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Fionn Regan’s eighth album, Berlin, Berlin, is a stark, intimate and instinctive collection of songs, written and recorded in just five days in East London. Arriving swiftly after the acclaimed O Avalanche, it embraces minimalism, atmosphere and poetic storytelling, unfolding like a half-remembered film glimpsed in the small hours.

From the spectral opening of ‘Hurricane Bruise’ to the nocturnal title track and the warm devotion of closing song ‘Love Blood’, Berlin, Berlin moves through winter light, rain-soaked streets, lost characters and fleeting romance. Raw yet richly cinematic, it feels less constructed than discovered—a record shaped by instinct, intuition and the mysterious pull of the songs themselves. A natural storyteller whose career stretches back to his Mercury Prize shortlisted debut The End of History, Regan has created a record that feels timeless and quietly radical: a lost cult classic waiting to be found.

Equal parts brit-pop, glam rock and art-punk, Palaye Royale has amassed over half a billion streams throughout their career and earned a legion of cult-like fans with their adrenaline-fueled, Rock n’ Roll circus.

First landing in Los Angeles as teenagers, Las Vegas-bred brothers Remington Leith (vocals), Sebastian Danzig (guitar), and Emerson Barrett (drums), worked their way up through the ruthless L.A.rock scene to headlining arenas around the world and touring with the likes of Yungblud, Rob Zombie, Marilyn Manson, and more.

Across a series of increasingly bold records, the band have laid out their grand rock & roll vision inspired by everyone from The Libertines to The Rolling Stones, by way of My Chemical Romance. Those first four records were driven by a desire to prove just how much the band could actually do, nailing everything from epic heartbreak to snarling vengeance

Palaye Royale return with a bold new studio album built for longtime fans and new listeners alike. Featuring 12 tracks produced by Chris Greatti (YUNGBLUD), Amsterdamage delivers a refined, festival-ready rock sound with strong retail appeal and a dynamic new chapter from one of modern rock’s most distinctive acts.

Equal parts brit-pop, glam rock and art-punk, Palaye Royale has amassed over half a billion streams throughout their career and earned a legion of cult-like fans with their adrenaline-fueled, Rock n’ Roll circus.

First landing in Los Angeles as teenagers, Las Vegas-bred brothers Remington Leith (vocals), Sebastian Danzig (guitar), and Emerson Barrett (drums), worked their way up through the ruthless L.A.rock scene to headlining arenas around the world and touring with the likes of Yungblud, Rob Zombie, Marilyn Manson, and more.

Across a series of increasingly bold records, the band have laid out their grand rock & roll vision inspired by everyone from The Libertines to The Rolling Stones, by way of My Chemical Romance. Those first four records were driven by a desire to prove just how much the band could actually do, nailing everything from epic heartbreak to snarling vengeance

Palaye Royale return with a bold new studio album built for longtime fans and new listeners alike. Featuring 12 tracks produced by Chris Greatti (YUNGBLUD), Amsterdamage delivers a refined, festival-ready rock sound with strong retail appeal and a dynamic new chapter from one of modern rock’s most distinctive acts.

Eleven years in the making, Kate Nash’s sixth studio album Cailín is a love letter to her Irish heritage. Produced by KoOoLkOjAk and recorded on the west coast of Ireland at Stiúideo Cuan, under the watchful eye of pioneering trad musician Charlie Lennon, Cailín is a raw, raucous album combining traditional Irish sounds with punk energy, nods to hip hop production and Nash’s knack for a killer hook.

“This was my first music,” says Nash, who grew up in an Irish community in North Harrow, where she attended a Catholic school. When visiting her mother’s “loving, vibrant Irish family” in Ireland every summer, she found that music infused the fabric of life in a way that felt natural and instinctive. “All my earliest musical memories were in Ireland: live music in the pub, going to Sharon Shannon gigs, seeing the best accordion player you’ve ever seen and it’s a bored-looking eight-year-old boy in a puffer jacket. There’s a real respect for musicians.”

