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Music For Parents is a low-frequency, vibroacoustically informed album developed through research into sound, rest, and nervous system regulation. Composed between 2019 and 2020, the record explores slow-moving bass structures and reduced harmonic density, inviting a form of listening that is felt as much as heard.

The work emerged from a personal process, shaped by a desire to support rest and release through sound. Music For Parents takes its title reflecting on the dynamics of parent–child relationships - formative environments that shape emotional, sensory, and relational orientation, often without clear language or shared understanding.

While effective on standard playback systems, the album can also be paired with vibroacoustic devices such as bass transducers or wearable low-frequency systems for enhanced somatic engagement.

Over six years have passed since HAGZISSA's successful debut album, They Ride Along. Some may have even declared the Austrians as dead in between; however, HAGZISSA never ceased to wander the borderlands of the here and beyond. In silence and yet in turmoil, too, a nightmare has been slain and gutted - in necromantic pride, its offspring gleams and dances to never-ending music of the night!

HAGZISSA's brand-new Revelry of a Maltreated Jade EP is a showcase of a pack in motion, marking this as the last recording with A White Pawn (Kringa, Weathered Crest et al.) and the first with V.Adalbert II (Sněť, Bahratal et al.). The four-song work is immediately recognizable as HAGZISSA: a now-trademark style of eyrie, olde-worlde black METAL that's obscure, enigmatic, and unbound. Here, intensities are both reigned in and let loose to roam even wilder, as Iron Curtain heavy metal magick weaves a spell perhaps even more potent than said full-length. The result is somehow more approachable and more foreign, but compellingly potent either way.

With heads both in the past and the future, thus passes the glory of the world and dives deep into another plane! Can't you hear their flutes and horns and whispers? So come, then, and join in boisterous battue!

Pick a Piper is a Toronto-based electronica duo featuring Caribou drummer Brad Weber and vocalist–songwriter Sophia Alexandra. Their music pairs catchy, ethereal vocals with warm synths, upbeat percussion, and a distinctive sense of sound design that feels both grounded and vulnerable.
The duo’s live show is an intoxicating blend of vibrant physicality and immersive lights and visuals, creating an experience that is both danceable and hypnotic. Pulsing with momentum, vocally driven and haunting, it radiates a charisma that unites the band and audience in cathartic release.
Their new album "Dandelion", explores how we exist in the space between opposing feelings while calling for resilience and the courage to recognize that growth is possible and inherently beautiful, even in life’s most difficult experiences. The record employs skippy beats, bass-heavy kicks, warm subs, hyperactive percussion, woozy synths and organic textures, delivered with a lovingly human-curated feel.
Pick a Piper has toured across Europe, the US, Canada, Guatemala, and Colombia, and has shared the bill with Bonobo, Gold Panda, Blue Hawaii, Do Make Say Think and Ghetto Kumbe.

Will Wood's very first LP displays a variety of genres, with a chaotic homemade anti-folk feel and an experimental edge. "Everything is a Lot" began its long production in 2014, when the singer-songwriter was still 20 years old and performing drunken alt-comedy at open mics. With no funding, Wood led a slapdash band into the studio to bring songs mainly from his teenage years to life, and the unstructured production process and youthful experimentation gave it a uniquely loose and chaotic feel. The debut LP's sound is defined by Wood's Jay Hawkins-esque vocal delivery, an out-of-tune old upright piano, wailing wind instruments, jangly guitar, high-powered yet loose drums, and sardonic overdriven kazoo solos. Delivering everything from swing jazz and twee indie pop to pseudo-mariachi and waltz, these sounds and their accompanying bizarre lyrics come together to match the existential title, "Everything is a Lot." Will Wood's early career can be primarily defined by his experimental vocal delivery, honky-tonk piano smashing, and darkly edgy songwriting. While his stylings have matured and taken on a more precise approach, his refusal to conform to expectations and constant shifts in the genre have continued to be hallmarks of his songwriting and production. In his "Will Wood and the Tapeworms" releases (Everything Is A Lot in 2015, SELF-iSH in 2016), audiences can see the first glimpses into what would eventually become his signature style, presented in a uniquely raw and chaotic state of potential.

