommer Zeit magazine, earning a feature in Rolling Stone Germany, and a series digital singles, which have been played on the Craig Charles Funk & Soul Show on BB6 Music as well as Noble & Heath's Soho Radio show.

Denver is an Irish, London-based musician and producer, who makes classic R&B and Soul-influenced music, having graduated as the prize-winning jazz vocalist from the London College Of Music. She has since stepped into a world of live and session singing, alongside her solo project, delving deep into girl-group harmony, Northern Soul and classic Rhythm and Blues.

For this release, she captures the essence of '60s record-making, working with collaborator/producer PM Warson and engineer Ed Deegan at the all-analogue Gizzard Recording in East London. Backed by some of London's finest young musicians, she cut her vocal live, bypassing the trend for layered productions and imitation, in favour of a direct, live and soulful approach, direct to tape. The result is two of the most authentic '60s Pop/Soul sides you're likely to hear this year

HATIHATI - a new signing to DEEWEE, the record label founded by David & Stephen Dewaele of Soulwax/2manydjs.

Picture a burning car at the roadside in southern Crete, speakers held together with tape, playing records that survived sun, dust, and metallic sunrises, loud enough to make mountains sweat and clouds blush in hyper hue. HATIHATI lives somewhere between fragmented muscle memory and long walks through the Cretan mountains. The project formed on the move: buses, ferries, borrowed rooms, missed connections. Music made with travel still in the body. This is HATIHATI.

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

8-Tracks features eight essential classics selected from the Pink Floyd’s 1971 – 1979 era. The track list includes the instantly recognisable hits ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available only on the 1977 Animals 8-Track cartridge release. The track sequence has been edited by Steven Wilson for a continuous listening experience. 8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. 8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.

8-Tracks features eight essential classics selected from the Pink Floyd’s 1971 – 1979 era. The track list includes the instantly recognisable hits ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available only on the 1977 Animals 8-Track cartridge release. The track sequence has been edited by Steven Wilson for a continuous listening experience. 8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. 8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.

Creator of Le Châ, a chimera emerging from the margins, Lutèce Lockness builds worlds where dreamlike imagery and satire intertwine, inviting us to embrace the bizarre, the strange, and the intimate. With her debut album Le Châ, she crafts powerful, incantatory soundscapes. Her compositions blend psychedelic tones, medieval timbres, drifting drones, bouzouki improvisations, and digital textures, enriched through collaborations with Christoph Fink, Maxime Denuc, and Jean Rondeau.


Inspired by David Lynch, Jim Jarmusch, and Hayao Miyazaki, her practice shapes sonic material like exquisite corpses. Across disciplines, Lutèce Lockness explores new territories through projects such as the collective book Bande organisée (Seuil), born from the transport of a stone book across France during lockdown, and as part of the feminist punk group Forsissies. On stage, she has opened for Bonnie Banane at the Olympia and Flavien Berger at Le Lieu Unique in Nantes, and is also preparing for the opening of Kanal Pompidou in Brussels - continuing a trajectory where music, performance, and visual experimentation converge to create spaces of freedom.

Immerse yourself once again in the worlds of Princess Mononoke and Spirited Away, the two Studio Ghibli masterpieces created by Hayao Miyazaki and set to music by Joe Hisaishi, in this new original production for solo piano!



Based on the official piano scores by the original composer of the Studio Ghibli films, Joe Hisaishi, this album is a new journey of discovery into the two beloved worlds of Hayao Miyazaki, performed by pianist Nicolas Horvath, a Steinway & Sons artist renowned as a first-rate interpretor of composers such as Philip Glass, Franz Liszt, Claude Debussy, and Eric Satie.

The album features a total of 26 tracks from the two cult films Princess Mononoke (Mononoke Hime) and Spirited Away (Sen to Chihiro no Kamikakushi), composed by Joe Hisaishi.

