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The third and final full-length, double album from the Elephant 6 Recording Co. co-founders. Their first record in 27 years from the Athens, GA band. A legend is a heavy thing to carry. It has been 27 years since the last album by The Olivia Tremor Control. In that time, they have influenced countless bands, been the subject of documentaries and biographies, and now, finally, improbably, there is a third Olivia Tremor Control album. In the 1990s, The Olivia Tremor Control released two albums of experimental and psychedelic pop genius, Music from the Unrealized Script: Dusk at Cubist Castle (1996), and Black Foliage: Animation Music Vol. 1 (1999). As founding members of the Elephant 6 collective, they redefined the US underground scene, injecting bright paisley colors and sonic adventure into a scene weighed down by grim irony and a fear of pretension. Work began on the album as far back as 2005 but progress was slowed by other projects, other responsibilities, but in 2010, the band of Hart, Doss, John Fernandes, Pete Erchick, Eric Harris, and Derek Almstead began to record. By 2011 The Olivia Tremor Control had reemerged as a fully active band and added AJ Griffin to the lineup as well as touring members Scott Spillane and Robbie Cucchario. The band was now recording constantly and were fast on their way to completing the album. Then in the summer of 2012, Bill Doss suddenly, tragically passed away. With everyone still in shock and grieving, work on The Same Place came to a halt. Every attempt to resume the project stalled until 2023, when, after watching the Elephant 6 Documentary, Athens producer/musician Jason NeSmith came on board to help. In 2024, with the album nearly finished, Will Hart unexpectedly passed away. Drawing on Will's extensive collections of notes, The Same Place was finally completed by the surviving band members, the broader Elephant 6 community, and producers Derek Almstead, Jason NeSmith, and Ron Kwasman. The Same Place does everything The Olivia Tremor Control ever did well. It also does it better, and goes further, than anyone could have imagined was possible.

The Brussels-based collective re#encounter will release its debut album, Angels and Demons at Play, on September 18, 2026, via W.E.R.F. records. With gnawa grooves, cumbia, griot storytelling, Afro-Caribbean rhythms, and ecstatic jazz improvisations, the nine-piece ensemble crafts a distinctive, spiritual, and above all, danceable jazz idiom.

At the heart of the album lies trance. Hicham Bilali's gnawa, Kaito Winse's relentless energy, Paula León's cumbia roots, and the spellbinding jazz improvisations of Lúcia Pires and Joos Vandueren intertwine with Falk Schrauwen's Afro-Caribbean rhythms. Together with Robbe Latré, Ismaïl Akharraz, Ayoub Boufous, and Anaïs Moffarts, they create a musical encounter where differences are not erased but harnessed as a creative force.

On Angels and Demons at Play, Hicham Bilali's gnawa grooves enter into dialogue with the voices of Kaito Winse and Paula León. They weave stories from the griot and cumbia traditions-tales of ancestors, cosmic journeys, and djinns. Flute, saxophone, and trumpet craft soundscapes and melodies rooted in existing traditions, while drums, percussion, and bass drive the whole forward with tight, hypnotic rhythms.

With this, re#encounter aligns itself with the spiritual jazz idiom of artists like Sun Ra, Pharoah Sanders, Kahil El'Zabar's Ethnic Heritage Ensemble, and Shabaka Hutchings, but always from a distinctly Brussels-based perspective. The result is a homegrown form of Afrofuturism: music that draws on deep cultural roots while simultaneously looking ahead.