Marrying punk protest songs with a joyful celebration of trad music, Cailín explores themes of colonialism, inequality, religion, internalised shame and forgiveness and family, drawing on the rich texture of Irish folklore and mythology. The tradition of strong Irish women is at the heart of the record, from the young girls celebrated on the “90s grunge eyeroll” of title track ‘Cailín’, to the resourceful single mother navigating the housing crisis in ‘Póg Mo Thóin’ (“There’s all these politicians arguing with each other on news programmes, then you cut to people’s real life and it’s like, can’t you just fucking help them?”), to Nash’s grandmother, memorialised in the poignant yet joyful ‘Irish Saints’.

Eleven years in the making, Kate Nash’s sixth studio album Cailín is a love letter to her Irish heritage. Produced by KoOoLkOjAk and recorded on the west coast of Ireland at Stiúideo Cuan, under the watchful eye of pioneering trad musician Charlie Lennon, Cailín is a raw, raucous album combining traditional Irish sounds with punk energy, nods to hip hop production and Nash’s knack for a killer hook.

“This was my first music,” says Nash, who grew up in an Irish community in North Harrow, where she attended a Catholic school. When visiting her mother’s “loving, vibrant Irish family” in Ireland every summer, she found that music infused the fabric of life in a way that felt natural and instinctive. “All my earliest musical memories were in Ireland: live music in the pub, going to Sharon Shannon gigs, seeing the best accordion player you’ve ever seen and it’s a bored-looking eight-year-old boy in a puffer jacket. There’s a real respect for musicians.”

Marrying punk protest songs with a joyful celebration of trad music, Cailín explores themes of colonialism, inequality, religion, internalised shame and forgiveness and family, drawing on the rich texture of Irish folklore and mythology. The tradition of strong Irish women is at the heart of the record, from the young girls celebrated on the “90s grunge eyeroll” of title track ‘Cailín’, to the resourceful single mother navigating the housing crisis in ‘Póg Mo Thóin’ (“There’s all these politicians arguing with each other on news programmes, then you cut to people’s real life and it’s like, can’t you just fucking help them?”), to Nash’s grandmother, memorialised in the poignant yet joyful ‘Irish Saints’.

French composer and producer Arandel extends the dream that has haunted electronic music since its occult inception on his new album Cosmogonies du Silence, to be released 22nd January on InFiné.


Haunted by spectral appearances of Baroque motifs, traversed by whispers and accidents, by the breaths of organs, strings and analogue machines, Cosmogonies du Silence also evokes the ghosts of the dance floor, exorcising themselves through creeping sub-bass and beats drawing from R&B, drill, chiptune, and lo-fi house.


The album gathers around its séance table the presence of guest vocalists Ben Shemie (Suuns), Meryem Aboulouafa, Douglas Dare, and Félix Maritaud.

Sonderedition auf ,Baby Pink"-Vinyl zur Sky-Original-Serie ,The Death of Bunny Munro", mit Originalmusik von Nick Cave und Warren Ellis. ,The Death of Bunny Munro" ist sowohl eine wilde Mahnung als auch ein zärtliches Porträt der Beziehung zwischen Vater und Sohn. Der Original-Soundtrack greift die rohe, unbändige Energie der Serie und des Romanvorlagens auf - ganz im Stil der für Cave und Ellis typischen emotionalen Intensität. Aufgenommen wurde bei Soundtree Music in Shoreditch, East London; Toningenieur und Co-Produzent war Luis Almau, der bereits bei zahlreichen Film- und Dokumentarfilmprojekten von Cave und Ellis mitgewirkt hat. ,The Death of Bunny Munro" ist ihr neuestes Soundtrack-Projekt; zu ihren weiteren gemeinsamen Arbeiten zählen ,The Proposition" (2005), ,The Road" (2009), ,Monster: The Jeffrey Dahmer Story" (2022) und zuletzt die Amy-Winehouse-Biografie ,Back To Black" (2024). Die Serie basiert auf dem Buch von Cave selbst und hat Matt Smith in der Hauptrolle. ,Wenn ich Bunny anschaue, sehe ich keine Abweichung - er ist ein Mensch mit Fehlern, der mit Trauer, seinem eigenen Vermächtnis und all den Dingen kämpft, die uns zu Menschen machen." - Nick Cave

"What Is Truth?" is the third full-length album from Philadelphia based slowcore band Knifeplay, and their first for indie label Double Double Whammy. It marks a full departure from the band's shoegaze roots, moving into something more spacious and lyrics-forward: slow-burning arrangements rooted in slowcore and "apocalyptic folk".

