Vanguard Sound! returns with it's first full EP by a Vanguard Crew Member other than Chris or Amir. G. Marcell's Model Music EP is a
special tribute to the Legendary Chicago Artist named Paul Johnson who has been both a friend and mentor to G. for quite some time.
4 tracks of Modern Chicago house music with that classic vibe, G flips beats, chops samples, and flexes synths to keep dance floors moving from opening to peak-time, as well as late late night/after hours closing sets.
Special Words from artist himself.....
"It was an honor to create a project for such a musically creative pioneer in the house industry. I thank him for his seal of approval to create this release and it's great that he enjoys this release". - G.Marcell
With Record Store Day upon us once again, Quantize Recordings felt it only right to unleash a killer EP to the World boasting exclusive edits from 2 of the biggest names of the scene - Danny Krivit & John Morales.
Danny's edit of 'Is It Love' is taken from the recent Quantize Quintessential CD release (also mixed & compiled by Danny Krivit), as you'd expect it's lovingly crafted and receiving some serious rotation from the industry A listers.
On the flip the monumental DJ Spen & Gary Hudgins's remix of Melissa B 'Be Free' finally (and due to much demand) gets an exclusive vinyl airing, whilst John Morales delivers a stunning disco reworked remix of Sheila Ford's 'The Best of My Love'. Limited edition pressing on Royal Blue vinyl!
Der international gefragte DJ und Produzent George Fitzgerald veröffentlicht sein lang erwartetes Debütalbum auf Domino! "Fading Love" ist das Debütalbum des britischen DJs und Produzenten George FitzGerald. Die zehn Songs wurden in London und in Georges Wahlheimat Berlin aufgenommen und produziert. George hat mit seiner Kombination aus House, Garage, Techno und Dub seinen eigenen Sound gefunden und sich in den letzen Jahren in der internationalen DJ- und Produzenten-Szene einen Namen gemacht. Seit zwei Jahren hat er eine Residency bei BBC Radio 1 inne. 2013 begann er an den Albumtracks zu arbeiten.
Following the success of its first release by the ever elusive Jason Grove, the vinyl-only sub-label Skylax Extra Series returns with a little something beyond special. For those house-heads in the know, the man needs no introduction, but for those uninitiated, sit back and prepare for this double 12' selection to further your education in house music.Joey Kay hails from Chicago in the US and has influenced a great many producers in the last two decades with his signature take on the deep house sound. He keeps things simple in the best possible sense of the word, stripping back tracks to their bare essentials in order to maintain what the spirit of house music is all about: the groove, the soul and the feeling of being carefree, even if only experienced for a few minutes at a time. There are no superfluous or ancillary sounds in Joey's music and this is all the more evident when taking a step back and listening to his spectrum of output in this collection, which spans more than twenty years of his career.
Throughout the seventies the productions of Bunny'Striker'Lee were incredibly prolific and he created a number of different labels to handle his ever expanding output.
Bunny had always worked closely with Osbourne'King Tubby'Ruddock,who had built his first Sound System in 1957.But Tubbt felt that thingsreally got going when he took on Ewart'U Roy'Beckford as his DeeJay in 1968.When Bryon Lee upgraded Studio B at Dynamic Sounds to a sixteen track recording in 1972 Striker brokered a deal for Tubby to purchase the old four track equipment.The package included the MCI console that Tubby would go on to make world famous and as they say the rest is history...
Here we look at the Attack label and have assembled a compilation of some of the finest Dub cuts released on this label....enjoy
This release blows the trio's instrumental palette wide open for a single continuous piece.
Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo's legendary SuperDeluxe. Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums, with last year's 'now while it's still warm let us pour in all the mystery' (BT09) containing a series of instant compositions of stunning power and concision that demonstrated how familiar and attuned to one another the three have become.
Presenting the entire first set of the trio's March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), 'only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen', their fifth release, blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino's most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O'Rourke's 12-string acoustic guitar and Haino's kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver's seat, here O'Rourke takes centre stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino's greatest recordings, such as the legendary 'Live In The First Year Of The Heisei' volumes recorded with Kan Mikami.
Bunny 'Striker' Lee's standing in the Jamaican recording business has remained unassailable for over four decades.Known by many aliases including 'Gorgon'.
The legend of the Gorgon originated in Greek mythology some three thousand years ago and has become a common image in art, literature and in Jamaica...Music.