Frequencies Rhythm Life proudly presents the new release from Berlin-based DJ Merci. The Orbit EP is a powerful journey through deep grooves and Brazilianinspired rhythms, featuring three original tracks crafted for the dancefloor.
Completing the release is an outstanding remix by Chicago house legend Glenn Underground, who injects his unmistakable acid-driven touch into ‘Test’, pushing the track into a bold new dimension.

"Recoiled" is a rambunctious alchemy, of magikal Coil sensibilities and hi-tech home circa 90s mixing technique, all fused in the cave-like early studios of Danny Hyde / Peter Christopherson. These were the unrestrained PRE- BIG studio- mix downs, of four songs which long time Coil admirer / collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde / Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. "Recoiled" includes a fuller, more opulent version of the track 'Closer', which eventually made it onto the opening credits to the movie "SE7EN". These 5 lengthy compositions are pre-Ableton / laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumoured to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Black vinyl LP+, printed inner!

Hidden Spheres is a Rhythm Section mainstay for a reason: having released 3 EPs on the label, he has
developed his sound and fully emerged into a flow state. His residency at Public Records has enabled him to mould an EP perfect for any dancefloor, perfecting a Detroit indebted House style with influences from early Kerri Chandler and Ron Trent perfect for those heads down, hands-up moments.

Delivering 5 tracks that master dancefloor tension, it's difficult to pick a stand out. “Come On, Yeh” harks
back to the New Jersey House sound with dubby organ chord stabs and punchy 909 drums and a sublime bongo loop. “Don’t You Wanna” welcomes the house dancers, with a low-slung, heavily swung groove, resampled pads, and a deep spoken refrain that gives the track its title. Kicking off the B-side “Get Down” hits the subs, with unmistakably phat bass, moody strings and broad use of the iconic M1 organ bass patch “Organ2”. Followed by “I Feel Good” brings police sirens, 808s and swirling pads, to a glorious Deep House tune with a top chime motif that keeps the party moving. The final track of the B side, “You Don’t Know”, takes things down a notch, but maintaining the sublime tension with classic house piano chords and another wicked percussive loop.

Hidden Spheres has returned to his unadulterated House roots, with an EP that stays true to the classic sound. He has shaped an awesome body of work with character from deep spoken word samples, perfect use of dub sirens and grooves that can give any club a reason to invest in bigger

A Profound Non-Event, the debut album by Sydney-based three piece Daily Toll, comprises 11 songs traversing three years of forged friendships, collaborative experimentation and a shared love of growing through words and song.

Those attuned to the ever-vibrant Australian underground may already be well familiar with Daily Toll, their consistent live presence since their inception in 2021 embroidered by a handful of (mostly) home-recorded, (mostly) digital self-releases that have steadily accumulated an appreciative following. Initially the project of self taught musician, poet & artist Kata Szász-Komlós(they/them) and Jasper Craig-Adams(he/him), and expended to a three piece with the more recent addition of friend Tom Stephens(he/him), Daily Toll represents the union of three unique creative dispositions, of relationships blooming through the push and pull of creative practice. Mapping the band’s existence through their recorded output is to bear witness to the flux of three people learning to respond to one another and gently ossify into a collective vision that at once calls to mind folk song intimacy, post-punk dynamics and the artful poeticism of an adjacent Flying Nun legacy.

If those earlier recordings reflect a band imagining themselves into being in real time, A Profound Non-Event observes a clear shift in both conviction and approach. Recorded in just three days with Alex Bennett at the purely analogue Sound Recordings studio in Castlemaine and holing up at night in the century old cottage situated beside the studio, sheltering from the late-June wind and rain within walls littered with instruments and microphones, lighting fires to stay warm. Kata describes the experience as defined by “candle light and creative camaraderie”, an idyllic account of a collection of songs that glide with an undeniably warm, easy charm, evidenced in particular in the record’s second half as the tone turns increasingly introspective, the very sound of a cold evening’s drift into night. When contrasted with the moody swirl and sing-song bounce of the opening trio of tracks, there’s clear evidence of a band not simply in the process of becoming, but committed to finding their truth in that process.
Still, if Daily Toll display a reluctance to be wholly defined, then album centerpiece ‘Killincs‘ (positioned in the middle for a reason) might just be their Rosetta Stone. A verbose rumination on unsettled feelings of isolation and longing, exploring the challenges in making peace with one's decisions amidst the uncertainty of an often harsh world and the realisation that some things remain best unresolved - “I have the keys still, but I’ve buried the path”.

