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Classic Big Bucks Northern Soul Sides On Nice Lookalike Label Reissue 45

Like a message in a bottle, carried round by the ocean streams for decades, Henrik Rylander's album 'Fran En Obestamd Plats I Rummet' has floated around in the space of Swedish underground music. Hoga Nord pulls the cork and unfolds the message that is a piece of music that was ahead of its time, sounding 'now' 20 years after its first release in the late nineties. This album is a well-kept secret even for the most initiated music lovers in Sweden! The music, influenced by Flying Saucer Attack and other reverb/distortion drenched acts from the early nineties, Harmonia and some of Kraftwerks earlier works and minimalism, still sounds fresh!

Rylander, a member of legendary acts such as Union Carbide Productions and The Skull Defekts, has been pushing the envelope for electronic music, varying between ambient and noise. Rylander's solo works could be described as sophisticated music and 'Fran En Obestamd Plats I Rummet' combines the sophisticated sides with his band oriented works that holds another kind of tension.

This record is the first release on the sub label 'Hoga Nord Arkiv' on which releases from the past, that hasn't got as much attention they deserve gets re-released in an appropriate context.

It’s the last W133 release for the summer of ’26 and it’s a big one. Label Papa Pino and Rotterdam’s samwho pair up for a banging, driving, proggy collaboration/split EP entitled “Baobab”. The duo behind W133 bestseller “Jacarandas” unite again for two more collaborative productions, complemented by one solo track each! Samwho starts off the EP with “D’espia”, a highly energetic progger with dreamy pads, crispy dembow percussion and sexy vocal stabs! On A2, we find the first collaboration, “Caramelo”. The two producers return to their signature percussion work, paired with a venomous rolling bassline and mysterious vocal snippets. On the flip side, the second collaborative track, “Lemon Hasj”, bangs in! A highly intense breaker with catchy vocal shots and chart-hit character. To close it off, Pino Peña delivers his solo production “Swarm Mystique”. The tune starts with a laid-back yet energising groove before swarm-like melodic pads creep in mysteriously! The cover artwork features a photograph taken by Philipp in Kyiv, Ukraine, printed on a two-sided cover sleeve. “Baobab” will be released worldwide on vinyl and digitally on 16th October.

Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.

Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.

Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.

Over the last decade and a half, Rotation Sound System’s annual gathering in the Staffordshire countryside has become one of underground dance music culture’s true success stories – an intimate gathering of like-minded friends and partygoers, powered by a custom-built six-way sound system, with music provided by a carefully curated line-up of dusty-fingered diggers, selectors and hand-picked live performers.

At the heart of the collective’s unique and much-loved approach lies a dedication to finding and sharing lesser-known gems and audio obscurities – fantastic records whose charm and quality has long been overlooked.

Last year, the core members of the crew – founders Dean Meredith and Ben Shenton (renowned for their productions as Mind Fair), and Wrekin’ Havoc trio Rob J, Stuart Robinson and Rich Hall – offered a snapshot of their unique musical approach via debut compilation Everything You Are About To Hear Is True, Volume 1, in the process introducing a global audience to some of the countless unknown mid-tempo classics nestled in their collections.

Fresh from another sold out edition of their acclaimed micro-festival, they’re back with volume two, another must-have collection of slept-on classics, loved-up shufflers and wide-eyed Balearic beats, all of which have played a part in Rotation’s story over the last 13 years.

Appearing on gatefold double vinyl with extensive liner notes telling the stories behind the tracks, Everything You’re About To Hear Is True, Volume 2 is full to bursting with music that sounds mind-blowing on the crew’s high-end sound system.

For proof, check the analogue-rich intergalactic shuffle of Paul Atreides’ 2015 jam ‘Arrakis Walk’, the relaxed boogie-soul of Rocky Winters’ Chaz Jankel produced ‘Vicious Circle’, the easy-listening-jazz-rock bliss of Vincent Maclin’s ‘Should’ve Took a Chance’, the 80s soul squelch of ‘Ecstasy (Centurion Mix)’ by Endgames and the immersive British dub drift of Sigma’s ‘Remember (Dub Style)’.

Everywhere you look, you’ll find eye-opening and ear-pleasing delights. There’s Pinky’s lightly acid-flecked, breakbeat-fuelled, acid house-era street soul classic ‘I Wanna Be The One (Instrumental Groove)’, the 1992 new age downtempo seduction of Linda Myers (‘Shine On Me’), the Clavinet-and-synth sporting jazz-rock/space-rock fusion of Wolfhound (1984 gem ‘Another Moon Song’), the Gallic colour of Buzy’s ‘Keep Cool (Version Maxi)’ and the guitar solo-laden electrofunk explorations of mid-80s UK act Lifesighs (‘Get Serious’, here presented in its extended instrumental form).

Season Two continues with its fifth edition - a shift south this time, from KiF's English hedgerows to the island of Lutruwita, Tasmania, and the work of Soda Lite.

A gooseberry plant took root in the sand between the bricks of Alex's back patio - nutrient-deficient leaves and all - and fruited regardless. That's most of the appeal: "I'm drawn to species that survive in the interstices of human industrialisation." The husk itself carries the same idea, shielding the berry until it's ready to be let go.

Past Soda Lite records - Earthbound, Aqua Solar Cura, Vale & Stone - built outward from field recordings first. Here that flipped: you can't field-record a plant, only the noise around it, so only two tracks (Vibrant Matter and An Sí Gaoithe) carry field sound at all. The rest came from narrowing to a single species instead of the wider non-human world, and "trying to create and replicate sound and energy on the level of the plant and its perceptive world."

Two more things worth knowing. ‘Bryn Celli Ddu’ takes its name from a Neolithic burial chamber in Wales, aligned so the summer solstice sunlight reaches its back wall - the sun turning up again as its own recurring character. And ‘An Sí Gaoithe (Return)’ is a reworking of a Vale & Stone title, old fragments reprocessed into something new - "a bit like composting."

Soda Lite is the recording project of Alex Last, a gardener and composer working from Lutruwita on unceded Palawa land. Their music moves through field recordings gathered directly from the island's own biomes - coastline, forest, alkaline lake bed - alongside slow, warbling synth work, built less as backdrop than as document: proof of a specific place, at a specific time, being listened to closely. Past records have taken their titles and themes from geology and land relationships as often as botany - Aqua Solar Cura, Earthbound, Vale & Stone - so a plant with its own mineral-adjacent etymology (soda, found in dried alkaline lakebeds; lite, from the Greek for stone) suits the pairing.

At this point, the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago are as legendary as any of his work. And sure enough, there's still some being unearthed today.

The fourth entry in a 7" single series is taken from one of Jones' customary completely unlabelled DATs, which he sent to labels seemingly as fast as he finished them.

A new series of singles collecting one of Bryn Jones’ innumerable DAT tapes that would show up at the labels he worked with sans any identifying marks.

Side A layers multiple voices (a background, faraway wail that either is or is akin to a muezzin, and a flatly declaimed two-word phrase that periodically halts proceedings) over his classic, slightly brick-walled hand percussion for a strangely meditative experience, as Jones phases elements in and out, more or less prominently in the mix. Side B however, open in a surprisingly dreamy place for Muslimgauze, with a looped ascending synth pad and beautiful sampled singing only gradually acquiring percussive accompaniment. As with the other side, Jones is content to let these elements interact and swap spaces in the mix for the duration, trusting in the sturdiness of his chosen components to carry the listener through.

Subject Sue is an Amsterdam-based artist creating dystopian nightclub music at the intersection of darkwave and ethereal techno. Inspired by queer club culture and the fragile edge between euphoria and estrangement, her music unfolds into a cinematic nocturnal haze.

Music has always been part of her life. As a vocalist and keyboard player, she performed in various projects and studied Visual Arts, where she explored themes of alter egos, personal realities, and the tension between subjectivity and objectivity in storytelling. Over time, she shifted from being an observer of these themes to embodying them herself. What began as an alter ego gradually evolved into something more personal.