The name actually derives from the ancient Greek word gorgos which means 'dreadful' ,appropriate when one considers that the avalanche of Gorgon inspired records came as a direct result of the influence of the Rastafarian movement on the Jamaican musical mainstream and the dread locked hair of the Rasta brethren was likened to that of the Gorgon sisters.
''About her shoulders she flung the tasselled aegis, fraught with terror...and therein is the head of the dread monster, the gorgon, dread,awful....'' Homer
LIMITED EDITION : first 1000 will be numbered & limited transparent blue vinyl !
Home to E.L.O.'s world hit 'Mr. Blue Sky', Out Of The Blue is a multi-Platinum selling double album by the iconic pop rock band from Birmingham. Renowned for Jeff Lynn's elaborate productions and arrangements, Electric Light Orchestra proved they were able to expand on their success formula of Beatlesque classic rock songs. The album yielded classic E.L.O. songs such as 'Turn To Stone', 'Sweet Talkin' Woman' and 'Wild West Hero', all becoming hits in the UK. A nine-month tour followed its release in 1977 that set new visual standards for stadium rock acts, incorporating a giant space ship, fog machines and laser displays. Music On Vinyl celebrates the European rerelease of Out Of The Blue with a limited run of 1.000 on transparent blue vinyl.
It's with the arrival of Looping State Of Mind that you finally realise that, for The Field's ambient techno explorer Axel Willner, the loop never stops. While fans and critics alike point to 2007's phenomenal debut From Here We Go Sublime - included in Pitchfork's Top 100 albums of the 2000s - and 2009's equally stirring follow up Yesterday & Today as standalone points of the Swede's music; it becomes clear that they appear as mere snapshots of what, for the producer, is a continual cycle of revolutions.
out of Stock
Last delivered 6 years ago available to reorder, subject to availability
Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.
December 2012 I showed up totally exhausted in Vancouver BC after touring stupidly and relentlessly for however many straight months and got a job at a call centre raising money for the Red Cross. It was a scent free office but one time this woman cooked a piece of fish in the microwave for 10 minutes on low and hot boxed the whole office - we got sent home early no pay. There was the other woman I named the Call Centre Coltrane because her pitch and routine usually involved improvised flights of fancy that went off in both directions at once somehow landing back down with a credit card number and a donation. I used to sleep under the desk. I was there a few months and at the time I reconnected with John Brennan who I had played with briefly in Montreal at the Mutek Festival. In Montreal John was running an experimental music night at a burrito shop downtown called Garbage Night. While in Vancouver I began connecting with the music scene there and would go hang out with the Shearing Pinx lads who I think lived with Sydney the bass player at the time. I knew Nic and Jer from an AIDS Wolf Tour and was so stoked to get to know them both better. I really fell in love with that era of Vancouver's music scene.
Fast Forward to today. 2024
Actually it was the dying days of 2023 but you get it and John asks if I'll sit in with Earth Ball and I keep thinking about Earth Balance, the vegan butter everyone eats here. I brought my aching bones and my ipads on the beautiful ferry named the Queen of Oak Bay and out to Nanaimo BC, home of the nanaimo bar (a dessert treat - special to this region - that seems to be more popularly found under the weird glass sneeze guards in office building deli's out east in Ontario.... anyhoops ). No one in Nanaimo wants to talk to me about the famous treat. I asked a couple of people. Silence. Nanaimo is like London, Ontario but more fried and by the sea. The town is filled with blown out old sea dawgs with tin coffee pots and loose leaf tobacco, then there's the usual streetfolk you find in this part of the Canadian Pacific Northwest and a bunch of bohemians who I guess have left Vancouver behind - that fine city having become uninhabitable for those not making over 100k a year. And then up the way are all the retirees.
Yup Nanaimo is a strange one. They mined the shit out of this region and Nanaimo is surely haunted by those buried in mining shafts or maimed by the heavy machinery or blown up by accident in the explosives store house. And when Earth Ball fire up the amps in Izzy and Jer's basement you can hear the voices of the ghosts hum through electrical lines and out the speakers, Kellen's hued feedback, Izy's sturdy basslines, Jer's paperbag guitar tone and rumble pack zaps, Liam's (aka the Kid) sheets of sound and Brennen's multidirectional drums.