Indiana Jones and the Raiders of the Lost Ark (45th Anniversary Gold Vinyl)

Celebrate the 45th Anniversary of Indiana Jones and the Raiders of the Lost Ark. Now available on gold color vinyl, the original motion picture soundtrack from the film composed by John Williams & performed by the London Symphony Orchestra

Bolka is known as the man with the cap. His cap has lived through a lot: his glitchy and microtonal experiments, studies at Institute of Sonology in The Hague or through countless performative works. A few years ago, Bolka’s cap fell apart. By that time he was already a fixture on the slovak experimental scene, but only releasing his debut album, “smutné stropy.” He started wearing new caps from then: somehow reminiscent of the old one, but much more varied — same as “smutné stropy,” bubbling with motifs, charming humour and pop sensitivity layered over detailed soundscapes popping with surprises.

On schwarzkopf, Bolka returns wishing for a thick black hair. With his charming love songs, that are positioned somewhere between a tightly run freak folk orchestra, deconstructed ballads and colorful ecstatic melancholy, he creates an album that thrives on juxtapositions that are completely unique, yet strangely familiar. Bolka’s songwriting is at once tender and irreverent — lovestruck whispering suddenly tripping over absurdist jokes and surreal images that fizz like soda. His songs move in that strange space between vulnerability and mischief, where intimate confessions collide with radical playfulness and the poetic rubs shoulders with the delightfully ridiculous.

On schwarzkopf, Bolka expands his world with a wide circle of collaborators and an even richer sonic palette. The album is meticulously detailed yet carefree: delicate moments sit next to sudden explosions, drifting from gentle pop to bursts of noise. Toward the end, the album even slips into a footwork-infused remix by Kodiki, passes through Julek ploski’s signature neon-baroque string perspective, and briefly wanders into Lénok’s cinematic sonic world. Bolka sings that he wants to dissolve into a healing ointment, to be ground in a mortar with calendula — and he invites us into this musical spa with him: a place that stings a little but ultimately soothes, a gorgeous soundscape that is both painful and joyful at the same time.

Nach ihrem Debütalbum ,I" im Jahr 2023, das ihnen nationale Radiopräsenz, Auftritte bei großen Festivals und Europatourneen einbrachte, erweitert das Montrealer Art-Pop-Trio Bye Parula mit seinem zweiten Album ,Something Out of Nothing" seinen ästhetischen Horizont und widmet sich einem eher introspektiven Songwriting. Wie sein Vorgänger wurde ,Something Out of Nothing" von Robbie Kuster von Patrick Watson produziert und von Warren Spicer von Plants and Animals gemischt, aber das neue Album präsentiert auch ein Team von Mitwirkenden - darunter die Inuk-Sängerin und Songwriterin Elisapie, Adèle Trottier-Rivard von Bibi Club, Morgan Moore und Karkwa-Keyboarder François Lafontaine -, das von der wachsenden Bedeutung von Bye Parula in der kanadischen Indie-Szene zeugt. Das Ergebnis ist eine vielseitige Mischung, die sich aus dem orchestralen Funk von Serge Gainsbourg, den melancholischen Melodien von Elliott Smith, den weltlichen Rhythmen von Talking Heads und dem bodenständigen R&B von Dijon speist, allesamt durchdrungen von einer cineastischen Sensibilität der 70er Jahre, die die Grenze zwischen sonnendurchfluteter, weichgezeichneter Fantasie und urbaner Raffinesse verwischt. Doch die vergnügungssüchtigen Klänge von ,Something Out of Nothing" können die unter der Oberfläche lauernde Not nicht verdecken - dies ist ein Album, das Ihre Schultern musikalisch massiert, während es Ihnen textlich in die Magengrube schlägt.