Limitierte Auflage von weltweit 666 Exemplaren. Dale Crover sieht Neil Young sehr ähnlich so sehr, dass Neil ihn selbst engagiert hat, um die, ähm, junge Version von sich selbst im legendären Harvest Moon"-Video zu spielen. Es ist schwer, sich jemanden vorzustellen, der besser geeignet wäre, den Song zu covern als Crover, dank seiner Präsenz im Video und seiner langen Karriere als Solokünstler sowie seiner 43-jährigen Zugehörigkeit als Schlagzeuger bei den Melvins, dieser Rock-Institution aus dem Pazifischen Nordwesten. Crovers Version von Harvest Moon" eröffnet seine neue EP Get Yer Ba-Ba's Out" und geht nahtlos über in eine Interpretation des Melvins-Klassikers The Bit" aus dem Album Stag", denn Crover hat den Gitarrenpart geschrieben er ist in der gleichen Tonart, und warum auch nicht? Die EP enthält außerdem Akustikversionen von drei Songs aus Crovers Soloalbum Glossolalia" (Doug Yuletide", Rings" und Jane"), einen aus dem 2021 erschienenen Rat-A-Tat-Tat!" (I Can't Help You There") und den brandneuen Titelsong. Diese intime Inszenierung von Crovers Songs steht hier im Kontrast zum elektrischen, mit Gastmusikern gespickten Glossolalia", aber man kann diese Musik kaum als ausgemustert" bezeichnen. Es fühlt sich eher wie eine Weiterentwicklung des glam-beeinflussten Power-Pop an, den Crover seit The Fickle Finger of Fate" aus dem Jahr 2017 produziert. Die Arrangements von Produzent Toshi Kasai füllen den verfügbaren Leerrum mit Slide-Gitarre, Maultrommel, verschiedenen Glocken und anderen Idiophonen. Der Geist von Crovers Musik war noch nie deutlicher ein rastloses Verlangen, Neuland zu erkunden, kombiniert mit einer tiefen Liebe zum Rock 'n' Roll, dieselbe, die die Melvins zu einer der interessantesten und einflussreichsten Bands ihrer Generation gemacht hat.

For more than two decades, Vidmantas ?epkauskas has occupied a singular position within European underground culture. As the driving force behind Opium Club and gallery 1986 in Vilnius, founder of Ant Bangos, Alfavilnius and OLE festivals, curator, label owner, promoter, DJ and artist, he has spent much of his life creating the conditions for other people's music to be heard.
It makes sense then that he has no shortage of friends and collaborators in play. Across ten tracks, V presents shades of Italo, krautrock, post-punk, minimal synth, industrial pop and neon-noir romanticism, arriving somewhere between the dancefloor and a dream-state. The cast of collaborators both contextualize and help sharpen the vision.
First and foremost, much of the album was crafted alongside Frankfurt's Philipp Lauer, whose friendship with V grew through marathon studio sessions. Curses lends his unmistakable blend of dark romance and theatrical energy to "Is This What You Want?", Australian cosmic journeyman Dreems joins for the kaleidoscopic "Blitz Disc," Domenique Dumont brings their unmistakable emotive touch to "Avventura," while Lithuanian artists Noyus and Ruta MUR, both distinctive voices from the country's queer scene, whose vocals add another dimension to the record's emotional palette. As V puts it, "These are the people I've been vibing with."
That he finally delivers a full-length LP with such elusive qualities is more than a clue to his character. The title itself, a nod to Magritte's famous paradox and his years living in Brussels, suggests that any attempt to define V through a single image is destined to fail. At once playful and philosophical, 12:55 (Ceci n'est pas une V) questions ideas of identity and artistic value while marking the closing chapter of the musical persona that followed ?epkauskas' earlier success as Vidis. Neither retrospective nor statement of intent, it feels like a connected set of reflections spanning a lifetime of influences.

Tears|Ov are Terces Wale (aka D. Wale), L.E. Allen and Lottie Lou Poulet. For real money and in no particular order, they also work odd jobs as digital caterers, shrinking heads, doing laundry and looking up stuff online.

Tears|Ov write: ‘A life on hold! The corporate apology embedded in bad quality, insincere, trashy, patronising hold music it can have no meaning in this stage of Capitalism. There isn’t time - and humility is a waste of money. Still they joke and try to keep us calm, patient and satisfied. This was the starting point for “A Life on Hold” by Tears|Ov - Which quickly drifted into further musings on a collective life that feels forever two steps forward and x-steps back. We wait on hold and reach the top of the queue only for the line to go dead.