You wouldn't guess Earth Ball was auto-composing and from what my rat brain can tell - the lyrics are improvised too...Improvising lyrics and singing them is the hardest thing to do in all of music.. Izzy and Jer are pros. And their attitudes are pro too.
The live show is scorched and without naming names they've been known to make headliners nervous. Lucky ones will get to see them live as they tour this beast of a record entitled ‘It’s Yours’ (out May 17th on Upset The Rhythm) and I hope I'm one of them.
But now you, fan of fun but totally fucked up music, have the opportunity to Ball with them thanks to Upset The Rhythm. Enjoy
-Alex Moskos, Montreal QC, Feb 2024
Norwegian folk artist Juni Habel's latest album Evergreen In Your Mind is largely an ode to letting go, and at it’s inquisitive heart can be found ‘Pearl Cloud Song’. An instrumental four-and-a-half minutes, it came from a guitar tuning that Habel stumbled upon, the song tumbling out of the discovery on its own accord. Lush and vibrant and bristling with life, it’s a beautiful backdrop to stepping into nature, bringing together a simple drum machine pattern, steel-string guitar, pedal steel, considered effects, and the flicker of a voice somewhere in the far-off distance. Juni says "it gives the sensation of flying." With such ingredients it was rife for a remix.
'Pearl Cloud Song Reformations' is a very limited 12" (also available digitally) which features two remixes/reformations from Tom Sharkett and Minotaur Shock and also includes Juni Habel's original version. There will only be 200 ever made.
Tom Sharkett is a producer from Manchester, now based in Todmorden. Having cut his teeth as a founding member of synth-wave band W. H. Lung. Tom has gone on to forge his own path as an electronic artist with music on Optimo Music, DFA and Test Pressing. His work leans towards dark, wonky and psychedelic electronics and his edit of LCD Soundsystem’s ‘Home’ grabbed the attention of James Murphy which led to an official DFA release. The cosmic choogle of his 'Pearl Cloud Song Reformation' is Sharkett's first remix committed to vinyl since.
Minotaur Shock is the long-standing electronic project of Bristol-based producer David Edwards. With a discography spanning labels like 4AD, Melodic and Bytes, Edwards balances pastoral charm with IDM sensibilities, creating soundscapes that are as much about the heart as they are the head.
"Memory Remains" A Vinyl Cover Painted by 20 Children Who Believed They Could
A new album where the artwork is as personal as the music, created entirely by first-graders from Croatia.
When it came time to design the cover for Memory Remains, there was only one group of artists who felt right for the job: the first-grade class 1A of Osnovna škola Luka in Sesvete, Croatia.
Every single child in the class took part. Each student was given the chance to draw whatever came to mind: memories, dreams, imaginary worlds, the people and animals they love, and every one of those drawings made it onto the final cover. Nothing was left out, nothing was "corrected." The front and back panels of the vinyl are a patchwork of more than two dozen individual visions, side by side, unfiltered and unmistakably their own.
The idea grew directly out of the album's centrepiece track, "World Child", a song about the simple, often-overlooked truth that every child carries a talent that belongs only to them, and that no two ways of seeing the world are the same. Rather than illustrate that idea with a single artist's interpretation, it felt right to hand the canvas to an entire classroom of six- and seven-year-olds and let them prove the point themselves.
The result is a cover that doesn't try to look polished or professional, because that was never the goal. It looks like a classroom wall covered in a year's worth of drawings, each one different, each one someone's best effort, each one worth keeping. Which is exactly what "World Child" is about.
Memory Remains is out on vinyl.
Track of note: "World Child"
Artwork by: The students of 1A, Osnovna škola Luka, Sesvete, Croatia 2026
Step into the backroom of the Bordello, the lights dim and the soundtrack adopts a different tone. L.F.T. leans against the wall. Nestled under his arm, Sonic Boom: four tracks of acid-inflected electro disruption. Love, Fist, Tears is no stranger to the more gnarled side of the machines, and that unadulterated rawness is evident from the needle drop of “Locked in My Head.” From its bent and buckled intro, the track launches a beat that punches before drawing the listener in for more. Vocoder lyrics are mangled with distortion, static soaked chords blighted by corrosive chemicals and industrial decay as the knives are drawn from the outset (and this is only the beginning). Blistered and cracked beats are doused in a pestilent haze for “Las Plagas” and a message of intent is firmly stated: there will be no let up on Sonic Boom, no reprieve. “Ningen” opens the flip. Grisly, petrol smeared beats splutter below a juddering synthline that coils and twists with serpentine menace. A probing tom is lanced before being set alight in the finale. Sinister and unsettling, “Schmutzig Personality” is as physically powerful as it is psychologically gripping. Barrages of drums rain down, barbed snares and sharpened claps, as an assault of acid is further weaponised by machined vocals. L.F.T. doing what he does with an EP that will leave bodies and speakers broken.
Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.
It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.
Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.
Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.
Oráculo Records has always had a special interest in pushing electronic music towards unexplored territories, and it is precisely within this microcosm that IP307 emerges. Blending the most dub- infused and mechanical forms of electro with industrial, EBM and even post-punk, the project delivers a hypnotic, forceful and deeply cathartic sound.
Behind IP307 is Israel Padilla, founder of Banshees Records and one of the leading figures of the industrial scene in the Iberian Peninsula. With “IP307.1”, he presents six interconnected compositions, each with its own distinct identity while contributing to a coherent vision of seemingly opposing styles, reimagined into a singular language.
The result is neither a nostalgic exercise nor a stylistic collage. Instead, it reflects the experience, technical mastery and artistic vision of someone fully capable of expanding the path opened by pioneers such as Clock DVA in their later works, or Atom™, both through his solo output and as part of ASA alongside Esplendor Geométrico.
New sonic artillery for the most forward-thinking listeners already embracing this emerging strand of dark electro through our recent releases such as Occulimus by Mystic Letter K or the work of Maman Küsters, “IP307.1” offers another essential chapter in the evolution of this new form of sound. Welcome to the future. Welcome to IP307.
Bali-based producer/DJ STAY GOLDEN makes his debut on All Day I Dream with Silent Covenant, a seven-track album exploring unseen connections, out now.
Silent Covenant traces a near 40-minute path through hypnotic indie-dance textures, melodic techno tones, and deep house grooves. The title track opens with funky drive and a quick-tongued topline before ‘Fragments of a Dream’ pushes into darker territory. From there, ‘RITUAL PAUSE’ and ‘Stay With Me’ return to organic rhythms and deep vocals, balancing cohesion and contrast across the project.
“A seven-track journey through emotions and the invisible connections that shape our lives. Each track is another step in the same journey. The strongest connections are often the ones that never need to be spoken. They live in shared moments and the memories we carry with us. Silent Covenant is my way of translating those invisible bonds into music.” – STAY GOLDEN
Collaborations with Alexey Union, Broken Hill, Kinky Sound, ÜNAM, ANTICALM, and David LeSal broaden the project's sound throughout its second half. ‘Synth Lines’ adds a deeper edge, while ‘In Your Heart’ turns toward airy melodies. Closing with ‘Everything Sacred,’ Silent Covenant brings its themes of memory, connection, and shared experience full circle.
This is the reissue of original 1993 Rephlex double vinyl album, completely remastered from DATs by Beau Thomas, with the original artwork, and photography by Richard James. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.
2026 Repress
The Teflon Dons' Rudiments EP, released in 1996 on Worldship Music and now reissued on FRL Classic edition, is one of those records that perfectly embodies the most authentic spirit of 90s underground deep house. From the very first bars, Rudiments EP stands out for its raw but deeply soulful sound, built on filtered samples, “dirty” drum machines (typically SP-1200) and an aesthetic that mixes Chicago and Detroit.
fter 25 years of exploring music from different angles, Chillum Trio lands on Faith In Truth with his third EP on vinyl. Driftlines is a cinematic, multicultural trip through the deeper and dubbier corners of house music, moving freely between hazy atmospheres, broken rhythms, acid lines and warm instrumentation. Across four tracks, eclectic influences blur together and settle into a club-oriented frame.
The EP opens with Dustfire, a deep night-drive cut that slowly draws its scenery around a low-slung beat. A cinematic breakdown gives way to a restless yet understated percussive acid groove, before a Rhodes hook emerges through the dust, carrying a touch of desert heat into the night.
Keeping things mellow and midtempo, Deepskin heads somewhere warmer: a humid tropical beach after midnight, all body heat and salt in the air. What begins loose and sensual gradually turns into ass-shaking garage house, surrounded by cosmic layers, drifting pads and spacious atmospheres.