Red "Eruption" Marble Blend" Doppel-Vinyl, inklusive 16-seitigem Booklet mit Texten und ausführlichen Liner Notes. Ursprünglich 1998 veröffentlicht, fing ,South Central Thynk Taynk" von Abstract Tribe Unique (Abstract Rude, Fat Jack, Zulu Butterfly Priest, Irie Lion King und DJ Drez) einen entscheidenden Moment in der Underground-Szene von Los Angeles ein - als junge schwarze Künstler den Hip-Hop von Grund auf neu erfanden. Mit einer Mischung aus jazzigen Beats, spiritueller Einsicht und einer äußerst unabhängigen Produktion wurde das Album zu einer Hymne auf Selbstständigkeit und kreative Rebellion. Jetzt wird dieser lange nicht mehr erhältliche Klassiker von Rhymesayers Entertainment als Deluxe-2xLP-Set mit einem Text-Booklet und einem Bonustrack neu aufgelegt und kehrt für eine neue Generation zurück. Im kulturellen Zentrum der Platte steht Project Blowed, eine legendäre Crew aus L.A., die von Abstract Rude und Aceyalone gegründet wurde und eine Reihe von Rap-Innovatoren hervorbrachte, deren Einfluss bis heute im globalen Hip-Hop zu spüren ist. Während der Mainstream-Rap den G-Funk-Boom der Westküste aufgriff, schlug die Blowed-Crew einen anderen Weg ein - geprägt von Jazz, radikaler Politik und afrozentrischem Futurismus. ,South Central Thynk Taynk" ist eine vielschichtige Zeitkapsel aus dieser revolutionären Zeit, die Ab Rudes tiefgründige Lyrik mit Fat Jacks genreübergreifendem Produktionsansatz verbindet und eine poetische Reflexion über Familie, Kampf und künstlerische Bestimmung schafft. Diese Neuauflage enthält den Titel ,L.A. Styles Back (Project Blowed Remix)" mit einer generationsübergreifenden Besetzung von Schwergewichten - Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore und NGAFSH -, die unterstreicht, wie die Underground-Szene von L.A. seit Jahrzehnten ein kreatives Epizentrum geblieben ist. ,South Central Thynk Taynk" ist mehr als ein Kultartefakt; es ist ein lebendiges Dokument der Transformation, der Gemeinschaft und der künstlerischen Kraft.















[o] 15 : L.A. Styles Back (Project Blowed Remix)” [feat. Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore, NGAFSH]

2026 Repress

One of the all-time greats in electronic music, Uwe Schmidt-better known as Atom TM-joins the Sonic Groove roster with his latest masterpiece, "Exotrax". A true visionary, Uwe's discography is legendary, and this new release is no exception. It's a slickly reduced, hypnotic four-track journey in industrialized techno, showcasing his signature style-minimal, powerful, and intensely immersive. "Exotrax" which adds another brilliant chapter to his already remarkable legacy. Don't miss this one.

Galcher Lustwerk is a Cleveland-born, New York-based producer who has become one of the underground's most respected and unique voices. His deep tracks fuse hypnotic grooves with subtle, late-80s hip-house–inspired vocals, creating a detached yet energising take on the famous Midwest style. He's a member of the White Material collective, first gained attention with the 100% Galcher podcast mix, and has since dropped many choice Eps on the best labels in the scene, including Ghostly International, all of which have cemented his reputation as a visionary.

Shorty Out' is a dreamy late-night sound with spoken words pulling you in as balmy pads swirl without purpose, but plenty of sass. The drums are understated but poignant, inviting you to sink into the vibe and give yourself over to Reflection.

'Vestibule' is another smoky, candle-lit sound, with hunched, dusty drums that make you move without ever being the focal point. More vocal musings bring tender feels and evocative imagery as the synths speak of cosmic escape.

Closer, 'Wet Bulb' is more club-ready with techno-leaning synths and mid-tempo but purposeful drums.

Analogue textures and heady, wispy synths add plenty of human soul, making this another considered cut.

First ever official reissue of the 1992 digital heater ‘Slow Down’ by Villette Holmes. Produced by the late Cedrica Anthony Hamilton, better known as Soljie, this release captures a master at work.