Where earlier Knifeplay records searched, this one arrives with intention. Written and recorded as a band in a room rather than built from bedroom demos, it is the group's most deliberate work to date. Songwriter Tj Strohmer turns away from purely personal confession toward something larger: a meditation on love and art as the only things that stay true while the modern world falls into decline. The result is heavy and unflinching, but never hopeless. Beneath the darkness runs a steady thread of resilience and, finally, redemption.

Across the album, the music moves from reckoning to something like grace. "Love Song," the lead single, sits with the loneliness of carrying your own trauma and hoping to be understood and accepted anyway. The closing track, "Please Let the Children Be Artists," with French horn and flute drifting over mellotron strings, lands as a plea for healing, with love and art offered as a way back to ourselves.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

180g 2027 Repress They Say: “Descriptive scores for scenes of visual impact”.

We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.

For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.

The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.

Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…

As with all of our KPM re-issues, the audio for Visual Impact comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

2027 Repress

In certain circles, this is a record that would easily be called „eternal“. Back in 1996, when it was originally released, it sounded like nothing else - and still does. The sixth record of Frankfurt’s soon to be imperial Playhouse label and Losoul’s first outing on the label, it hot-wired many things at once: house and techno, US roots and European fruits, grittiness and wittiness, high tech funk, the expansion pf playtimes and the concept of minimalism in dance music. Elegance met effectiveness.
A composition that hooked you and also caused a stir elsewhere. Daniel Bell licensed it to his Elevate label and commissioned a very young Theo Parrish to remix it, Michel De Hey did the same with his EC Records and treatments by Gerd among others.
Here you finally get both of those carefully restored, remastered and reissued next to the originals. Amply placed on a double 12“, it also features the previously unreleased D1. Stemming from the same time and era as Open Door it rings and feels like a compact lost brother. Addictive as on the very first day and here to stay.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

The two sides of 1973's Big Business / Wind of Change are mainly the work of thegreat Keith Mansfeld but there's a killer cameo each from Alan Hawkshaw and David Snell to help deliver a thematic suite, diverse in mood, applicable to dramatic and environmental situations'. A Be With favourite and truly one for the heads.
The Big Business of side A is all the work of Keith Mansfeld. It's heavy on the suspense and features the vital Hot Property', an insistent groove so good that Madlib sampled it to lace the ace Long Awaited' by Lootpack with Dilated Peoples.
Sleeping Giant 1' is a more feshed out version of the equally-dazzling Fatal Error', evoking the orchestral magic of David Axelrod. Indeed, it conjures images of Diamond D falling over himself in the early-to-mid 90s to loop its intoxicatingly
eerie soundscape. Complete with guitar flls that recall Paris, Texas-era Ry Cooder, you need this record for this piece alone.
The horn-and-fute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. Other highlights include the breezy glide of Whistle Stop Tour' and its sister groove Clean Air.'
Over on Side B is the more expansive Wind Of Change, which includes the David Snell and the Alan Hawkshaw contributions. But these ain't no fller. Snell's shufing International Flight' sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw's Road And Rail' is about as luxurious and strung-
out as the great man gets and it might just be the highlight of this whole set.
Not to be outdone, if Mansfeld's Balance Of Power' doesn't make you feel like king of the world then you must be playing it wrong. Oh, and did we mention World In Action'!
As with all ten re-issues, the audio for Big Business / Wind of Change comes from the original analogue tapes and has been remastered for vinyl by Be With regularSimon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's
brand identity.

Reissue of two classic Losoul tracks from the artist's 90s phase. Abstract minimal funk meets archaic tribal grooves reeling out that trippy tension and off-balance energy. Get yourself some slow-burning sweaty vibes for your house, minimal or techno sets.

Coming off the back of what could only be described as ‘THAT’ CBRK001 track, we are thrilled to welcome Lindsey Herbert back to circuit|breaker with our first full length artist EP. Lindsey presents four highly effective, stripped back weapons - displaying her artistry in style. ‘You and Me’ opens the A side, perfectly encapsulating the essence of Lindsey’s signature peak time sound. An unfolding journey, leading with a wonky, yet sinister synth on top of driving percussive elements. As we begin to explore the world of the A1, the track is elevated once more, with a homemade vocal cut, paired with some expertly engineered percussion, giving us a greater sense of depth and flow through call and response techniques. Up next is ‘Tunnel Vision’ - a minimalistic tool injected with a thumping low end, dense rhythms and metallic textures, exhibiting a unique atmospheric restraint
with the dance floor in mind. As the track progresses we are introduced to a murky bleep sequence, keeping the track grounded for those deeper moments on the floor.