Released in 2000, Alan Braxe and Fred Falke's “Intro” is five minutes of faultlessly melancholy, perfectly elegant, dance music that nudged French House into the future.
“Intro” is now being re-released for its 25th birthday, using the remastered version of the song from the 2023 re-issue of Alan Braxe, Fred Falke & Friends - The Upper Cuts album, with Braxe and Falke also making new remixes of their golden child. Given that “Intro” was pretty much perfect the first time around, the results are astoundingly strong.
Falke’s remix takes “Intro” into new dimensions, cosmic and suspiciously dubby, a newly-recorded bass line sending the mix on its psychedelic way. Braxe’s remix is raw and dirty, a “hotel room edit” as he calls it, that nods to the history of French House as it sparkles up the spine.
Both tunes are evidence that - actually - you can remix the un-remixable, so long as it is done with infinite love and incredible skill.

“There’s something about sitting there—just me, the keys, and the silence. No beats, no drops. Only raw emotion.”

Containing 15 intimate piano songs, this album shows a different side to the world-famous DJ and producer:

more personal, more emotional. First recorded on his Steinway, then arranged into proper scores alongside piano teacher

Geronimo, this body of work is saturated with the vulnerability of stepping beyond his comfort zone.

Piano is available on a 2LP set, complete with 16-page booklet including pictures and liner notes by Armin.

Undun is the story of a man, Redford Stevens, dying in reverse, rewinding from the moment he became a statistic and hitting the points in his life where he's at his most self-aware. That he's a criminal who got caught up in the familiar street-hustle trappings that the modern media's documented countless times is a pivotal detail-- it's hit at an angle that seems to emphasize the futile inevitability of it all. His life could be any number of misdirected narratives that ends with a toe tag, and what details listeners learn about him are hazy, buried under archetypal turns of fate and decisive struggles. That this protagonist is a fictionalized composite of a handful of real people, filtered through a matter-of-fact narrative that splits character ambivalence with journalistic impartiality, only makes his lack of direction and the failure of any real closure stand out even more. "Lotta niggas go to prison," Dice Raw states on "Tip the Scale", "how many come out Malcolm X?"

So the Roots' latest album isn't a sprawling, rise-and-fall crime story, not a condemnation or a veneration of a man living outside the law, not a bullet-riddled grand guignol heavy on explicit details of soldiers getting cut down. It's a character study of a man whose existential crisis ends only with his death-- a death gone largely unspecified, the glamor and tragedy washed over with a doomed resignation. That's a hard thing to pull off, even for a band as given to deep-thinking concepts as the Roots are. And when your main lyrical catalyst is Black Thought-- a man more given to allusions than direct statements-- it's likely that it'll take a while for the full scope of Undun to really sink in.

If and when it does, it might strike listeners as a bit skeletal: omit the mood-setting instrumental bookends, including a brief, four-part orchestral suite that builds off Sufjan Stevens' "Redford (For Yia-Yia and Pappou)", and you've got maybe a half hour's worth of material. By ?uestlove's accounts, writing Redford's story introduced the headaches and challenges that come with scriptwriting into their songwriting, and what's left on Undun is the end result of frequent revisions and rewrites that attempt to reconcile character, theme, and continuity. If it comes at the expense of nuance, it's not always obvious: There's an easy-to-trace narrative line from Redford's acceptance of his fate ("Sleep") to his acknowledgement of how close it's approaching ("Make My"), back through declarations of aggravated toughness ("One Time"), and celebratory fatalism ("Kool On"), along ups and downs that juxtapose motivation ("Stomp") and helplessness ("Lighthouse"). When the vocal portion of the album ends with two of the bleakest sets of verses in the Roots discography, peaking with the estrangement of "I Remember" and the desperation of "Tip the Scale", Undun reveals itself as a story where a man's actual death isn't quite as tragic as the circumstances that pushed him to it.

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

Artist, painter, curator Leo Vincent, is fired up off the back of supporting Soulwax, on their recent Paris and Netherlands shows. Proudly presenting two debut songs “Hello it’s me again” and “Loving isn’t easy”, co-produced with the brothers, David & Stephen Dewaele, of Soulwax/2manydjs.