Through Subject Sue, she explores desire, identity, and the strange beauty of the night, transforming fragments of her subjective inner world into cinematic club music. Drawing inspiration from Amsterdam’s queer nightlife and fleeting moments of intimacy, she creates music that inhabits the space between desire and isolation.

Debut EP Details In The Dark explores the blurred boundaries between lust and romance, intimacy and alienation through six tracks rich with pulsating synthesizers, textured soundscapes, and haunting vocal harmonies.

A defining electroclash anthem returns to wax. Tiga & Zyntherius's cult classic Sunglasses at Night gets the deluxe vinyl treatment, featuring the iconic original 12" mix that set dancefloors ablaze in the early 2000s-plus a thunderous rework by techno titan Chris Liebing, who injects it with deep, industrial muscle for the modern floor.

Whether you're chasing nostalgia or sonic intensity, this is a must-have release for collectors, selectors, and nocturnal creatures alike.

Second volume in Vuo's Moodsurf series. Finnish, functional, no filler. Solid. Nothing here is loud. It works because it holds back, letting space and repetition do the job a drop usually does.

Here we go! Ein echter 90er-Jahre-Kult-Hit ist zurück auf Vinyl! „Saturday Night“ von Whigfield, der legendäre Top-Hit aus dem Jahr 1994, ist endlich wieder als streng limitierte farbige 12“ Maxi Single erhältlich.
Mit seinem unverwechselbaren Dance-Sound, der eingängigen Melodie und dem legendären „Saturday Night“-Refrain eroberte Whigfield 1994 die internationalen Charts und wurde zu einem der großen Dance-Klassiker der 90er Jahre.

Jetzt gibt es den Hit endlich wieder auf hochwertigem, farbigem Vinyl – ein echtes Highlight für alle Fans der 90s, Dancefloor-Klassiker und Vinyl-Sammler.

Die Maxi Single enthält insgesamt 4 verschiedene Mixe und bietet damit gleich mehrere Versionen des unvergessenen Dancefloor-Hits.

Born in São Paulo, Caetano Malta embodies the vibrant creative energy of one of Latin America's most dynamic cities. A singer, songwriter, and multi-instrumentalist, he has spent more than twenty years crafting a distinctive musical universe shaped by Brazil's rich and diverse traditions. Tropicalia, MPB, Afro-Brazilian rhythms, psychedelic folk, and contemporary pop blend seamlessly in his work with effortless elegance.

Over the years, he has become a highly sought-after collaborator. Since 2004, he has performed with numerous leading Brazilian artists, including Lucas Santtana, Bixiga 70, Karina Buhr, and many others. After two decades of international touring, he eventually settled in Paris, where he became the guitarist for Flavia Coelho, Luiza, Guts, among others. As a songwriter, he has also co-written with artists such as Lucas Santtana, Wado, MOMO, Rubinho Jacobina, and Arto Lindsay.

With Eterna Juventude, his long-awaited debut solo album, due for release in autumn 2026, Caetano Malta reaches a new artistic milestone. The record reveals a radiant songwriting style where harmonic sophistication, organic rhythms, and instantly memorable melodies come together naturally. Filled with joyful energy and deep tenderness, Eterna Juventude celebrates imagination, movement, and childhood's unique ability to reinvent the world. It is a remarkably accomplished debut, showcasing an artist whose singular voice and musical identity are already fully formed.

The high-energy momentum continues with Whodamanny’s new double single on his own Biloba Catalogue. Capturing the post-summer ache of an obsessive love, "Obsesiòn" channels that deep-rooted Southern intensity, where obsession isn't a flaw, but a vital, positive drive to love endlessly. Turning up the heat, "Corazón Caliente" hits with a raw, sweat-soaked proto-house rhythm and heavy workstation brass stacks built to set hearts on fire. On the flip side, both tracks receive DJ-ready treatments with the specially named dub version "Dub Pasión" and the instrumental take "Sueño De Verano."

“What Robot Says L” on What Robot Says Records is a deeply immersive Dub Techno journey crafted for demanding listeners who seek atmosphere, precision, and emotional depth beyond conventional dancefloor music. Across four carefully sculpted tracks, the release moves through shifting moods and textures, balancing raw energy with subtle elegance while exploring the deeper and more hypnotic side of techno.

A1. Nicolas Barnes – Dusted Maze opens the EP with a smooth and introspective approach, combining delicate textures, refined grooves, and floating harmonic layers that capture the timeless spirit of classic Dub Techno through a modern lens.

A2. Continuing the journey with TM Shuffle, Monoder – Vihreesametti delivers a warmer and more fluid interpretation of the genre, blending rolling grooves, dub-driven chords, and sophisticated sound design into a deeply immersive experience.

On the B-side, B1. Denizo – Versus follows with dark dub pressure, stripped-back rhythmic architecture, and evolving ambient detail, creating a hypnotic late-night atmosphere filled with tension and movement.

B2. Closing the EP, The Open Circle – Shinkai dives into deeper and more mysterious territory, emphasizing submerged atmospheres, minimal rhythmic tension, and profound spatial depth that slowly unfolds with every listen.

WRSL1 – “What Robot Says L” is not designed for casual listening, but for those who appreciate Dub Techno as an evolving exploration of mood, space, and sonic detail — a refined and highly immersive statement from some of the genre’s most skilled contemporary artists.

but wait a minute.. Does anybody know What Robot Says?

Southernplayalisticadillacmuzik, the debut album by Outkast, was released in 1994. The album,

featuring live instrumentation and elements of funk and soul, addressed coming-of-age themes

and urban life in the South. A critical and commercial success, the album helped distinguished

Southern hip hop as a credible scene amid East Coast and West Coast dominance at the time.

Music journalists regard it as an important release in hip hop and Atlanta’s music scene. Available

on tangelo color vinyl.

Nach dem TETZLAFF-Comeback AUTOMATENHALLE folgt nun eine außergewöhnliche Reise mit der neuen Langspielplatte INTERKONTINENTAL!

Thematically, the album revolves around movement - excursions, outings, journeys, and the various vehicles and vessels that make them possible. It is music for those who drive, sail, walk, and fly. For those already on the move, and for those who are about to set off.

Each track functions as a vehicle of its own, collectively built and designed for different conditions and purposes. You can travel solo or collectively. The album is introduced by the single "ULYSSE."

Tropical Soldiers In Paradise:

Lush as tropical forests inhabited by fruit bats, fluorescent frogs, and giant millipedes. Comforting as paradise beaches from a screensaver. Absurd and psychedelic as the mission of Lieutenant Colonel Channon and the First Earth Battalion, where the paranormal abilities of warrior monks revolutionize the armies of the world.

A structure without status, uniforms without uniformity, and unity powered by diversity.

Tropical Soldiers In Paradise play crooked lounge (if such a genre existed). Their music blends a generous dose of improvisation with hip-hop-rooted beats and a distinctly new-wave approach to jazz. Since 2018, TSiP have released three albums and performed countless concerts on both intimate and major stages, bringing joy and solace to audiences along the way.

Following the acclaimed Milano Undiscovered, Italia Undiscovered and Italia Synthetica series comes Italo International: a new collection celebrating the enduring legacy of Italo Disco. Eight exclusive tracks by established European artists reimagining one of Italy's most influential musical movements with originality, respect, and a contemporary vision.