Tears|Ov are interested in the ready-made of mainstream media, particularly, the lies, the rub, the promises and the taken for granted. We are the blood plasma of the I in the screens embrace. We seek to find ourselves in that reflection, our real selves – if they even exist – just because it’s kinda fun. You may have seen us on TV, in the bargain basement music section, or some venue in your local area. We take the opportunities the Universe provides.” – Tears|Ov, London, 20 June 2026

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.



The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.



FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

“Kjorstad is an intriguing musician. He’s fascinated by the world, its history and future, nature and sound.”
Songlines

“Routinely blurs lines between folk, jazz, free improvisation, experimental, and contemporary music. Impressive, elusive, superb. I’m never less than spellbound.”
the Quietus

“Just as likely to appeal to followers of classical, folk and improvised music as to the jazz fraternity…A deep listening experience. Enchanting.”
Jazz Journal

Norwegian multi-instrumentalist Hans P. Kjorstad debuts on Phantom Limb (following works with Sam Gendel and Ernst Reijseger) with new album Inn, a nuanced, lower case, orchestra-in-miniature full of curiosity, charm, and sensitive mastery of its form."

Like Roses aus Berkeley, Kalifornien, sind eine echte Macht. Offenherzige Texte über Liebeskummer, Verlust und Selbstreflexion treffen auf energiegeladene Hooks und rauen, melodischen Gesang, der geradezu dazu einlädt, lauthals mitzuschreien - eine Kombination, die der Band eine treue Fangemeinde sowie Nordamerika-Tourneen an der Seite von Acts wie Pierce the Veil, Neck Deep und Mayday Parade eingebracht hat. Seit 2018 ist die Band am Start, hat ein paar Singles und EPs veröffentlicht und präsentiert nun ihr erstes richtiges Album. "Gänzlich unprätentiös beschreiben Like Roses ihren Sound wie folgt: "Leute mit Instrumenten, die davon schreien, wie traurig sie sind - und zwar über den Lärm, den sie mit besagten Instrumenten machen." So weit, so emo. Aber eben mit Pop-Punk-Drive und einem Fünkchen Mathrock." - Visions 2023 "Emo is alive and well in the Bay Area band Like Roses, whose song "Wrist" captures the nostalgic sound of early-2000s melodic pop-punk through the lens of queer yearning" - "Wrist" (Like Roses), New York Times - Song of the Week Für Fans von Joyce Manor, Modern Baseball, Tiny Moving Parts

Smoove delivers another pair of exceptional reworks, breathing fresh life into two disco classics from 1978 and 1979. Staying true to the spirit of the original recordings while adding his signature production touch, both tracks feel timeless yet perfectly suited for today’s dancefloors.

On the A-side, Was That All It Was opens with crisp, punchy drums before gradually unfolding into a masterclass in arrangement. Layer by layer, Smoove rebuilds the track, allowing Jean Carne’s stunning vocal performance to shine through lush string breakdowns, soaring brass, and an irresistible groove.

The flip features Runaway Love, taking a slightly deeper, slower approach. Euphoric backing vocals, warm Fender Rhodes, sweeping strings, and impeccably tight percussion combine to create an uplifting, soulful journey. An elegant and utterly joyful rework from start to finish.

The portal opens for a seventh time.

A Portal To The Unknown – 7 Rotations of Neptune Discs brings together 12 producers across a double LP. Tifra and Match Box return following their own ep’s on the label this year, joined by familiar contributors Wigs, Aiden Francis, Jeku, Cybernet and Mahkina. COZi, Dive Crew and Thurlow Joyce make their first appearances, with Milès Borghese and Biodive completing the four sides.