A veteran engineer at the iconic Channel One Recording Studio, Soljie’s innovative approach at the mixing desk made him a giant of the reggae and dancehall scenes. He was the sonic architect behind many hits of the era, notably serving as the mixing engineer for Shabba Ranks’ seminal Grammy winning albums As Raw As Ever and Xtra Naked. In 1990, he launched his eponymous label, Soljie Records, which became a vehicle for his own distinct productions.

‘Slow Down’ is a quintessential Digi Dub production, balancing a heavy, driving rhythm with strong melodic hooks and a dreamy crossover feel that transcends the genre. Licensed from Soljie’s son, Chioke Hamilton, this reissue comprises the original version and Dub, alongside a previously unreleased Extended version.

Pressed on 140g vinyl and housed in a striking 3mm spine, full colour disco sleeve designed by Bradley Pinkerton.

Kim Rapatti (Mono Junk) is a long-running Finnish electronic music producer and the operator behind DUM Records. In the early 1990s, releasing across multiple aliases was a practical way to keep output organized and to present a broader label roster. Mars 31 Heaven was one of Rapatti's period-specific side names, used to separate a more inward strand of work from the main Mono Junk line.

Mono Junk presents Mars 31 Heaven: Collected Works '93–'95 is the first time these recordings have been compiled onto a single release. The tracks were previously scattered across various compilations, with "Little Elephant" later reappearing on a Mono Junk release. Audio was sourced from the original DAT tapes and remastered by Michael Diekmann. "Osaka House Remix" and "World of Isolation" originally appeared on the B-side of DUM Records' Blue File Compilation (1993). "Violins" and "Abyss" appear on vinyl for the first time after CD-only appearances ("Violins" on Dum Trax, 1995, and "Abyss" on Unitunes and Came From Outer Space I), and the original mix of "Osaka House" is previously unreleased. Housed in full-colour sleeves designed by Ed Cheverton.

We’re proud to present the latest offering from Promising/Youngster & UF0, on the sublime Deep Techno / IDM imprint out of the UK, Fourier Transform

A lush 4-tracker. Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio

Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. This is Uf0s’ (Sergio Garcia) second release on the label and when asked who he would like to be paired with, he wasted no time in suggesting fellow electronic musician and Spanish resident – Promising/Youngster (Diego Cardierno). This EP begins with P/Y’s “Random Memories” as tried and tested live by him last year and its big sound simply fills floors and gets feet moving. The second track of his is with a more subtle approach to the dancefloor but the analogue arpeggios and breaks still rock. Uf0 and his opening track “Sashita” uses vocals sparsely to create atmosphere and an epic soundscape. Ending the ep “La Musica Non Riporta De Te” opens with his trademark lush pads which drop into breaks, more well-crafted gentle melodies and of course “Bass”.

Between them both they have appeared on an impressive roster of underground labels - Wave Modulation, Analogica Force, Further Electronix, Adepta Editions, Altered Sense, Withold, Gated. Limited to 200 copies on marbled Eco vinyl, with painted sleeve, a sticker and an insert “Fun in the Sun”, giving you some interesting activities and experiments you can do using the power of the sun. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio.

Limited to 200 copies worldwide!

Frankfurt am Main -- Leipzig duo not even noticed deliver their long-awaited debut album space beyond noise - a 12-track journey balancing club functionality with immersive, long-form listening.

Shaped by years of touring and a shared ritual of visiting botanical gardens around the world, the album blends shapely grooves, field recordings and warm melodic textures into a cohesive, lived- in sound. Subtle environmental details run throughout, creating a natural flow between tracks.

Musically, it moves between electro-funk, breakbeat and hip-hop- inflected cuts, with downtempo and dubby excursions. Highlights include the driving “chrone,” the sundown groove of “diras,” the acid-tinged “plune,” and the hazy two-step moment “skum.”

Designed with warmer months in mind, space beyond noise captures the balance between dancefloor energy and home listening depth.