Seven years ago, Leo Vincent bluffed his way into a video editing job at DEEWEE. Despite being told to not touch or ruin their gear, he later resurfaced with demos that sounded like he had anyway.

"Don’t know much about history”
"Don’t know much about biographies"

But we do know that by the time Leo Vincent arrives in your town, he will probably have destroyed two more Tascam 8-tracks.

Brussels-based, failed goalkeeper-turned-painter-turned-cameraman-turned-musician Leo, doesn’t seem to be afraid to leave his faders in the red zone for an unorthodox period of time while repairing the pitch knob. Some say it’s disco for night janitors. Some say it’s glam-rock for ravers. Others haven’t found the time to listen yet because they have real jobs.

But to fully grasp Leo Vincent's essence, imagine yourself sitting in the home cinema of the late Marc Bolan while watching a documentary on Scatman John, directed by Jacques Tati and scored by Ween, using only the instruments of Cabaret Voltaire.

Stine Janvin & Morten Joh unveil "Or Gare," a stark and deeply atmospheric excavation of funeral-processional music from Ryfylke, Norway. The release marks the debut collaboration of both artists, recasting a near-forgotten tradition into ghost-lit contemporary form. Rooted in the bygone custom of "Liksong" (literally "corpse song") that was once sung by small groups of singers who guided rural funeral processions, Janvin and Joh tap into its uncanny, unbearably slow intervallic structures, reanimating the practice as a kind of ancient electronic microtonal devotional music.

Emerging from the sun-drenched haze of their previous releases, the Belgo-Italian duo descend into the shadows with Trabajando El Flex, their third record to date. This is their gloomiest strike yet, a mutant wave manifesto built on a raw DIY ethos. Imagine pulsing basslines and ghostly vocals soundtracking your deepest, most illicit desires. Channeling the spirit of a major influence which is Coil, this album could have been called "Music to Play in the Dark(rooms)." It's a lethal fusion where New Beat, EBM, Dub, Italo, and New Wave lock into a singular, hypnotic atmosphere. Their world is a wild ride from Bear-Santa Claus Fantasms to Burning Churches and Amphetamine rooms, reflected in both their playful - not-to-be-taken-seriously - lyrics and a genre-shattering sound. Their debut was a a lost reel; their second, a dream, Trabajando El Flex is the raw, slow-burning, and beautifully unclean night that consumes both. It's a flawless fit for the after-hours ruin of the Pinkman universe.

Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own, gritty, passionate, and full of groove.



He didn’t just introduce soul to Brazil; he made it Brazilian.On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.

Feel the sun, samba, and soul that define summer in Rio.



Summer in Rio blends smooth bossa grooves with mellow lofi beats, capturing the laid-back energy of Brazil’s most iconic city. Born on Rio’s beaches in the late 1950s, bossa nova fused samba rhythms with jazz harmony and soft vocals, a sound both timeless and deeply expressive. This 28-track compilation brings that spirit to life: the first 14 tracks dive into bossa lofi with guitars and syncopated rhythms, while the last 14 ease into warm, expansive summer lofi.



From beachside mornings to golden hour evenings, this is summer on loop.

Let something symbolic into your life and be amazed at the concrete results that it can bring. Tumultuous and very limited.

2026 Repress

Bosconi Records, the Florence-based imprint run by Fabio Della Torre, is back with something truly special. Over the years, the label has built a reputation for pushing house, funk and electro in all their shades, always keeping a strong link between the local scene and international legends. And when it comes to legends, there are few names that shine brighter than Alexander Robotnick.

The Italian electro pioneer – aka Maurizio Dami – has already collaborated with Bosconi on The Hidden Game and Italcimenti Under Construction. Now he returns with My La(te)st EP, a vinyl-only release that pulls five standout cuts from his 2007 CD My La(te)st Album and finally makes them available on wax. All tracks have been remastered for the vinyl format, enhancing their depth and dynamics to deliver the best possible experience on wax.

The EP opens with “Jette Le Masque (Extended Version)”, driven by a pumping bassline and jagged sawtooth synths, with whispered French vocals by Robotnick himself. Stretched out and more DJ-friendly than the original, this version is tailor-made for the dancefloor.
On “We Love The Music” things get fun and funky: vocoder vocals, an electro-funk bounce and that unmistakable Robotnick irony. A killer cut to start a set on the right foot.