Run independently by Astro from Edinburgh, Neptune Discs treats the exploratory ideas of ’90s and early-’00s club music as unfinished business. Prog, trance, tech house and dub techno remain reference points rather than templates, with more than 50 releases—and the arrival of Jupiter’s Depth and Pyramid Fields—allowing that identity to keep developing.

Wigs’ “Strangers” and Aiden Francis’ “Uno” bring warped, driving prog. COZi makes his Neptune debut with “Ride The Snake”, a lean, stripped-back tech-house roller that brings early-2000s economy into the present. Jeku follows with “Droop”, a trippy, ozone-soaked slow roller, while Thurlow Joyce closes with the warm, deeply submerged dub techno of “Sundowner”.

Beyond the vinyl, three digital exclusives expand the release: Bert Vesper’s “Babbel Truc”, Azzecca’s “Home” and Foley’s “What Could’ve Been”.

Featuring artwork by theAJM, the release is pressed across two 12-inches, distributed by One Eye Witness and arrives on 23 October 2026.

After two highly praised singles on consecutive Razor-N-Tape Family Affair compilations, Dennis Liber brings his signature tropical disco sound to the Astro Danza EP, his first solo outing on the label. Inspired by years living in and creating community in the Caribbean, the EP brings together an international crew of musical cohorts to take listeners on a journey through different shades of paradise. From the hypnotic night time energy of the title track, to the tropical joy of Être Heureux (with a standout remix from French producer Anoraak), and the dreamy celebration of feminine freedom in Femme Papillon, the Astro Danza EP is the cosmic and sensual sound of endless summer!

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

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

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

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

12" (Limited Full Cover)

Ossie lands back on Heist after his 2025 hit ‘Are U still smiling?’ with a 4 track EP featuring Miraa May.

How on earth do you follow up your debut when that record got dancefloors moving across the world and picked up radio & dj plays from dance music’s finest selectors?
Many producers would get instant writer’s block, but not Ossie. His new EP on Heist is full of joyous melodies, catchy vocals and euphoric dancefloor moments. Across 4 tracks, Ossie takes us on a trip through rolling electronics, catchy UK sounds and big room anthems.

His Heist debut in 2025 did not go by unnoticed, and Ossie kept a busy calendar since, with regular shows in London and Hï Ibiza with Skepta’s Mas Tiempo crew, his own Supercali imprint as well as his appearance alongside heavyweights Louie Vega, Kerri Chandler, Cinthie and more on Heist’s ‘House of House’ much celebrated compilation.

The Motivation EP kicks off with a bumpy UK track that somehow reminds us of Bicep early day hit ‘Vision of love’. Where the Bicep boys went for a big sample, Ossie landed a surprise studio session with Algerian born-London native Miraa May where they wrote ‘Motivation’ in a single session. The track is stripped back to its core with catchy scats and chants from Miraa May and keys that’ll stick with you far after the track is over. If you’d need any extra motivation for your daily routine, to get out of bed or to go out dancing, this is your jam.

‘Can it get any better’ is a loopy house affair with soulful vocal chants, hints of disco and a subtle piano theme that drives the track into big room territory. It’s energetic without ever getting over the top; a thin line Ossie navigates effortlessly on this record.

On the flip, we’ve got ‘Left side’; a deep groover built around a synth & disco loop and cleverly sampled vocals singing ‘I believe… oooh yes I do’. This one is definitely a lowkey banger, where Ossie turns that one simple loop into a powerful theme made to ignite dancefloors.

The EP closes with the heavy warehouse groove of ‘Don’t stop’. A cavernous low end, rough percussion and chopped synth stabs all come together on this beast of a track. Ossie cleverly plays around with vinyl backspins, vocal chops and small changeovers to keep things interesting, while the groove just keeps on going.

Ossie’s ‘Motivation’ EP has dancefloor written all over it and with all its forward energy, there’s no doubt you’ll be hearing this one a lot in clubs all over the world.

As always, play it loud and share the music.

Lars & Maarten

With Phosphène Island, Pairi Daeza explores a territory at the crossroads of fourth world, jazz fusion, experimental electronics and new age.