The B side launches into ‘Fluctuations’, once again presenting us with a classic peak time slammer. Carrying the track, a huge funky swinging hook, enticing the listener into its trance, feeling like it will never let you go. Amongst its energy, there is a sensation of playfulness that will invite the listener into its groove and functionality. We cap off the release with ‘Fragments of Light’ - a stripped back, potent cut, indulging into a more textural approach and allowing the track to breathe through subtle atmosphere, moments of low end resonance and percussive exchange. A detroit-esque dub hitgives the track a soulful offering and reminds us of the nucleus of techno.

First EP from new Australian label Royston Park Records is straight out the gate with five heavy tracks from High Priestess - Raw Loops For The Heads. Drawing inspiration from tech-house, electro and more!

After the success of Made in the Emirates – Volume 1, which documented a wide spectrum of the UAE’s independent music scene, the series returns with its second installment.

Made in the Emirates – Volume 2 shifts focus to the country’s electronic underground, bringing together 8 original tracks spanning deep house, breaks, techno, and experimental club sounds. A snapshot of a thriving scene, built by artists shaping it on their own terms.

The compilation brings together a cross-section of artists shaping the UAE’s electronic underground today:

- Tarik Omar opens the record with Sample Sunday, reflecting his deep-rooted approach to rhythm and sampling.
- Adam Rahman delivers K Lock, a tightly wound club tool driven by percussive precision.
- Sons Of Rhythm revisit their catalogue through a Rhythm Plate Italo 90 Remix, bridging classic house influences with a forward-facing Italo touch.
- Megadon Betamax - a co-founder of boutique imprint Voyeurhythm Records brings Maha Monastery, an atmospheric funk-infused cut that leans into experimental yet groovy electronics.
- Curator Shadi Megallaa contributes Word Jazz, reflecting his long-standing role in shaping Dubai’s underground through Ark to Ashes and The Flip Side.
- OHFFF a project born from spontaneity, sonic curiosity and sequencer experiments. Dwelling is a club-friendly.
- Tacit presents The Lakritze Suite, a multi-layered, hard beat composition that moves between abstraction and industrial structure.
- Closing the record, Nasrawi’s Intention Dub channels deep, and dubby, grounding the compilation in a reflective, low-end driven finale.
- Curated and compiled by Shadi Megallaa (Ark to Ashes / The Flip Side, Dubai).

A coveted anthology emerging from the cult Sade rework continuum — delivered as a discreet white label artifact seldom encountered in circulation. Practically impossible to source. Within lies a finely shaped arc of expressive reinterpretations, gliding from intimate after-hours textures to enduring, club-focused house expressions. Designed for serious crate explorers, vinyl purists, forward-thinking selectors, and observers of the scene, this pressing embodies a singular blend of atmosphere, intention, and floor dynamics. Issued in strictly scarce quantities — when it disappears, it stays gone.

Featuring rare- and first-on-vinyl tracks from beloved producers such as 2000 And One, Stasis, and CiM. Remastered by DMX Krew and with an accompanying online essay by Oli Warwick.