Flip the record and you dive into the acidic depths of “I’m Getting Lost In My Brain”. Old-school Chicago vibes, a hypnotic groove and basslines that just don’t quit – a peak-time weapon that feels raw and timeless.
Then comes “A Coffee Shop in Rotterdam”, one of those secret gems: melodic, laid-back and warm, built on a slapping bass and dreamy arpeggios. It has that Riviera house touch from the ’90s, but with Robotnick’s unmistakable twist.

Closing the EP is “Addio” – a track that wears its heart on its sleeve. Romantic, emotional, and driven by a bassline that nods back to Robotnick’s all-time classic Problèmes d’Amour. A perfect goodbye track, the kind that leaves a smile on your face as the lights come on.

This is a must-have for vinyl lovers and Robotnick fans alike – five cuts carefully remastered for the vinyl format, pressed exclusively on wax and ready to work the floor from start to finish. Don’t sleep on it: limited copies, vinyl only.

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.

While the older numbers are much sought after on Discogs, Light Touches pushes further and invites Irish underground heroes Frawl and Blackout (respectively founder and one of the resident djs of the connaisseur Backwards parties in Limerick) for the new release on the highly revered Light Touches Records.
On A side, “Fortune Teller” is a masterpiece of a lost disco tune with infectious funky bassline, while “Foxee” goes deeper into a brass driven relentless grooves with psychedelic melodies. On the flipside, “Me, Me, Me” is a 10 minutes journey, with a strong moody and deeper vibe.

All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

12” limited to 300 copies (no digital).

Developer returns to his personal vinyl imprint Developer Archive with the label’s 17th release, continuing a focused exploration of raw, hypnotic techno built for physical spaces. Known globally as the driving force behind Modularz, Developer uses the Archive series as a more direct and uncompromising outlet—stripped back, functional, and deeply immersive.

This latest release locks into groove-based cuts powered by tension and restraint, where repetition becomes ritual and subtle shifts create sustained drama. The rhythms are dense and forward-moving, designed to work equally well in the pressure of a warehouse or the precision of a darkened club.

With Developer Archive 17, Developer reinforces his commitment to vinyl as a medium and to techno as a tool for controlled intensity—music that doesn’t chase trends, but instead sharpens its purpose with each release.

Das siebte DESTROYER Album von 2006. Dieses Reissue enthält einen exklusiven, 20-minütigen Bonus Song namens ,Loscil's Rubies". Die LP kommt als Doppel-LP auf schwarzem Vinyl. Eine gänzlich unerwartete Sammlung smarter Popmusik, die keine Gefangenen macht. ,Destroyer's Rubies" erzählt von gewonnener und verlorener Liebe, von verpassten Gelegenheiten und einer künstlerischen Integrität, die DESTROYER Fans sehr vertraut sein dürfte. Bejars DYLANeske Herangehensweise an geistreiche Kommentare und sein Tribut an den glamourösen und bombastischen Folk der frühen T-REX oder BOWIE distanzieren DESTROYER vom eher straighten Pop seiner anderen Band, THE NEW PORNOGRAPHERS, ohne auch nur einen Moment die Melodieseligkeit eben jener Band hintenan zu stellen.

2026 Repress

A.Wild plots the course.

Goes Without Saying.

4 intricate signals for late-night movement. Remix from Eversines.

Club Blanco steps into a more finely wired zone with CBR004, a tightly detailed transmission from young Bristol producer A.Wild – a record that reveals itself slowly, layer by layer, like a signal sharpening in real time.

Still anchored with a raw, restless pull, A.Wild works with a more intricate palette here: interlocking rhythms, delicate textural shifts, and micro-melodic flickers that shimmer beneath weighty, rolling low end. These are tracks that breathe, evolve, and reward close listening just as much as late-night movement.

If previous releases moved through the static in broad strokes, CBR004 traces its own circuitry — precise, hypnotic, and quietly complex – mapping new routes through the Club Blanco continuum.