Acoustic and electronic instruments merge into a fluid, shifting music, where an apparent lightness finds its way into carefully crafted compositions.

The melodies seem to emerge from an imaginary folklore, born of an inner world, utopian and lush: Phosphène Island.

It brings to mind the borderless landscapes of Jon Hassell, the synthetic elegance of Wally Badarou, or the opening credits of a yet-unmade season of The White Lotus.

,DOGGOD" ist das 2025 erschienene dritte Album des kalifornischen Trios L.A. Witch und erweitert den bisherigen Garage-Rock- und Psychedelic-Sound der Band um deutliche Post-Punk- und Goth-Rock-Einflüsse. Inspiriert von Bands wie Joy Division, The Cure und Krautrock verbindet das Album treibende Basslinien, atmosphärische Gitarren und dunkle Melodien mit der charakteristisch mystischen Ausstrahlung der Band. Inhaltlich beschäftigt sich ,DOGGOD" mit Liebe, Hingabe, Unterwerfung und Spiritualität. Der Titel spielt mit den Begriffen ,Dog" und ,God" und setzt sich mit bedingungsloser Loyalität, Selbstaufgabe und gesellschaftlichen Rollenbildern auseinander. Zwischen romantischer Sehnsucht, düsterer Vorahnung und hypnotischen Rhythmen präsentieren L.A. Witch ihr bislang vielschichtigstes und ambitioniertestes Album.

There's a moment during every great dance floor experience when the music takes over and everyone becomes part of something bigger. "SHOUT!", the latest release from 2SoulFusion Presents Ascension, captures that feeling in its purest form. Featuring the powerhouse voices and ad-libs of Dames Brown and Dawn Tallman, along with an all-star ensemble of master vocalists including Josh Milan, Rahsaan Patterson, Lisa Fischer, Cindy Mizelle, Audrey Wheeler, Ramona Dunlap, and Lea Lorien, this joyful anthem is an invitation to let go, lift your spirit, and celebrate through music.

Produced, written, arranged, and mixed by 2SoulFusion—Louie Vega and Josh Milan—"SHOUT!" draws inspiration from the communal spirit of gospel while embracing the energy and freedom of house music. Driven by simple yet powerful affirmations—"Shout," "Sing," "Move," "Love," "Get Up On Your Feet," "Listen Up," and "Let This Music Take You Higher"—the song transforms into an experience where every voice becomes part of the celebration. It's a journey of anthemic hooks, soaring harmonies, infectious grooves, and unforgettable melodies designed to ignite dance floors, uplift hearts, and remind us that music has the power to unite people through rhythm, joy, and love.

The inspiration for "SHOUT!" was born from a creative exchange between Louie Vega and Charaf Tajer, founder and creative director of the internationally acclaimed fashion house Casablanca. Introduced by longtime friend Joseph Capriati, Charaf shared a bold vision—to bring together the worlds of fashion, gospel, and house music for one unforgettable Casablanca runway presentation in Paris.

Louie Vega recalls: “Charaf was introduced to me by my friend Joseph Capriati, who said Charaf was looking to meet me about an idea he had. His vision was to marry fashion, gospel, and house music within Casablanca's collection. At first, he wanted me to DJ and play gospel house music. I said, 'Instead of playing existing music, why don't I create an original song with a gospel house flavor?' I immediately got together with my 2SoulFusion partner Josh Milan, and together we came up with 'SHOUT!'”

That vision came to life during Casablanca's spectacular Paris presentation inside a breathtaking cathedral, where Louie Vega premiered the original twelve-minute and nine-second composition live. As the music echoed through the cathedral, Dames Brown joined the London House Gospel Choir in a soul-stirring performance while the models walked the aisle on Casablanca's carpet made of their signature green color and a dashing vibrating giant mirror echoing the runway visually. Renowned DJs Luciano and Chloé Caillet were among those who walked the runway, while friends of Charaf Tajer and special guests—including Jaden Thompson, Folamour, Dimitri From Paris, Kapela, and many others—were in attendance, making it an unforgettable gathering where music, spirituality, fashion, and culture merged into one extraordinary experience.