Italo International is a journey through the many shades of elegant and visionary electronic music, moving between Italo Disco, Synth Pop and dancefloor-oriented sounds. The talented and steadily rising Polish producer Rafał Lachmirowicz, aka Also Playable Mono; Hungarian artist Gianni Durante, aka Electro Potato, who for years has been bringing back the sound of early-Eighties Italo Disco with passion and a contemporary sensibility; Norwegian Tommy Holsen, aka DJ TinTin, who together with the Eighties band Go explores the classic sounds of Nordic Synth Pop; British producer Mark Wilkinson, aka Kid Machine, who for over fifteen years has been creating productions made for the dancefloor; Tyrell Corporation, the alias of Dutch producer Alden Tyrell, who joins forces with Italian duo Italoconnection to rework a track destined to set the dancefloor on fire; Swedish multidisciplinary artist Tobias Bernstrup, who for three decades has been reinventing the more sophisticated side of Italo Disco with elegance and a distinctive vision; the Dutch project Sfera Celeste Project, which blends Moroder-inspired sounds with a hypnotic minimalism reminiscent of Jeff Mills; and, closing the journey, British artists Heartbreak, Ali Renault and Sebastian Muravchik, with a poignant and slow-burning excursion into the melancholic world of Synth Pop.

2025 repress.

Rhythm Section International proudly presents it's 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene here in London town and with their latest set of productions are set to take this message further afield.

Having already released internationally on labels such as ClekClekBoom (Paris), Hot Haus (London) and Amadeus (Montreal), the duo's approach to production has matured immeasurably in the last year, as is evident in the restrained potency and poetic subtlety on the 4 tracks across this accomplished EP, Midnight in Peckham.

Taking it's title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in it's truest sense - at once sublime, melancholy and meditative . Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London and infact, timeless.

“My Love” is one of its key tracks on “Summer End”, the current album by French singer & songwriter Al Sunny. Now that summer really has ended, Al Sunny asked a few producers and DJs from all over France to deliver their interpretation “My Love”. Featuring a wonderful organic take by Ludovic Llorca aka Art of Tones this EP is available digitally and as limited four track 12inch vinyl edition including the Art of Tones, Hugo LX and Jared mixes.

Art of Tones

Art of Tones is the house and disco project of acclaimed French producer Ludovic Llorca. Launched in 2006, the alias quickly earned international recognition through its distinctive combination of soulful musicianship, powerful grooves and dancefloor energy. His catalogue includes releases on respected labels such as 20/20 Vision, Local Talk, Glitterbox, GAMM and Toy Tonics, establishing him as a highly regarded producer and remixer within the global house scene.

Hugo LX

Hugo LX is a Paris-based DJ and producer whose musical universe moves effortlessly between deep and soulful house, downtempo beats, jazz, hip-hop and ambient influences. Known for his refined production style and wide-ranging musical knowledge, he has released music on respected labels including NDATL, MCDE, Balance and People of Earth, alongside projects on his own Doma Music imprint. Both behind the decks and in the studio, his work is defined by warmth, subtlety and a deeply personal approach to electronic music.

Jared

Jared is a French DJ, producer and event curator based in Bordeaux, with a strong connection to house music and club culture. Over the years, he has performed at a wide range of events and international stages, including Tomorrowland, developing a reputation for energetic and carefully constructed DJ sets. His musical approach combines a deep understanding of the dancefloor with warm grooves, contemporary production and an enduring passion for house music.

Built with the immediacy that comes from limitation, iPhone Grime is almost exactly what it says on the tape case. Pulled directly from the portable communication device of Front Left Life's Louis Payne, iPhone Grime is the perfect distillation of raw ideas through a simple medium. When producers can drown in the infinite possibilities of the DAW vortex, a simple phone app can steer you swiftly to the sharpest results. Snippets of real world sound captured on the mic ground these quick-fire beats in a time and place, dynamic and street-level like grime and early dubstep was when it was being imagined on PlayStation games and filmed on ropey phone cameras.

Payne is undoubtedly bringing perspective to his sketches, having forged a connection with London's club scene through his part in the widely hailed Front Left Life parties in Catford, at Venue MOT and elsewhere. With a roll call of guests that cuts a sharp line through the best of bassweight club music right now, his taste and knowledge precedes his first steps into the production arena. Rather than puzzling out the path to a thousand likes for a hardware jam reel, he's opted for a direct line between his brain and the beat at the end of it.

You can hear the naivety behind vocal loops like the one nagging away on 'Follow That', calling to mind the first time you ever tried making a Fruity Loops beat. But these are no amateur throwaways — the technology has moved on and Payne's instincts guide him towards legit constructions that could easily do damage in the club. Sometimes they exist as no more than an eight bar loop, while others like 'Wind It Up (Dream Dealers Version)' or 'Extra Dimensional Being' stretch an idea out. Throughout it all, the looming throb of square wave bass glues the record together and anchors the grime dimension of Payne's job lot of phone jams.

Payne's work is all his own, and the snatches of real life around the beats anchor this music in his own London life. But, like previous shifts in technology and accessibility, iPhone Grime also raises an important prospect—that anyone with one of these apps, a Bluetooth speaker and an idea can bring music out of studios and into the world. History has already proven, when that happens the possibilities become thrillingly unpredictable.

Melissa Weikart and her piano have proceeded through life in step, from her early classical


training to the experimental practice that defines her work today, a blending of sounds and forms that has never been so clear—and so fully realized—as on her new album, Contact. Across twelve shifting and evocative tracks that examine the connective tissue binding us to ourselves and others, the Franco-American musician’s voice and piano navigate personal and emotional terrain with clarity and nuance, forging a rich dialogue between artist and instrument, artist and self, and artist and listener.


Winner of the 2022 Nancy Jazz Pulsations emerging artist award and the instrumentalist prize at the 2023 La Défense National Jazz Competition, Weikart has released two EPs and an album as a solo artist, and one EP and an album—Surprise and Secret—with her electronic duo Beatrice Melissa. A student of jazz and ’70s folk-pop, and a keen lover of improvisation since her time at the New England Conservatory in Boston, Weikart has always conjured the confessional candor of the singer- songwriter in her music, even as she dispenses her lyrics across rich, shifting, dreamlike tableaux.


On Contact, written and arranged entirely by Weikart (aside from “New angles”), she pushes her sound further than ever before. The album is animated by a pressing need for connection, observing what brings us together and what drives us apart, and the life-saving revelations that emerge along the way. The album’s opener, “Crash,” is a dreamy telephone-hour ode, a message in a bottle, to connections new and old. On the wistful “Mesurer le vent,” Weikart conjures Debussy or Ravel, layering contrasting sounds like an Impressionist painting. The title track begins as a showcase of Weikart’s frank lyricism, a splice-reel of missed connections and wasted time, then glides into a hazy, euphoric galaxy of pleas, circling around her thesis—“I wanted to make contact”—that ushers us into “The Intersection,” a song that recalls her the beginning of her career, when it was just Weikart and her keys. “Appétit.e” is built around a sample of her down-the-hall neighbor’s drumming—another subtle, affecting gesture toward proximity and connection—while pulsating synths reminiscent of Air lend the track an unsteady atmosphere. On the Carpenters-inspired “Expectations,” Weikart muses on the relationship patterns, universal and specific, that have always been a hallmark of her songwriting.

The psychedelic “L’amour de construit” is a slow-motion fall down the rabbit hole, as Weikart
considers the way her own emotions are captured and commodified by the confining ways we think about love. The interlude—“L’amour pt. 2”—finds her near the end of that trip, shouting into the void as a last-ditch effort to rescue herself from the fall. The drums near the end of the interlude warn us that there may be no cushion for, until she is saved, again, by the power of revelation, on the confident, resilient “Not Right”—on which a show-stopping, frenetic conversation between singer and piano is gracefully interrupted by a rush of transcendent strings, lifting her back up.

On solid ground anew, “New angles,” featuring Manu Delta, creates a percussion-less groove that relies on experimental synth sounds. The 11-o’clock stunner “Catching up”—composed in a church—meets the singer in a state of ecstatic confession, bringing her to the formative memory that propels “Bicycle,” the album’s closer. Younger, more wide-eyed, she reflects on her move from Boston to Strasbourg, those early days, when Weikart had no other companion than that loyal hunk of scrap metal that took her to the shores of her own soul. She seems to suggest, on “Bicycle,” that a backward-glance is not always troublesome, not always anxiety-producing, but can be grounding: a reminder of where we come from, so that we can keep moving forward.