The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

Here we find ourselves, among the Canadian miscreants Egregore whereupon they return from whence the wind howls like a damned choir and the Earth knows no master, to chart a broader sonic wilderness via ‘It Echoes In The Wild’. And much as sea-rogues and freebooters sought fortune upon blackened waters, so too does Egregore venture musically into diabolic and ungoverned lands. Presenting something more expansive, elemental and untamed on ‘It Echoes In The Wild’, the early occult Black Death Metal lunacy embraces atmospheric breadth equally alongside primitive force to delve deep into not only geographic wilds, but the psychological, esoteric and spiritual hinterlands at the edges of complete madness. Dark invocations and secret tongues draw forth echoes from forest and fen, cave and cliff, tempting the temporally tethered to receive the curse, all the while driven by a primal, unknowable sardonic menace. Though the voyage be perilous, to succumb to ‘It Echoes In The Wild’ is to become ensconced in a lawless dominion of the soul in service of a higher call. Mirroring nature’s unbridled forces and the hidden echoes that dwell within, Egregore’s second album takes the band’s mystical insanity and magickal perversion to the edge of the abyss and plunges forward.

Double LP pressed on transparent red vinyl with black marbles. In Dying Light: The Beast, you step back into Kyle Crane's skin, but he's no longer the man he once was. Years of experiments have left him torn between fragile humanity and a monstrous power that he can barely control. Every light, every shadow, every choice feels dangerous. The forests and ruins of Castor Woods don't just set the stage, they breathe, they watch, and they punish the reckless. This is survival stripped to the bone, where horror is not just outside, but inside you. Olivier Deriviere's powerful and capturing score for Dying Light: The Beast doesn't just accompany Crane's journey, it is his voice. Sometimes it whispers in empty rooms, fragile and broken, sometimes it roars with distorted rhythms and pounding drums when the Beast takes over. Between silence and sound, the music pulls you deeper into Kyle's fractured soul, making every step and every heartbeat part of the story. It's not just a soundtrack, it's the echo of a man losing, and maybe finding, himself.

I Made It All Up For You is the new record by Hugo Race Fatalists, their 6th studio album, set for release March 20, 2026 thru Gusstaff Records / Helixed on LP/CD and digital.
"In his 40-year career, Hugo Race has lived a thousand lives and played the role of songwriter, producer, musician, performer, head of a record label (Helixed). His music went from folk to lounge, from "trance industrial blues" to psychedelia, from world music to electronics. Starting from post-punk Melbourne in the 1980s, he took fascinating paths that led him from Africa to Turkey, from Berlin to Romagna…"
Hugo Race returns after highly successful collaborative albums with Michelangelo Russo (100 Years), The Church frontman Steve Kilbey (Speed of the Stars) and Gianni Maraccolo (The Vigil, winner of the prestigious Premio Ciampi) with I Made It All Up For You, an epic album with his Italian band Fatalists - existential songwriting framed by the band's signature fusion of roots music, electronica, Italian soundtracks and desert rock.
"I wanted to create something melodic and beautiful in defiance of our current reality. The songs started as bare acoustic sketches written in a remote mountain cabin in Italy where I had two weeks off during a solo tour. The weather turned into a raging blizzard, the days a struggle to keep the wood fire lit and the smoke out of the house. I wrote about twelve songs, threw them all away, started again with an unplugged electric guitar in front of that
damp fire, searching for the album's theme. When the smoke cleared, I was at the crossroads of a long term relationship unraveling under a blazing antipodean sun.
Fatalists recorded the basic tracks at the floating studio on the Puccini lake an hour out of Florence - Giovanni Ferrario (Scisma, PJ Harvey) on guitars and synth, Francesco Giampaoli (Brutture Moderne) on bass and Diego Sapignoli (Sacri Cuori) on percussion.
Violinist Massimiliano Gallo met me in Sicily for a short tour to learn the new songs, adding layers of his Calabrian magic to the mix. Jennifer Charles (singer of New York band Elysian Fields) and I had been talking for a long time about making new music and this was the occasion when we made it happen. Jennifer's distinctive voice graces this
album on the songs I Collide and Broken Love, the lyrics of which were written by author and designer Alannah Hill. My longtime road brother Michelangelo Russo also dusts the tracks with his otherworldly electric harmonica on Against The World, Born To Fly and Open Field. A lot of joy and pain and reflection went into the making of this album and I hope that comes across; this is about the darkness yes, but also the light. Everything changes and every ending is a new beginning but it's how we experience transformation that really matters. I hope you love this album. I made it all up for you."
Hugo Race, Naples, 2025

»Low Tide, Hi Grypus!« is the new live-iteration of JC Leisure as JC Leisure Group. Documenting an encounter and a communication between human improvisers and atlantic grey seals. The record presents responsive improvisation as a form of cross-species collaboration.