Across eight carefully selected slices of starry-eyed machine soul, Cold Blow presents an exquisite tour through backroom techno and downtempo electro. With a focus on thematic flow and an immersive listening experience, the London-based label explores works from leading lights of the 1990s and previously unreleased cuts that celebrate the human heart that can be discovered in synthetic sound practices. The development of techno in the 1990s saw the music evolve in different directions across the world. From the expressive blueprint laid out by the Detroit pioneers, a wide range of tempos and energies emerged. Techno's evocative synthesis and intricate drum machine programming was especially potent for deeper explorations away from the dancefloor. Documents Of A Different Reality casts back to when technology was steering quantum leaps in communication and creativity and the future was shot through with naive optimism. It was also a time when the media and industry hadn't caught up with the music to box it into distinct categories. As such, there's a sense of creative freedom that informs the older tracks on the album, from 2000 And One and Sandy Huner's sparkling example of early Dutch techno to London-based LA Synthesis' detailed take on braindance and the majestic night sky vision of cult legend Stasis. There's also space for rare, late 90s machine funk from Icelandic outlier Thor alongside Connective Zone's charmingly fractured bleep dream and a more contemporary offering from Barcelona-based duo Permutation. Meanwhile Mind Control and CiM both capture the spirit of stylistic fusion with twitchier rhythms that take influence from hardcore and jungle as much as techno. With an atmospheric through-line of melancholic pads and harmonious leads, this small but perfectly formed collection naturally follows on from previous, equally thought-out compilations on Cold Blow, and adds a distinct perspective on the history and continuing legacy of pioneering early ambient techno.

Red Deviil returns to X-IMG with their first ever vinyl release titled “Tesoros Infernales” featuring five original cuts of their uniquely sinister Techno Body Music topped off by three exquisite remixes by distinguished veterans of the underground dark electronics scene. The LP consists of forty minutes of sinister, brooding, groovy & cutting edge tracks with a bonus digital track included with the attached download code. Remixers include Filmmaker, Arnaud Rebotini & Mind | Matter. This release follows their incredible first X-IMG debut album from 2023 titled “Tendencias Ocultas”.

Red Deviil is the project of Guni Ca & Blak G hailing from the deceptively picturesque town of Tuxtla Gutiérrez in Chiapas Mexico. They are based out of their Astro Bar headquarters & event space where they host regular nights of underground electronic music, cultivating the local scene in Mexico while inviting and performing alongside international acts. The pair’s thick & heavy dark electronic music output contrasts heavily with their idyllic surroundings where they play a key role in developing the local underground community.

RB013 marks Rhythm Buro's 13th release, arriving in the form of a Various Artists compilation titled 'All Things Broken'. Much like its predecessor 'There Will Be Light' - the label's ambient compilation - this project was built around a single unifying idea: bringing together a diverse set of tracks centred on deep breakbeat sounds, for lack of a better term. With that vision in mind, curator Igor Glushko reached out to a dozen like-minded artists - Ukrainian and international, long-time collaborators and fresh faces alike. A year and a half later, 'All Things Broken' is finally here.

Contributing artists (in alphabetical order): Alex Albrecht, Forest On Stasys, Haze, Hidden Element, HVL, Ina Kacz, Na Nich, Orion, Radiant Futur, SI Process, The Sailing Oysterman (aka Shjva and Ilya Semashkevich), Volodymyr Gnatenko.

The compilation comes as a 2xLP and includes an insert poster featuring 'Flame and Water', a drawing by Ukrainian artist Oleksandr Kryzhanovskyi that serves as the centrepiece of the release's artwork. Oleksandr also contributed additional works from the same series, which appear on the labels of both records.

The incredible story that began with The Most Mysterious Song on the Internet (TMMS) now enters an exciting new chapter: Skyscraper, the debut album by FEX.

Skyscraper features ten original tracks recorded in the early to mid-1980s-carefully re-transferred, remastered, and brought back to life. The album cover, designed by Darius S., brings the story full circle. Darius is the very person who preserved the now-iconic track Subways of Your Mind by recording it from NDR radio in the mid-80s. Without him, FEX may never have been discovered.

FEX's debut opens with its namesake, Skyscraper-a brooding, previously unreleased track the band once described as part of their "psychedelic phase." With haunting synth-helicopter textures and deep guitar riffs, it immediately sets the tone and raises tension.

The release flows naturally into the energetic and fully remastered studio version of Subways of Your Mind. This version of the TMMS - re-discovered on the "yellow label tape" by Reddit user Marijn-was long believed to be from a smaller home studio, but was actually recorded in November 1984 at Hawkeye Studios in Ganderkesee, near Hamburg.

Goldrush, first teased in raw form on FEX's YouTube channel, bends toward mechanical rhythm and shimmering synths, a snapshot of the band's experiments with programmed drum machine sound. Rückwardt's lyrics point to greed and criticizes materialism, and while the music leans toward pop sensibilities, it carries a raw, fractured edge.