Inspired by that magical evening in Paris, Louie Vega and Josh Milan returned to the studio to expand the original composition into the powerful recording heard today. Built around rich live musicianship, Josh Milan's keyboards, organ, piano and synth bass provide the foundation alongside Axel Tosca's expressive grand piano recorded live, Sherrod Barnes' soulful guitar, and Gene Perez's unmistakable bass groove. Together they create an infectious, organic driving sound that allows the vocals to soar while delivering the unmistakable musical depth and musicianship that define 2SoulFusion.

Leading the celebration are Dames Brown and Dawn Tallman, whose commanding performances are elevated by an extraordinary choir of world-class vocalists. Dames Brown's spirited sermon and ad-libs, and Dawn Tallman’s powerful ad-lib vamping out together with the soaring harmonies of Lisa Fischer, Cindy Mizelle, Audrey Wheeler, Rahsaan Patterson, Ramona Dunlap, Lea Lorien, and Josh Milan, recreate the feeling of a joyful gospel congregation—not confined to four walls, but alive on dance floors around the world. Every chorus encourages listeners to get up, listen up, feel it, sing, move, love, and become part of the experience. Recorded between Honeycomb Studios in Pennsylvania, The Hub Ibiza and Manhattan Center Studios, New York City, and mixed at The Hub Ibiza, "SHOUT!" reflects the continuing vision of the Ascension project, where spirituality, musicianship, community, fashion, and dance music become one.

Fudge is Michael Kiwanuka’s most free and instinctive album to date. A vibrant, deeply human record shaped by spontaneity, emotion, and creative joy. It’s loose, soulful, and alive with the kind of magic that only happens when the process leads the way. The album was inspired by the encouraging words of the late Chick Corea, whose interview Michael stumbled upon during the pandemic lockdown, urging him to embrace what he loved without worrying about what others might think.



Each physical edition brings you into that world. The artwork, created by Michael’s friend and visual collaborator Stevie Gee, bursts with colour and character. It’s a psychedelic cartoon-inspired piece that perfectly mirrors the album’s warmth and wonder

Phoenix-based DJ and producer Paul West lands on eudemonia with a stellar 5-track EP, seamlessly picking up right where his impressive debut Blue Sun on Rocky Hill left off.

The record delivers a wonderful blend of breakbeats, house, electro, and Detroit techno, keeping the energy raw, warm, and deeply atmospheric throughout. The A-side builds intensity towards its third track, the spacey title track "Nebulae". Flipping over to the B-side, the journey comes to a close with the playful, melodic tones of „Stardust".

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Rock is rich krovvy that froths in the veins of Chicago's Axis: Sova, the trio of Brett Sova, Jeremy Freeze, and Josh Johannpeter. Progressive earworm hooks, phased/fuzzed guitars, and live/electronic drums for metronomic flexibly give Flowerage a visceral pull and elegant bloom. An energetic mix of art rock and post-punk with uniquely tight vocal harmonies/arrangements to focus an eye in the world's chaos.

Rock is rich krovvy that froths in the veins of Chicago"s Axis: Sova, the trio of Brett Sova, Jeremy Freeze, and Josh Johannpeter. Progressive earworm hooks, phased/fuzzed guitars, and live/electronic drums for metronomic flexibly give Flowerage a visceral pull and elegant bloom. An energetic mix of art rock and post-punk with uniquely tight vocal harmonies/arrangements to focus an eye in the world"s chaos.

Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.

Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.

LP **LIMITED COPIES** Blue White Spot ColorVinyl

Territories: WORLD EXCL UK,US,CA, AU,NZ

Sound Records is proud to present Tremors in Copper, the debut full-length album from producer, composer and sound designer Jackson Almond.