Animative is new work by composer, producer, saxophonist and synthesist Josh Johnson (SML, Jeff Parker ETA IVtet, Flea and The Honora Band), his third album under his own name, and his first for International Anthem/Nonesuch. The album further advances Johnson deep into a territory he has been exploring for years: live-processed electro-acoustic takes on deconstructed rhythmic jazz. The ten track album - co-produced by Johnson and Paul Bryan, featuring contributions from Meshell Ndegeocello, Macie Stewart, Marquis Hill, Ben Lumsdaine, and more - is a marvel of electro-acoustic innovation that combines compositional brilliance and technological ambition into a mesmerizing blend of skeletal soul-jazz, post-bop, electronic minimalism, and dreamy ambience.

Animative is new work by composer, producer, saxophonist and synthesist Josh Johnson (SML, Jeff Parker ETA IVtet, Flea and The Honora Band), his third album under his own name, and his first for International Anthem/Nonesuch. The album further advances Johnson deep into a territory he has been exploring for years: live-processed electro-acoustic takes on deconstructed rhythmic jazz. The ten track album - co-produced by Johnson and Paul Bryan, featuring contributions from Meshell Ndegeocello, Macie Stewart, Marquis Hill, Ben Lumsdaine, and more - is a marvel of electro-acoustic innovation that combines compositional brilliance and technological ambition into a mesmerizing blend of skeletal soul-jazz, post-bop, electronic minimalism, and dreamy ambience.

The songs of Jules de Corte are condensed, folky gems with an almost effortless charm. Poised between the intimate and the universal, between lightness and darkness, they touch on religion, love, loss, and the small dramas of everyday life. Yet they resist easy translation. Packed with wordplay, de Corte’s signature alliterations, humor, and local cultural references, the songs inevitably lose something in another language. Still, when a Belgian quartet of improvisers takes them on, joined by American songwriter Bonnie ‘Prince’ Billy, the songs are reborn rather than merely transposed: literal fidelity gives way to interpretation, and what is lost in words is often gained in spirit.

Even without tracing every change, their overall effect is fascinating. Songs are slowed down, often doubled in length, and filled with unexpected musical intrusions. They gain fuller arrangements and are placed in an entirely new context. Replacing de Corte’s piano with guitar can create a radically different vibe, as in “Mariska.” An added solo can heighten the contrast between childlike perspective and the almost matter- of-fact brutality of “Little Anita.” In “The Stranger,” another use of contrast unsettles the everyday harmony, transforming it with a subtle, disorienting twist.

Ultimately, these performances show that interpretation is not successful simply because it is literal. With the groundwork laid by Linus, Bonnie ‘Prince’ Billy further liberated the songs from their original versions. Lyrics and melodies become malleable, shaped by his recognizable cadences, timbre, and personal quirks. Like his collaborators, he allows himself the freedom to bend the material to his own approach. There is no radical break between this performance and his other records. Listeners familiar with the originals may be puzzled at first; for those new to de Corte, it is a wholly different experience.

Does it really matter that the original “Little Jesus, Mighty God” is a 100-second nugget combining playful naivete with biblical fervor? In the hands of these five explorers, the song becomes an intriguing contemplation, with subtle musical shades and a recitation in which every syllable carries a maturity that offers a new perspective. Then there is “The Outsider,” which feels as genuine as any original American folk song. The musicians’ process is more than reinterpretation—it is reimagination, bringing new musical compatibility and emotional depth. Whether that depth was there from the start, waiting to be uncovered, or created in the process is beside the point. What matters is that Linus and Bonnie ‘Prince’ Billy have made the essence of these songs their own, paying homage yet dancing to their own tune.

Linus is the Belgian duo of guitarist and banjo player Ruben Machtelinckx and reedist and synthesiser player Thomas Jillings. Across five previous albums — Onland (2014), Linus + Skarbø / Leroux (2015), Felt Like Old language at the crossroads of folk, jazz, minimalism, chamber music and free improvisation. Their music is adventurous, shaped by a particular sensitivity to texture, timbre and the subtle interaction between musicians.

What began as a duo gradually grew into a flexible musical world, bringing Linus together with musicians such as Nils Økland, Ingar Zach, Niels Van Heertum, Øyvind Skarbø and Frederik Leroux. Yet each new constellation has remained recognisably Linus: music in which carefully considered forms leave space for intuition, interaction and the unexpected.

For their sixth album, Linus takes a new step by moving into the world of song and text. Inspired by a shared love for the late Dutch songwriter Jules De Corte, the album is a reimagining of De Corte’s unique repertoire. More than simply interpreting De Corte’s songs, they absorb and reshape them, bringing them into dialogue with their own musical language. In keeping with this open approach, they are joined by celebrated vocalist Bonnie “Prince” Billy. With albums such as 1999’s I See a Darkness appearing on several greatest album lists, Bonnie “Prince” Billy is a cult figure in the alternative folk scene, and his highly intuitive way of singing seamlessly matches the subtle interplay Linus has developed over more than a decade.

It's been called " A lost classic of the Acid Jazz Era" and has been featured on Compilations and even Bootlegged.

Onward International "Foot In The Door" has earned it's place as one of the Foundation Stones of the Influential Acid Jazz Scene of the 1980's and 1990's. It’s Horn based intro is a Siren Call to fill floors and has been for over 40 years!

Recorded one Magical Night in the same studio and around the same time as Sade’s “Diamond Life” by the cream of London’s Session Musicians (who all later performed on Working Week’s Debut album.)

The title track was named when finally, after taking the master round to every record company in London, a door opened and a release deal was agreed.

The Airto Styled Batucada Beat Brazilian Boogie “Samba Doo Bonnay” is one of the other standout tracks from that now rare and ever more expensive Brit-Funk meets Acid Jazz E.P. and is now available digitally for the first time ever! And for Mambo Jazz Perfection Roberto Pla’s 21st Floor Mambo rounds off things nicely!

Gilles Peterson: "Killer!"

Recorded spontaneously in Brooklyn and created entirely without written compositions, this album is an essential release for fans of ambient music, spiritual jazz, meditation, and deep listening. Features Isaiah Collier on drums and tenor sax and produced by Sonny Daze.

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A spontaneous musical transmission exploring healing, unity, laughter, and limitless possibility.
Recorded in Brooklyn, New York in 2025, Openness is a fully improvised full-length album from legendary ambient pioneer and sonic mystic Laraaji. Created without pre-written compositions or arrangements, the recording captures a rare moment of collective presence, where every sound emerges from intuition, listening, and trust in the unknown.

Guided by what Laraaji describes as a state of openness, the album unfolds as a meditation on timelessness, inexhaustible supply, right guidance, seamless unity, prosperity, healing, gratitude, understanding, relationship, and transformation. Moving fluidly between meditative vocals, Fender Rhodes, Moog synthesizer, zither, gong, and piano, Laraaji channels a deeply personal yet universal musical language intended for a global audience seeking connection, renewal, and inspiration.
A defining element of the recording is Laraaji's celebrated Laughter Meditation, woven throughout the performance as both a musical and spiritual practice. His joyful vocal expressions become an instrument unto themselves, creating moments of release, playfulness, healing, and communal connection. The laughter serves as a reminder that openness is not only a path toward deeper awareness, but also toward celebration, recreation, gratitude, and collective well-being.
The session features acclaimed saxophonist and composer Isaiah Collier on drums and tenor saxophone, bringing a responsive, exploratory energy to the recording. Producer Sonny Daze opens the album with a spoken invocation and shapes its expansive atmosphere throughout with the legendary Roland Space Echo RE-201, adding warmth, depth, and cosmic texture to the music's unfolding journey.
Described by Laraaji as a "vital music transmission," Openness was revealed spontaneously in the studio while remaining fully present to each new moment. The result is an immersive listening experience that feels both ancient and immediate—a celebration of right community, right recreation, right medicine, and the transformative power of creative freedom.