On the flipside, the tempo picks up while the story continues with Thin Air. A long, lush, phase-soaked horn intro settles into a melancholic dream state, slowly pulling you under. The slow-burning build eventually breaks into a memorable piano line and fractured drums. After a trippy bridge, gentle acid lines lock into place and hold the dancefloor until the wistful finale.
Closing the record, Serotone slips back into downtempo territory with a jazzy, trip-hop-infused groove. Soft vocal fragments, piano and rising arpeggios keep the tension suspended through the middle, before the track mutates into something reminiscent of early-2000s dubby, acid-tinged future jazz and Latin fusion.
Like patterns drawn by wind across desert sand, Driftlines traces the points where different currents meet, overlap and interfere. Rhythms, places and memories crossing paths, briefly forming shapes before drifting somewhere else.
Rome Streetz drops "Buck 50", his first offering for 2024, a 6 tracks EP entirely produced by mastermind Wavy Da Ghawd, unleash the raw essence of his lyricism. Carving once again its place in the game just like a buck 50, Rome Streetz delivers his gut-punch of gritty underworld narratives. Pressed on a single sided 12" pressed on 180g vinyl, w/ screen-printed art on the B-side, courtesy of Ral Duke.
Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.
Keroxen presents Spandauer Damm 103, a new album by Dancelwerk.
Bringing together modular systems, worn drum machines and digital synthesis, the record nods directly to the first decade of Warp Records and the early logic of bleep culture.
Dancelwerk is a Tenerife-based electronic pioneer and one of the foundational figures of the Canary Islands underground. Active for over 30 years, Spandauer Damm 103 marks both a personal milestone and a renewed point of focus, reaffirming his role in shaping the region’s electronic lineage. The album draws on 1990s electronic futurism, filtering those references through a contemporary production approach rather than nostalgia.
The music moves between places and periods: from the early rave circuits of southern Tenerife, where Dancelwerk built his reputation through DIY releases and warehouse-level experimentation, to his later relocation to Berlin, famously arriving with a shipping container of vintage synthesizers and modular equipment.
Balancing melody and impact, Spandauer Damm 103 sets custom-programmed percussion against detailed sound design. FM, spectral and wavetable synthesis shape its harmonic and textural focus, resulting in music that remains physical without sacrificing clarity.
A long-standing practitioner reconnecting with his roots while pushing the system forward.
Diffuse Reality presents Flits - Advance EP. Flits delivers nine tracks across vinyl 12inch and digital, shaping a perfect fusion of Techno with minimalist sounds, elegant textures, and a raw yet dynamic energy, always keeping the groove alive. Deep atmospheres, subtle tension, and hypnotic movement come together in a timeless vinyl made to live inside your bag. TOBAS 006 is here. Let's enjoy the journey together.
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 wonderful Scruniversal takes a sidestep into electro here with a remix of a tune by Liza Gromova, a talented musician and rising star in the pop and indie world who hails from Moscow. Lipelis reframes her 'Papa, Poputny Veter' with 80s synth shimmers, glassy melodies and minimal electronics that maintain the emotional vocal of the original and manage to marry its optimism with a bittersweet edge. The flipside instrumental is another intimate sound but with an irresistible groove that will appeal to wave and Italo fans. Two ageless cuts that are subtly hooky.
Zwei Jahre, nachdem das Debütalbum "Was für ein Glück" (2024) die deutschsprachige Indie-Szene aufwirbelte, Konzerte quasi über Nacht ausverkauft waren und sich noch vor der Veröffentlichung eine innige Fangemeinde bildete, ist es endlich soweit: das zweite Album von ENDLESS WELLNESS, "Domino Days" (2026), ist da! Musikalisch bleiben sich Milena Klien, Adele Ischia, Patrick "Pata" Huter und Philipp Auer treu, von mitreißenden Tanznummern bis feinfühliger Gesellschaftskritik ist alles dabei - und das nicht selten klug im selben Song vereint. Aber auch einige klangliche Überraschungen hält die Band diesmal bereit. ENDLESS WELLNESS entwerfen auf "Domino Days" (2026) andere, bessere Zukünfte und geben mit ihrem Album einen musikalischen Vorgeschmack darauf, wie sich diese anfühlen könnten. Sicher ist: Diese Zukünfte sind ein Ort für uns alle und sie haben die Musik von ENDLESS WELLNESS als Soundtrack.
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.