Heart in Danger and I've Got My Eyes On You offer contrasting experiences-one rooted in classic post-punk tension, the other floating in melodic synth layers. The latter in particular feels like a fragment from a parallel radio history: a precise and one of a kind synth pop love song with a progressive touch.

From a rehearsal tape comes Dirty Slapstick, its urgency intact. Missing keyboard parts were later reconstructed by Michael Hädrich using his original DX7 synthesizer-recovering lost elements without rewriting the past. The lyrics take a wry look at forced optimism. Also included are the songs Talking Hands, Jenny and Strange Feeling, the latter being a slower blues-tinged cut, revealing yet another facet of the band's reach and Rückwardt's songwriting diversity.

The album closes where the legend began-with the original radio recording of Subways of Your Mind from Darius' cassette. This version of The Most Mysterious Song features alternate vocal effects, contributing to the track's enigmatic aura. Digitally transferred using a high-end Revox machine and carefully remastered, it now has its long-deserved official release.

The cover features a photo of the Eichenberg Bunker in Kiel-one of FEX's original rehearsal spaces and a symbolic monument to their sonic legacy.

2026 Repress

2026 Repress
The ocean- the infinity, the beauty, the colour, the sound: a truly seductive place. With the sound of ocean waves Smallville's beloved artist Moomin invites us to enter his second full length album A Minor Thought". A selection of wonderful tracks initiate some exciting house music moments at our favorite clubs, improved at Panorama Bar, Robert Johnson and of course the Golden Pudel among many others.. Engaged with a fantastic collection of analogue synths and drum machines, Moomin is always on a hunt of the most delicate samples. After his big first album The Story About You' and a number of beautiful works on his own imprint Closer", he was already back on Smallville's new little baby Fuck Reality' to deliver a 12 for the 2015 summertime. Of course Moomin was also part of the Smallville 10 years Compilation Smallville Ways' and delivered again for Smallville 46. Now he appears with another string of beauty- A Minor Thought. There will be a lovely fullcover artwork package with printed Inlays for the vinyl version by Smallville's one and only Stefan Marx.

2026 Repress

After the success of the first two chapters, label owner Sciahri returns with the third installment of Pareidolia, further expanding the series' distinct sonic narrative.

The EP opens with No More Time, a perfect balance of power and finesse, where hypnotic vocal loops elevate the tension. It then transitions into Near the Bar, a groove-driven gem with refined textures that make it simply irresistible.

On the flip side, Two Letters follows up on the iconic One Letter, bringing back its unmistakable, heavy-hitting bassline and perfectly placed vocals that make it truly unique.

Closing the EP is Hit and Run, a deeply hypnotic yet driving cut, blending mental intensity and epic energy into a captivating sonic experience.

MASK Records founder ZentaSkai joins forces with Berlin-based creative Laura Merino Allue under the name Cuddling Monsters, a project centered on analog processes and tactile sound design. Debuting in March 2024, the project explores Detroit-infused House, dub Techno, and minimal soundscapes shaped by raw texture and spatial depth. Working exclusively with analogue instruments, the duo prioritise warmth, imperfection, and presence over polish. Alongside her music work, Laura Merino Allue is also a graphic designer, bringing a strong visual identity to the project’s wider aesthetic.
‘Cuddling Monsters' is inspired by real-life experiences — the raw, imperfect, beautiful moments we move through. We believe in staying present, feeling everything deeply, and embracing the analog flow of the now. It’s about living the moment fully — and like a cuddle on the dancefloor, creating a space where sound holds you, warmth surrounds you, and even the wildest monsters feel safe enough to soften.’ -
Cuddling Monsters
The Cuddling Monsters ‘Vol. 3’ EP opens with ‘Bubble Bloom’, a melodic house track featuring warped, filtered synth tones that set a hazy foundation before a dub-leaning beat settles in. It’s layered with aquatic, bubbly textures and fragmented samples, adding warmth and movement. ‘Warm Waves’ shifts into a lighter, more atmospheric space, increasing the tempo slightly while maintaining a restrained, ethereal character. The B-side closes with ‘Secret Signal’, a long-form techno piece stretching over ten minutes, where evolving synth lines gradually merge with soft, dubby drums and analogue percussion, building steadily without excess before easing out.