"This music is revealed and recorded spontaneously in Brooklyn, NY, with the attending presence of dear Sonny Daze and dear Isaiah Collier. Being totally in the new moment and allowing fresh communication to arrive, I remained open while touching various studio instruments. Being in channeling mode throughout the recording session, I sensed the world audience for whom this vital music transmission is intended."

— Celestially Yours, Laraaji

Tomu DJ’s debut on CST Imprint shares ten atmospheric wistful ruminations on being, living, and the spiritual undercurrents that alchemize these experiences into song. Hazy memories recalled through glitchy lush lullabies, moving through whispered skittery percussive states into warm melodic vocal confessions. Playful yet exacting productions ebb and flow between pensive indietronica pop interspersed with blissful club tracks that swing from ambient, drum and bass, breaks and house for the dancers. A sanguine daydream, to be free.

Her fourth album since 2021 but first on vinyl, Tomu’s deceptively simple compositions bely complex emotions. Minimal, every element just so, nothing unnecessary. Her ability to create ideal environments for collaboration on full display.

Includes download code and riso-printed insert.

Manchester-based producer Lily Mumby, the creative force behind Lapalace, has chosen Lavender as her botanical muse for this sixth instalment. Like the aromatic herb that grows from tiny seeds to fragrant purple stalks, her compositions unfold with a similar patience and elegance. Her synthesisers breathe with a natural rhythm, creating textures that emerge and recede like morning dew on lavender buds waiting to bloom.

The standout track ‘new age night’ – a stunning love child of William Basinski's decaying tape loops and Aphex Twin's intricate programming—carries subtle lavender-inspired tones, balancing the plant's calming essence with hypnotic rhythms. Just as lavender requires thoughtful tending before rewarding the gardener with its distinctive aroma, Lapalace's landscapes reveal deeper complexities with each listen.

Much like gardening itself, Mumby demonstrates an innate understanding of when to intervene and when to allow natural development. This approach echoes throughout her career, from her debut EP "Ephemera" which caught the attention of Insult to Injury Records' Timothy Clerkin, through to her contributions to Chez De Milo's "So It Goes" Remix EP and Manchester label Skiptrace's various artists compilation.

Her work across BBC Introducing and fossil.radio reflects this same philosophy – creating environments where sound, space, and organic movement find their natural harmony. But this composition really feels that Mumby has come of age. "Music To Watch Seeds Grow By Vol. 6" represents the continued cultivation of Lapalace's distinctive sound and demonstrates the maturity of an artist way beyond her years. This music stands as a lighthouse through a thick fog of nostalgia, much like lavender standing tall amidst an English cottage garden.

Early DJ support including - Auntie Flo, Ruf Dug, Courtesy, Vladimir Ivkovic.

""Early Morning"" is the result of an intimate, personal experience within Mexican territories. It unfolds as an open-ended narrative, suspended in vast and indefinite environments where sound merges with the landscape.
Trumpet and electric keyboard act as the central forces within the composition, guiding its emotional core. Around them, additional elements are woven in through subtle interventions-reinforcing, dissolving, and reshaping the piece. The result is a form rich in suspense, positioned between electroacoustics and contemporary experimental music, maintaining a strong focus on timbre, spatial perception, and the relationship between acoustic sources and real-time processing. Jacopo Buda (born in 1994) is a trumpeter, composer, and sound artist. In addition to his work as a musician, he is an artistic director for experimental music festivals within the Italian underground scene and has been the co-curator, alongside Demetrio Cecchitelli, of The Cave hosted by Casa Madiba (Rimini) since 2021.

On his new album Chott, German-Tunisian producer and composer Taroug confronts his origins. Named after the Chott El Djerid, a vast salt lake in southern Tunisia, the ten-track album revolves around personal history and the search for identity. Chott is a conceptual work shaped by contrasting atmospheres, from minimalistic melancholy to raw, bass-heavy intensity. It blends traditional instruments with contemporary electronic text- ures, drawing lines between past and present.

Personal materials—such as vocal samples from family members—add layers of intimacy and cultural depth, most notably on the title track, featuring an original Arabic poem spoken by Taroug’s father, and on 1995,
a song reflecting on early childhood memories in Tunisia. Beyond these intimate dimensions, he works with sonic imagery that captures the sensory experience of heat and landscape in pieces like Saraab and Sirocco. In Nakhla, recordings of palm trees transformed into repetitive movements evoke scenes of southern Tunisia’s palm plantations, where organic and mechanical sounds converge.

For the artwork, Taroug once again collaborated with architect and designer Marie Brosius, assembling an experimental collage from old personal photographs of Tunisia that visually echoes the album’s themes of heritage and remembrance.

The first leader album by Ryo Kawasaki, a jazz and fusion guitarist whose talent was recognized by Gil Evans and who went on to work internationally. The album presents a cool cosmic sound, including "Agana," where Kawasaki delivers breath-taking guitar playing over high-speed percussion, and the dazzling jazz-funk number "Phil."

Building up from his multiple appearances on the label, one of our closest producers, Luca Durán, makes his full studio album debut on TraTra. This work is meant to showcase the vast world of influences the diasporic experience comes with: his rhythm-driven tracks coexist in high contrast, but fluidly, with the experimental and textures of his european school of sound. The title itself works amongst these two edges of Luca's aesthetic existence, the softness from the flight of a Mariposa with the harsh hit of a death blow.

Killing Mariposas is filled with seemingly clashing techniques, field recordings, acoustic instruments, and analogue synthesis, which converge with modern and forward-thinking production tools to build heavily layered music. Constructing an emotional narration from the contemplative to the euphoric. A sort of contextual shapeshifter, with hints of cumbia, grasps of reggaetón and dembow, but always submerged deeply in a windy and fragmented memory.

This whole project gets rounded up by the packed lineup of collaborators, both vocal features and production partners. Astute minds from distinct internet niches: Kelman Durán, Gavsborg, Iceboy Violet, Debit, Rosa Pistola, BEBE YANA, Kamohelo & Kacha.

One true reflection of Luca's production abilities and sonic poetry.

Balvanera is the project of Agustina Vizcarra and Lucas Palavecino from Buenos Aires, Argentina.

Since 2016, the duo has been building a sonic narrative that moves between the corporeal and the spectral, exploring waves and minimal synth as well as more intense and rhythmic directions closer to Body music, all while sharing the stage with artists such as Clan of Xymox, Boy Harsher, Die Selektion, Kontravoid, NNHMN and Ashcode.

New album Hasta tocar el fondo vacío del lenguaje arrives as an attempt to push expression to the limit, focused on language and sound as expressive forms.
With all tracks sung in Spanish, the album is a declaration of identity and at the same time an exercise with Spanish itself: how to play with a language that sometimes feels baroque and turn it into something stark while retaining its richness. Musically direct, the album occasionally returns to some minimalism reminiscent of the band’s early releases while preserving the intensity and club-oriented feel of their later work. At times intensifying in speed, the record brings the energy of their live performances to visibility, while other tracks feel like an unsettlingly dreamlike atmosphere. The title – meaning Until Touching the Empty Bottom of Language – borrowed from a fragment of Arturo Carrera’s poem Escrito con un nictógrafo, offers a clue to Balvanera’s nocturnal sensibility: those thoughts and images that can only emerge in the sleepless hours of the night, when they reach their most revealing edge.

Hasta tocar el fondo vacío del lenguajen explores death as something hidden within language while allowing each track to find its own form rather than adhering to genre conventions.

Split released with DKA. Out October 1st, 2026 on aquamarine vinyl LP limited to 500 with lyrics insert.

XAMAN is the collaborative project of Dino Sabatini and Luigi Tozzi, where two distinct artistic paths converge into a shared musical language shaped through years of independent research and mutual exchange.

Across eight compositions, XAMAN takes shape through gradual transformation. Every element is introduced with intention, allowing subtle shifts in density, tension and space to shape the music over time, revealing its full form through uninterrupted listening.