For listeners of: Clark, Joy Orbison, Overmono, Four Tet, Bonobo, Boards of Canada, Leon Vynehall and Aphex Twin.

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

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

Tropical Soldiers In Paradise:

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

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

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

Die südafrikanische House-Variante Amapiano geht bei ATFA mit "Teenage Dreams" in die dritte Runde. Nach TENO AFRIKA und DJ BLACK LOW schnappte sich das in New York beheimatete Label das 2019 gegründete Produzenten-Duo NATIVE SOUL, die mit "Teenage Dreams" ihr Debüt geben. Der Titel ist passend gewählt, schließlich sind Kgothatso Tshabalala und Zakhele Mhlanga (DJ Zakes) mit 19 bzw. 18 Jahren sozusagen selbst gerade erst den Kinderschuhen entwachsen. Obwohl die beiden in Pretoria aufgewachsenen Jungproduzenten zur Generation 'Ma2000' gehören, also nach Beginn der Demokratie geboren wurden und die Apartheid nie erlebt haben, überzeugt "Teenage Dreams" mit einer künstlerische Reife, die das jeweilige Alter der beiden Soundtüftler weit übersteigt. Die zwölf Tracks auf dem Debüt sind überwiegend moody, instrumental und mit Drums "made from basslines which stick out like a pocket turned outside of pants" versehen. Für Fans von BURIAL und MR. FINGERS!

Fudge is Michael Kiwanuka’s most free and instinctive album to date. A vibrant, deeply human record shaped by spontaneity, emotion, and creative joy. It’s loose, soulful, and alive with the kind of magic that only happens when the process leads the way. The album was inspired by the encouraging words of the late Chick Corea, whose interview Michael stumbled upon during the pandemic lockdown, urging him to embrace what he loved without worrying about what others might think.



Each physical edition brings you into that world. The artwork, created by Michael’s friend and visual collaborator Stevie Gee, bursts with colour and character. It’s a psychedelic cartoon-inspired piece that perfectly mirrors the album’s warmth and wonder

The Disco Express presents Best of 2026 - a deluxe, special edition 12" pink vinyl celebrating six of our favourite records from another landmark year on the label.

Showcasing the breadth of The Disco Express sound, the compilation journeys through funk-fuelled disco, jackin’ house, soulful grooves and peak-time dancefloor energy, bringing together some of the standout moments from our 2026 catalogue.

Featuring music from Make It Disco, Bustin’ Loose, MGR Mike, Ayce & Spirit of House, LEFTI, La Felix and more, Best of 2026 captures a label continuing to push forward while staying firmly rooted in the spirit of disco.

From the feel-good vocal energy of “What You Gonna Say” and the funk-driven swagger of “Less Struggle, More Hustle”, through to the 70's inspired “The Movers”, the soulful lift of “Stronger” and the irresistible drum rhythms of “Muchacho” and “Run It Up”, this is music made first and foremost for the dancefloor.

The music featured on Best of 2026 has already picked up support from some of the world’s most respected selectors, including Roger Sanchez, Danny Rampling, Marco Carola, Jamie Jones, Joseph Capriati, Paco Osuna, Claptone, Danny Krivit, Sam Divine and Arthur Baker, alongside many more.

Pressed on limited edition pink vinyl, Best of 2026 is a snapshot of The Disco Express in full motion.

Original disco for 21st century dance floors.