DJ Support: Danny Krivit, Brian Tappert, John Morales, Craig Charles, Dr packer and more

Italian producer Corrado Alunni returns to the 7-inch format with a high-caliber double-sider. The A-side, 'Black Pearl', is a masterclass in jazz-funk-house elegance, weaving warm Fender Rhodes melodies with vibrant flute and trumpet solos over a sophisticated, sun-drenched groove. On the flip, 'Turn It On' keeps the energy high with Alunni’s signature blend of infectious Rhodes riffs, chunky basslines, and dancefloor-ready drums. A must-have addition for fans of soulful house and nu-disco lovers alike.

A shared studio session in Detroit led to this focused techno collaboration between heavyweight talents Luke Hess and Thor. Recorded over several intense days inside the DeepLabs studio, the EP reflects a meeting of two distinct approaches. Hess brings the warm, soulful pulse long associated with Detroit techno, while Thor contributes a stripped-back minimal sensibility shaped by his Icelandic roots. Analogue machines and rare samples give the music a tactile edge and form the crisp but deep drive of 'Induction' to the subtly uplift and smoky soul of 'Samruni'. This is a restrained yet powerful record.

Sublime extended psychedelic House longplayer

Forbidden Teachings is honoured to welcome back Italian artist Nigh/T\mare for the release of his first full-length album on the label. Across ten carefully crafted pieces, “Through” channels the artist’s singular sound, one that resonates through the bones and awakens what lies dormant within. Through pain and despair, through love and hope, the album becomes a passage through impermanence itself, revealing the fragile veil that both binds and defines us. Can the soul ever truly break free, or are we destined to remain shaped by these shifting forces? “Through”offers no answers, only a mirror for those willing to look.

Creating their own brand of psychedelic infused downtempo electronica, Birdsnake
explore the line between digital and organic. Their debut longplay Biofilter is an
aquatic themed exploration through their lens of electronica, filled with watery
dubscapes, shimmering reverb, rolling layers of synths and organic percussiontinkling like shells on the ocean bed. With hints of throw-back '90s, atmospheric,
trip-hop and forward focused electronica, the album both energises and soothes.

Christian Prommer – producer, drummer, DJ and multi?instrumentalist best known for his work with Trüby Trio, Fauna Flash, Drumlesson, Voom:Voom (with Peter Kruder), Prommer & Barck (with Alex Barck), and as the producer of DJ Hell’s Teufelswerk – presents his new album Rhythmic Nocturne, spanning spiritual deep house, jazz, balearic trip?hop and hypnotic rhythm explorations. A must for fans of St. Germain, Floating Points and refined grooves at all speeds.

This album distills ten years of Berlin into a twilight drift between order and abandon. Daytime studio sketches are pulled apart at night, reshaped by shifting perspectives that swing between jazz harmony, textural experimentation, and the heavy gravity of techno basslines and analog drums. Intimately close-mic’d piano, drums, percussion, cello, and strings are constantly recontextualized—dropped into new rooms, resonances, and imagined spaces—so their meaning keeps mutating. Room noise, human breath, and accidental sounds are folded into the pulse, turning spill and imperfection into rhythm. Even a piano lid thudding shut on “Dark Matter” is claimed as part of the beat, underscoring an album that embraces freedom, spontaneity, and the beautiful lack of accountability that defines this city at night.

Soul Stage lands another essential chapter with Soulstage 002, a seriously classy and deeply authentic statement from the one and only Orlando Voorn. Carried by the unmistakable spirit of Detroit, this release is the kind of record that reminds you why true house music never loses its power, timeless, soulful, effortlessly cool and full of authority.

Roman Flügel returns to Running Back with another chapter in an ongoing love affair between machine funk and dancefloor euphoria. Following a string of releases stretching from Garden
Party to the recent Dusty Jukebox EP, this latest offering continues a path that has become unmistakably his own.New Release Information

There are no dietary restrictions here. Just generous portions of basslines, rave signals, bleeps, and rhythm tracks, all layered with the kind of instinctive musicality that makes Roman’s productions feel both immediate and timeless. The spirit of early rave culture remains a guiding force, not as nostalgia but as a living source of inspiration, feeding into House music’s endless capacity for joy, surprise, and communal release.