Released as a double vinyl on Outis Opera Series, the curated imprint of Outis Music, XAMAN reflects a process shaped through listening, exchange and time.

2026 Repress
In the ever-expanding universe of deep house, Julius Steinhoff is far from being a stranger. Half of the dynamic duo Smallpeople, founder and one of the steersmen behind Hamburg's Smallville empire (record store/ label/ party curator around the globe) as well as a producer and DJ in his own right, Steinhoff is closely associated with a group of like-minded people that unite fresh ideas and individualism with a certain consciousness of tradition. That 'Flocking Behaviour' is well embodied in Steinhoff's debut album by the same name. After a string of 12-inches for the likes of Live at Robert Johnson, Geography or his own-brand Smallville and the very well-received Smallpeople long-player 'Salty Days", Julius Steinhoff makes a submission that is all his. Rooted in the elegiac variety of the big three (New York, Chicago & Detroit) and a romantic concept of house music that is at times utopian, the album gathers eight tracks that evoke late nights, hazy mornings and walks on thin air. But 'Flocking Behaviour' is by no means anachronistic: Tracks like 'Under A Waterfall' could be made in just the same manner by a puerile Baby Ford in 1989 as they represent a swaying dance floor in 2014. 'Treehouse' or the title track 'Flocking Behaviour' are experiences that make you feel like meeting new people who instantly greet you like old friends. With someone that works and lives in the here and now, Steinhoff seemingly has no interest in revisionism, complains or antagonism, his approach is welcoming and caring, embracing and mesmerizing. Along the way, his musical apparatus never makes use of cheap tricks or antique clichés.

2026 Repress

Dial Records boss makes a welcome return to Smallville in March of 2024 with a fresh four-tracker EP ‘Gravity Hill’. Peter Kersten, better known to most as Lawrence, has been at the forefront of underground house and techno for decades now. His Dial imprint, co-founded alongside Carsten Jost, has grown to become a north star for many seeking out raw, emotive and understated electronic music and Lawrence’s own productions follow a similar path, finding a home on many beloved labels beyond Dial such as Kompakt, Mule Musiq, Ghostly
International, Giegling, Pampa and of course Smallville, that he co-founded together with Stella Plazonja and Julius Steinhoff in 2005.
Title-track ‘Gravity Hill’ opens the project and perfectly sets the tone with Lawrence’s distinct atmospheric haze of keys, chords and pads billowing atop swaying bass tones and crisp drums. ‘Beaver’ follows next and edges into dubbed out realms with expansive stab delays, rounded subs, modulating percussive flutters and a robust rhythmic drive.
‘The Swamp’ then leads the B-side, diving into a deeper territory via airy Rhodes melodies and subtly unfurling pads, intertwined with organic percussion and a jazz tinged bass line. ‘Stargazer’ then concludes the package and shifts back to a more straight, dance floor- oriented feel via a twitchy acid bass, circling resonant synth licks, hypnotic textures and a swinging drum groove.
Smallville 62 artwork by Stefan Marx as always and it's the first 12“ Smallville cover in full colour ever after 61 black/white releases.

2026 Repress

Snad is back on Smallville.

Shyam Anand is a long-term friend of Smallville and an MPC wizard with a wide-open heart. We are super happy to finally present a 12“ that is fully his own.

After an amazing contribution to Smallville 49 (check out Exerpts!), Snad aka Spandrel aka Shyam Anand presents a full 3-tracker on Smallville, packed with his irrisistible grooves, the usual unexpected twists and an overall magical atmosphere. Growing up near Philadelphia, then moving to Chicago and later exploring the global underground scenes of Berlin and Mexico City, among others, Snad is a busy man. He runs his own imprint Spandrel, co-runs We R The Aliens and has an impressive back-catalogue of contributions for several favourites like Running Back, Courtesy of Balance, Kimochi, Long Vehicle, 20:20 Vision, Phonica and many more.

On this 12" the A side belongs solely to Bubblescope - 14 and a half minutes of mesmerizing Ensoniq DP/4 Vocoder driven modular spheres, an endlessly deep bubbling piece of art that builds an intense feeling that could last for hours.
The B side sees Snad staying deep – Lukewarm Lava explores the broken beat world before taking you on a ride. The beloved B2-spot goes to Tanni - an integral part of Julius' warmup-sets since forever and thus a special one to finally put on wax.

Bubblescope comes with a Full Cover Artwork by Stefan Marx.

Mit "Intoxicated Man" widmet sich diese umfangreiche 2LP-Edition den frühen Jahren von Serge Gainsbourg und dokumentiert die Entstehung eines der einflussreichsten Künstler der französischen Musikgeschichte. Lange bevor Gainsbourg mit seinen provokanten Pop-Produktionen internationale Bekanntheit erlangte, entwickelte er aus Jazz, Chanson und literarischen Einflüssen eine unverwechselbare musikalische Handschrift. Die Sammlung vereint zentrale Aufnahmen seiner frühen Karriere, darunter Klassiker wie "Le Poinçonneur des Lilas", "La Chanson de Prévert", "L"Eau à la Bouche" und "Black Trombone". Begleitet von hochkarätigen Musikern wie Alain Goraguer, Marcel Zanini und Hubert Rostaing zeigen diese Aufnahmen bereits den scharfsinnigen Texter, stilistischen Grenzgänger und musikalischen Innovator, der Gainsbourg später werden sollte. Eine sorgfältig kuratierte Retrospektive eines prägenden Kapitels französischer Musikgeschichte.

American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.

Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.

The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.

Larry June has built a career on making hard work look effortless, and his album Who Coppin’ stands as a masterclass in smooth, lifestyle-driven West Coast hip-hop. The album delivers a high-grade mix of Bay Area luxury, entrepreneurial motivation, and unbothered charismatic flows. Spanning a laid-back audio palette designed for early-morning juice runs and late-night freeway cruises alike, Uncle Larry balances the discipline of a hustle-first mindset with warm, sun-drenched production anchored by crisp organic instrumentation and heavy-knocking bass.

The album features a tightly curated roster of collaborators who align seamlessly with Larry's signature aesthetic. Spoken-word encouragement from Wallo267 sets an intentional tone on the opener "Go Outside Intro," framing the record around execution and focus. Soulful contributions from Jhené Aiko on "California Dream" and Musiq Soulchild on "Pretty Green Eyes" provide lush R&B textures, while NorCal legend B-Legit and longtime partner DJ.Fresh reinforce June’s deep West Coast roots. Meanwhile, Swizz Beatz injects high-energy bounce into "Flex," offering a vibrant contrast to Larry’s understated, cool-headed cadence.

Behind the boards, top-tier producers like Cardo, Teeko, Beat Butcha, Jay Versace, and June Santana craft a nostalgic yet modern backdrop filled with warm sample flips, smooth G-funk synthesizers, and relaxed soul grooves. The project builds to an emotionally grounded conclusion on "God Got Us (Ain't Too Many)," where June strips away the flexes to offer direct encouragement to his audience, proving once again that consistency, self-belief, and steady progress remain the ultimate luxuries.