The project began on Porthdinllaen, Wales, where Leisure recorded seal vocalisations from a local colony at low tide. Back in their Liverpool studio, Leisure developed a performance system that translates human musical gestures – pitch, timbre, rhythm, density, presence - into triggers for these seal expressions. The resulting system is dual-active, as in it simultaneously acts and is acted upon in the horizontal instance. It creates a new-music non-linear threshold that cannot be replicated.

»Low Tide, Hi Grypus!« was recorded live at 1210 Berlin and captures one instance of this concept. Local improvisers were invited to encounter the performance system. Recorded in one take, pedal-steel, woodwinds, strings, piano, organ, and electronics gradually learn to listen and respond to the marine voices. This interspecific group moves from intimate duets (that's human, seal) into full ensemble works (humans, seals) over the course of one night.

Rather than treating field recordings as static material, the extensive seal archive functions as an active collaborator: shaping form, pacing, and interaction in real-time. Now that’s marine biology meets human communication!

JC Leisure has previously released work on Sun Ark, Warm Winters Ltd, Not Not Fun and collaboratively with Dialect as Raft of Trash. He has composed a radio play commissioned and broadcast by BBC Radio.

When High Tone Live dropped on Jarring Effects, it wasn't just another live album - it was a statement. Captured in the spring of 2003, the Lyon-based collective condensed years of experimentation into an 11-track journey that redefines what live dub can be. Since their formation in 1997, High Tone have stood at the crossroads of dub, electronic music, rock, and urban culture. With Jarring Effects as their home base, they built a reputation for transforming the stage into a laboratory - a place where basslines mutate, beats deconstruct, and every frequency breathes. High Tone Live draws from four key releases - Low Tone, Opus Incertum, Bass Température and ADN - Acid Dub Nucleik - revisiting them through the raw energy of the stage. Classics like "Dehli Katmandou" and "Enter the Dragon" are stretched, twisted, and reborn in extended, improvisational forms. Two unreleased tracks, "112 Dub" and "Onew Dub," complete the set, adding a dose of fresh material to a disc that feels both retrospective and forward-looking. As with any live recording, there are rough edges: the mix shifts, some moments feel caught mid-explosion. But that's the beauty of High Tone Live. The imperfections add warmth, immediacy - a reminder that this music is made by humans pushing machines to their limits. High Tone Live stands as one of the strongest documents of Europe's post-dub explosion. It's a record that bridges continents and genres - a sonic travelogue where analog grit meets digital hypnosis. More than a live set, it's a manifesto of independence and sound exploration, stamped with the unmistakable seal of Jarring Effects.

Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Classic black vinyl, 2LP, gatefold sleeve.

Oxblood Vinyl, limitiert auf 200 Exemplare. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018

Weiß/orange/schwarzes A/B Splatter Vinyl. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Ltd Splattervinyl, 2LP, gatefold sleeve.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

TÜRBÖWITCH was born in 2016 in Budapest, founded by vocalist Zslöd and guitarist Kommandante Klit as a raw, no-frills tribute to the sonic fury and visual madness of '80s extreme metal. What began as a fun side project between longtime friends quickly evolved into something far more intense and dedicated-without ever losing that unfiltered energy and love for chaos. Under Haunted Skies is a ten-track journey through a world collapsing into darkness and clawing its way toward resilience. A full-scale, post-apocalyptic metal experience - dark, fast, atmospheric, and unforgiving.

TÜRBÖWITCH was born in 2016 in Budapest, founded by vocalist Zslöd and guitarist Kommandante Klit as a raw, no-frills tribute to the sonic fury and visual madness of '80s extreme metal. What began as a fun side project between longtime friends quickly evolved into something far more intense and dedicated-without ever losing that unfiltered energy and love for chaos. Under Haunted Skies is a ten-track journey through a world collapsing into darkness and clawing its way toward resilience. A full-scale, post-apocalyptic metal experience - dark, fast, atmospheric, and unforgiving.