As ever, the objective is simple: celebrate the moment. Preferably loud, preferably together, and preferably with plenty of icing on top

Never Sleep charity tape series ends up in Thornton Heath, London for the grimiest of bedroom work outs.

Early Fruity Loops philosopher Plasticman aka Plastician teams up with fellow trailblazers DJ Suicide & N Double A crew for a prompt internet radio set of prototype Grime. Rugged, raw and filled with the occasional KAOS Pad trigger / gunfinger FX; the devilish miscreants bring the lyrical vehemence.

Broadcasting from his parents place and utilising early productions Plasticman keeps the fibre optical momentum burning with early production, laser precision polyphonic instrumentals and quantified eski.

N Double A crew have so many quotables but its a "pass the mic" affair as limited equipment fort his bedroom bedlam. L Man spits certified gold on demand whilst Narstie echoes his signature cadence, Typah goes in hard with the colder than waiting in a queue outside Plastic People flow and Uzi destroys the stream with typical flair.

A landmark moment in innovation, internet radio was a key player in the growth of Grime and Dubstep. Helping build profile, connections and galvanize the online community.

There are records that do not so much belong to an era as they pass through it, leaving traces rather than statements, circulating in the margins where function outweighs discourse. World Cup, written at the end of the 1990s by Kiko, emerged in precisely that way — as a techno track whose presence was felt less through promotion than through repetition, carried from booth to booth, absorbed into the working vocabulary of DJs who recognized in it something immediate and self-evident. Its architecture is minimal yet insistent, driven by tension and release, a form of clarity that resists ornament and instead privileges duration, pressure, and movement.

When it resurfaced in 2006, it did not return as a revision but as a continuation, reaffirming its role within the ecology of the dancefloor. The same internal logic remained intact, allowing it to re-enter circulation without friction, as though it had simply been waiting to be picked up again. In both instances, the track operates less as a fixed object than as a tool — something to be used, extended, and recontextualized in real time.

Bringing together these two versions alongside Tainted Life, the release traces a subtle but telling trajectory. If World Cupdefines a certain techno functionalism, Tainted Life reveals another dimension: a proto-Italo sensibility that gestures toward what would later coalesce as electroclash, not through stylistic declaration but through texture, tone, and attitude. Long absent from digital circulation and largely confined to obscurity, it appears here not as a rediscovery, but as a piece whose relevance has simply remained latent.

Nothing has been added, nothing has been altered beyond what was necessary to restore presence. The recordings are allowed to exist in their own continuity, detached from the temporal markers that might otherwise confine them.

The artwork, conceived by H5, extends this approach into the visual field. Its restraint is not aesthetic minimalism for its own sake, but a form of structural clarity, where composition and absence articulate a space in which the record can be encountered without interference, as if resurfacing from a parallel timeline that never fully closed.

Low-key Detroit producer, Aubrey Hoermann, gained notoriety with his Odic Force label launched in 1998 (home for his own minimal techno productions until 2002).

2001's 'The Dance Flo-Funk EP' is widely considered his most iconic release - a minimal percussive journey and the perfect DJ tool. Stripped to the bone. A sound that echoes the late 90s Detroit movement.
Hugely sought after, now reissued for the first time from the original tapes and remastered with love

Bristol's Sam Binga & Addison Groove have been friends and collaborators since their 2013 'BS3' EP, released on Modeselektor's '50 Weapons' imprint. This project, the third full-length on Binga’s Pineapple Records, is born from an intense 72-hour session at the legendary Devon Analogue Studios, where the pair were able to explore their mutual love of uptempo machine funk - whether that be Detroit Jit, Chicago
Boxjams or Turbo Electro.

Three days of intense creativity across classic drum machines, vintage analogue synths and rare hardware effects resulted in a collection of raw but powerful audio building blocks - and over the past two years, the pair have been gradually shaping them into what is now a complete project - the BAGS INC album. Across 12 tracks, Binga & Addison explore that exciting space between 140 and 150 bpm - but while it's fast, it's not 'hard'; as you'd expect from the creators, it's still got that wiggle, and the all-important cheekiness for which they're known.

Mastered by Bob Macc @ SC Mastering and cut at the Sony plant in Europe,, the album has immersive and musical detail to warrant deep listening, while maintaining that essential club energy.