2xLP, Gatefold Jacket, 18x24 Poster Included

‘Unfindable Ring', out October 23 on Bayonet Records, is an adventurer’s epic. The arc of the journey, like any good Spirited Away or Neverending Story, lands its wide-traveled protagonist right back at home before bedtime. Grumpy, like many great hero tricksters before him, has always been a project of juxtaposition: upbeat radio-ready hits whose buoyant, goofy hooks belie the dark thoughts they describe. Much of this, Schmitt acknowledges, owes its due to the matter-of-fact morbidity of the trans experience in America. It’s from these experiences—personal, romantic, political, and existential—that the tale of ‘Unfindable Ring’ unfolds.
Ambition and play have always defined the Grumpy sound. Late last year, the Fader praised their “demented, hooky” EP, “Piebald,” whose innovative fuzz-pop confections earned them coverage in NPR and the New York Times. Stereogum heralded them as “wonderfully weird,” and Paste designated them “the best of what’s next.”” Through boisterous collaborations with the likes of Sidney Gish and Claire Rousay, they’ve effortlessly ingratiated themselves with the titans of DIY, and, more recently, Schmitt has become an unlikely favored collaborator of chart-topping country giant Zach Bryan, who named his new record––which prominently features Schmitt’s harmonies–– conspicuously, ‘With Heaven On Top.’
In Grumpy, Heaven Schmitt is joined by Anya Good, Ellie Long (Kid Lake), Austin Arnold, Diego Clare (D.A. Crimson), and Lane Rodgers, who each contribute to every step of the process—engineering and recording, mixing, drafting artwork, producing, and making music videos. A kind of interdisciplinary thieves’ guild, the project, while once Schmitt’s solo eponym, is a labor of communal love.
“We are living these happy lives, and there are people we come across who don’t know us at all who want us to die,” Schmitt, explains. Often the visibility of the joy itself is what prompts the vitriol––“I’m so happy I could die,” Schmitt belts over and over on the chorus (a familiar figure of speech, sure, but one which, upon any scrutiny, shows Schmitt’s hand in the macabre.) A middle finger to fate, Good started asking, “What are you going to do with your One Beautiful Life?” Grumpy is going to keep playing, touring, searching, finding.

Während West-Coast-Hip-Hop oft auf eine begrenzte Auswahl an Klängen und Stilen reduziert wird, war die Realität des kalifornischen Rap schon immer weitaus vielfältiger. Nirgendwo wird dies deutlicher als in Los Angeles, wo das ikonische G-Funk-Erbe neben einer florierenden Independent-Szene besteht, die den Hip-Hop in neue Richtungen treibt. Nur wenige Künstler verkörpern diese Schnittstelle so natürlich wie Blu. Seit langem von den charakteristischen Klängen seiner Heimatstadt inspiriert und zugleich verwurzelt in der Lyrik und dem Soul der L.A.-Underground-Szene, schlägt der gefeierte MC mühelos eine Brücke zwischen diesen Welten. Sein neues Projekt ,LA" ist eine prägnante Essenz dieser künstlerischen Identität, die den klassischen West-Coast-Sounds Tribut zollt und zugleich ein vielschichtiges Porträt des Lebens in der Stadt der Engel zeichnet. Um diese Vision zum Leben zu erwecken, tat sich Blu mit dem Produzenten Sndtrak aus Oakland zusammen, einem Mitglied von 9th Wonders Produktionskollektiv ,Soul Council", das für seine Arbeit mit Larry June, Rapsody und Smif-N-Wessun bekannt ist. Indem er klassische West-Coast-Grooves durch eine frische Perspektive neu interpretiert, schafft Sndtrak den idealen Hintergrund für Blus prägnante Texte und seine bodenständige Erzählkunst. Mit Beiträgen von Volume 10, Thurz, MED, Iman Omari, Trizz, ICECOLDBISHOP und weiteren Künstlern unterstreicht ,LA" die kreative Entwicklung in einer der dynamischsten Städte des Hip-Hop.

Hidden Sounds Record store – with the help of Emotional Recordings – launches the Dark Times label with the first of two club orientated EPs from Canadian brother-production duo Lex and Rew MacCrimmon and their project Alkahest.

Released on their own Post Contemporary label between 1994 – 1996, Alkahest contrasted with the spacious electronica of their influential and still on-going project, Legion Of Green Men.

Growing up in suburban city life in Burlington, Ontario, the MacCrimmon brothers’ interest in music and collecting records started early, always looking for interesting sounds in new places. With a limited local music scene or record stores, the alternative and college radio stations were the only way to discover new music or the type of music they sought.

The German electronic sounds of Kraftwerk, Klaus Schulze and Tangerine Dream were early obsessions, alongside Neu, Cluster (& Eno) and the post punk and synth pop emanating from Britain. The Flying Lizards, John Foxx / Ultravox, Gary Numan and The Normal were favourites, before diving into the 80s industrial experiments of Cabaret Voltaire, Severed Heads, Nurse With Wound and Throbbing Gristle.

Making their own music soon followed, first experimenting with 4 track cassette and digital delay, drum machines and synths soon followed, steadily building their own studio. All these influences merged in the early 90s with the dawn of house and techno and the progression to start the Post Contemporary label launched in 1992.

With the project Legion Of Green Men achieving early success, their diversion with Alkahest explored a post-industrial techno hybrid. Unsubtle, night music, the rhythm and sonic textures are more prominent over melody.

Contact High covers this Alkahest sound, from the 133 bpm trippy, psychedelics of opener Black Tabs, the acid breaks of Ground Zero or the charging nature of closing Séance 333, where all bets are off – together this 4 track EP perfectly captures the early spirit of Canada’s electronic music scene finding its place in dance culture, from the raves of the Toronto’s outer rim to the beaches of Anjuna.

However, in the title cut Contact High, there is something else happening, as electronic dub is explored, where the space in the music, between the beats, is as important at what happens on the surface. A love of this ethereal feeling would lead the brothers to head further in this direction and here is a perfect example of that early journey.

Hackney based Hidden Sounds Records launches – with support from Emotional Recordings – it’s Dark Times label by diving in the the music of Alkahest, a short-lived project from Canadian brother-production duo Lex and Rew MacCrimmon.

For the second EP, the Twisted Up release is re-examined, with a tweaked track list to represent the times and how their sound continues in relevance today. Released in 2 years (1994-1996), Alkahest was the darker side of the MacCrimmon’s productions and allowed them to focus on twisted, psychedelic electronics, away from their main Legion Of Green Men project.

Self-described music obsessives from a young age – lying under a home-made harpsichord, with their heads in the resonator box was an early indication of a love outside the norm. Experiments with forks and pencils on strings – totally unaware of the likes John Cage – highlighted an interest in sound from unusual places.

Anything with a synth notably grabbed their attention, going to the public library to take out BBC Sound Effects and Morton Subotnick albums, sat alongside contacting European mail order catalogues, to grow their knowledge and record collections.

As early productions formed, working under the sound production name of Incarnate, their love of art was just as influential as music. The likes of M.C. Escher, Salvador Dali, Bridget Riley and the Op Art movement, was all part of brothers in their progression to form the Post Contemporary label in 1992.

Following the DIY ethos of the music they had long been buying, their “indie ethic” influences all coalesced in the label, not conforming to one sound or tempo, placed them within the electronic music coming from Canada, but also, out on their own.

Twisted Up expands the Alkahest sound, the title cut a stomping anthem, it’s unrelenting drums and lifting strings a call to arms. The compelling Shake arrives, acid techno rewiring synapsis, dub static between the beats.

On the flip, Twisted Another is just that, a reversion excursion, pushing the psychedelic synthesis to the forefront, stabs call and respond. Closing the EP with the perfectly titled, Kiss My Acid, a journey of industrial bang, reflexed, Alkahest showing their sound is pulsating, widescreen overtures.

If you dig deep enough into the internet's lower depths, you'll find a shaky video shot on a camcorder. In 43 seconds, we see a makeshift drum kit built out of backyard Ostbahnhof trash, hear distorted vocals, and feel the anarchic energy of band and ravers dissolving into each other. It's now been twenty years since Bonaparte played their very first show at the legendary Bar25 on Berlin's Spree river. The ringmaster of this unhinged musical theater was Tobias Jundt then, and it's Jundt again now bringing the Bonaparte extravaganza back to the stage. New and nostalgic sit close together when the party's been going this long. Or, as they put it: "PARADISE IF YOU CAN STAND IT."

From late October through mid-November, Bonaparte will tour Germany, Austria, and Jundt's native Switzerland at full intensity, the full lineup - band to burlesque. Since their 2006 debut through their supposed farewell in 2019, Bonaparte played over 800 shows in 28 countries. Bottom line: "Too Much" isn't enough to properly celebrate a body of work like this. And the new songs from "PARADISE IF YOU CAN STAND IT" are far too significant not to bring to the stage. The lo-fi trash-punk of Bonaparte's earliest records has been built out with added layers, in production (largely alongside British avant-garde electronic artist HELiX) and in the songwriting itself.

The world certainly hasn't gotten any simpler since 2006. Tracks like "EVERYBODY PRESiDENT," loosely riffing on Zoe Leonard's poem "I Want A Dyke For President," and the corrosive "BRAiN ROT" mirror the social chaos we find ourselves in 2026. "OBEY (THERE iS STiLL A RiOT GOiNG ON)" is just as furious, though here the principle of hope still holds, as a multigenerational choir concludes "everything will be okay." Jundt speaks across generations again on "i LOVE YOU (MORE LATER)," dedicated in equal measure to his parents and his daughters: "Let the echo chamber bleed - from here into eternity."

The reconciliation and hope Bonaparte allows for and tends to, amid violence and all that noise, make "PARADISE IF YOU CAN STAND IT" a singular document of an artist grown wiser. Separation and grief don't cancel out love and vitality - they depend on each other. Ultimately, the album is a record of searching for and finding a home. To arrive, you have to let go.

And what better place to let go than in step with Bonaparte's wild, hedonistic party circus, finally back to gently terrorize our cities?

We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.

Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.

We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.

Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years.


While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day.
Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years.


While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day.
Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.

It was in the year 2008 when Too Much came out: a 15-track debut that turned Berlin's underground upside down and made excess into a musical principle.
The album sounds like a party that has already gone off the rails - and is getting better because of it. Tobias Jundt's deadpan, heavily accented delivery collides with jagged guitars, rattling bass, vintage synths and restless dance grooves. Rock'n'roll, electroclash and dance-punk blur into something that never quite sits comfortably in any genre.
The songs are deliberately ridiculous, catchy and hedonistic. Too Much is full of party anthems, absurd one-liners and hooks that get stuck in your head whether you want them to or not. The title track itself became one of Bonaparte's signature songs - one of the early Myspace-era tracks that helped turn the band into a genuine underground sensation.
But Too Much was never just a record. Bonaparte's world extended into circus costumes, provocative performances, striptease, queer aesthetics and wildly excessive live shows. What began with illegal gigs under Alexanderplatz quickly moved to the Montreux Jazz Festival, international tours and legendary parties - with the band becoming one of the most distinctive acts to emerge from Berlin in the late 2000s.
Now Too Much returns on vinyl. A document of a particular Berlin moment - chaotic, funny, sweaty and impossible to ignore.
15 songs. Zero restraint. Still too much.

JUDDER announces the second installment of its vinyl series, bringing together a diverse selection of artists united by their passion for experimental bass music. This time, the record is fully focused on a raw, soundsystem-driven aesthetic. On Side A, French producer Amor Satyr—known for effortlessly navigating between dembow, breakbeat, and techno—ventures into dubstep territory for the first time. On 'Over', he translates his signature style onto the genre’s foundations while retaining the distinctive energy that defines his sound. The record continues with a collaborative effort from Thematic and Nattah. ‘Aurora Pulse' is a cold, restrained piece of leftfield bass at 130 BPM, where a sharp, syncopated subline forms the backbone of the groove, pulsing like the heartbeat of a northern metropolis. Opening Side B, Dawn RAzor and Mani Festo deliver 'Awared', a track where techno and breakbeat converge through layered sound design and spring-loaded drum fills. As it unfolds, the composition gradually draws the listener into a hypnotic journey, dissolving familiar genre boundaries along the way. The release closes with ‘Lockjaw'—a true soundsystem slow-burner from Kahter and Mercy System. Broken tribal rhythms and a constantly evolving arrangement keep the listener suspended in a state of mounting tension, one that intensifies with every new detail introduced. Tracklist: A1 Amor Satyr — Over A2 Thematic & Nattah — Aurora Pulse B1 Dawn RAzor & Mani Festo — Awared B2 Kahter & Mercy System — Lockjaw

Kvrk makes a debut on Distant Gaze with Synthetic Memories, a four-track EP exploring shadowy electronics where organic textures and synthetic forms constantly blur into one another.

Opening with Pulsewidth, the EP begins as a slow burn – a restrained piece of synthwave shaped by drifting ambience, hypnotic sequences and a steady sense of tension.

The pace gradually lifts with Void Caller and title track Synthetic Memory, pushing deeper into prog sound. Straight, driving rhythms form the backbone, occasionally dissolving into broken-beat passages, while warped synths and psychedelic details keep everything in constant motion.

Beneath the electronic framework runs something more primal: forest-like soundscapes, mystic undertones and subtly shamanic motifs give the music an earthy, ritualistic dimension.

Closing the release, Blu:sh reworks Void Caller through his signature deep and trippy approach, stretching the original into a spacious late-night interpretation with a submerged, dreamlike pull.

Theory Therapy presents “Smoker’s Choice,” the second release and first full-length from Alien D, the project of New York producer Daniel Creahan. Following last year’s “For the Early Hours of a World in Bloom” EP, the record takes on a decidedly more spacious, inward bent, with softened rhythms and arrangements given more room to breathe, folding electronics and acoustic composition into a shifting, ethereal wash.

Featuring a range of collaborations across the record, including guest vocals from his wife Ellen, Creahan’s electronics serve as a base for a series of dubwise interpolations of his collaborators’ work, from washed-out zither and bowed banjo to scorching saxophone leads.

There’s a particular pleasure in the obfuscation here, each instrument buffed into a mass of sound. A sub-bass tone might linger beneath the surface before receding into the haze; a groove can feel steady one moment and subtly shift the next. Repetition becomes less about locking into a pattern than watching it slowly change, like the same view seen through moving water.

“Smoker’s Choice” finds its depth in these small shifts, with dub rhythms, soft-edged electronics and acoustic inflections reaching something dreamlike but tactile, where atmosphere and groove are never quite separate. The record feels like a snapshot of several forces moving in slow motion – a landscape of drifting forms and blurred boundaries, where nothing feels entirely fixed.

Released by Polydor Records on April 1, 1972, Mandrill Is is the second album by Mandrill, the Brooklyn seven-piece led by brothers Carlos, Lou, and Ric Wilson.


Recorded at Electric Lady Studios during the winter of 1971?72, it finds the band refining the adventurous blend of funk, soul, jazz, rock, and Latin rhythms established on their acclaimed debut. With its powerful horn section, deep grooves, percussion-rich arrangements, and flashes of psychedelia and jazz-rock, Mandrill Is sounds both tighter and more ambitious than its predecessor. "Ape Is High" and the horn-driven "Git It All" deliver the album's most immediate funk, while "Cohelo" and "Kofijahm" explore Latin and Afro-diasporic rhythmic traditions. "Children of the Sun" and "Lord of the Golden Baboon" stretch further into expansive, progressive territory, revealing a band as interested in atmosphere, arrangement, and instrumental interplay as in the groove itself. The album's strength lies precisely in that refusal to settle into one category. Mandrill use funk as a foundation for moving freely between soul, jazz, rock, Latin music, and psychedelic textures, creating a sound that is unmistakably their own.


Mandrill Is captures the group at an important early peak: more focused and confident than their debut, yet still willing to follow the music wherever it leads. Pressed on 180g vinyl.

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

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

“The Hollowing of Godflesh is the most complete representation of Crown Magnetar we've ever put together. We pushed every aspect of our songwriting further without losing the intensity and rawness that defines the band. We wanted to take what people expect from us and push it further by adding more atmosphere, bigger moments, and even more aggression without sacrificing anything. You’ll hear it in the insane riffing of new guitarist Rob Maramonte, who has spent time as a member of Fallujah and The Zenith Passage, as well as performed live with Thy Art Is Murder and All Shall Perish.” “The Hollowing of Godflesh is a highly sharpened version of Crown Magnetar. It delivers unrelenting brutality and is sure to please old and new fans alike.”