And this train ain't slowing down anytime soon…

As part of the 20 Years of BM anniversary celebrations, Bondage-Music proudly presents Bondage Games Pt. 11 — a special five-part vinyl series. Each release is named after a constellation, together forming a unique tribute to two decades of Bondage-Music.
With Bondage Games Pt. 11, the label's iconic vinyl series returns in its most ambitious edition to date. Created to celebrate 20 years of Bondage-Music, the series unfolds across five constellation-themed releases, each featuring four exclusive productions from artists closely connected to the label.
The first chapter, Ursus, brings together four exclusive tracks from Roger Gerressen, Sascha Dive, Rhadow and Lola Palmer. From Roger Gerressen's hypnotic groove-driven Patterned Shards and Sascha Dive's unmistakable deep house craftsmanship on Dub Chronicles #10 to Rhadow's atmospheric Ripples and Lola Palmer's warm and emotional Slow Down, the record perfectly reflects the timeless musical identity that has defined Bondage-Music since day one — deep, soulful, groove-focused and made for both intimate listening and late-night dancefloors.
Pressed on heavyweight 180g vinyl and housed in an individually printed sleeve, Ursus continues Bondage-Music's longstanding commitment to exceptional quality in both music and design. The artwork was created by BM's longtime Head of Artwork, Pete Bombart — a close friend and an integral part of the label since its earliest days. His unmistakable visual language has become inseparable from the Bondage-Music identity, earning a loyal following far beyond the music itself.
Whether collected as part of the complete anniversary series or enjoyed on its own, Bondage Games Pt. 11: Ursus is a celebration of the artists, the friendships and the unmistakable sound that have shaped Bondage-Music over the past twenty years.

For nearly a decade, fans have become familiar with Entheos through the unmistakable chemistry and creative vision of vocalist Chaney Crabb and her musical and life partner, multi-instrumentalist, Navene Koperweis. Whether through Crabb’s viral vocal performances and unbelievable range or Koperweis’ boundary-pushing musicianship and songwriting, the duo has established Entheos as one of the most forward-thinking acts in modern metal. On the band’s latest album, Empty on the Inside, they are joined by guitarists Scott Carstairs (Fallujah) and Michael Stancel (Allegeon) along with longtime contributor and former bandmate Evan Brewer, creating the most fully realized incarnation of the band to date.

Dusky return to Anjunadeep with their forthcoming studio album ‘Signals’. The London duo first debuted on Anjunadeep in 2011 with their critically acclaimed album Stick By This. Expanding the boundaries of deep house and UK club music, the record marked the beginning of Dusky’s rise as one of the scene’s most respected acts. Their breakout track ‘Careless’, released via Aus Music, further cemented their reputation, amassing more than 14 million streams and becoming one of the defining UK house records of its generation. In 2014, the pair launched their own imprint, 17 Steps, which has since hosted releases and remixes from artists including Nathan Micay, LTJ Bukem, Interplanetary Criminal, Denham Audio and Shed. Since then, Dusky have released two further studio albums, Joy and Pressure, alongside a string of acclaimed singles. Their music has earned support from Pete Tong, Danny Howard and Sarah Story on BBC Radio 1, as well as widespread backing from leading DJs including Jamie Jones, Peggy Gou, Gorgon City, TEED and TSHA. While 'Signals' represents a natural continuation of the Dusky story, it also ventures into more reflective territory than previous releases. The album's wider range of influences and more contemplative mood offer a fresh perspective on the duo's sound, while also paying subtle homage to their acclaimed debut album ‘Stick By This’. Featuring multiple collaborations with vocalist Rromarin, alongside a contribution from Nadeem and Pritt, 'Signals' reflects a creative process that unfolded over many years. Some tracks grew from ideas first sketched long ago, while others emerged more recently, giving the album a sense of both history and momentum. Across its 13 tracks, 'Signals' balances Dusky's club-rooted instincts with downtempo offerings. Tracks such as 'Next Life', 'Kadhalan' and 'Lab' showcase the duo's signature combination of bold basslines, driving rhythms and emotional resonance. Elsewhere, 'Elm' and 'Bindweed' slow the tempo and draw on the warmth of soul, the deeper edges of disco and richly textured live instrumentation.

This compilation took almost four years to come together. For the residency, the band Alexander Flood composed three new pieces, which they developed with the ensemble over two rehearsal days before performing them across three concerts. The core ensemble - Lucy Liebe, Franka Fairy, Tara Sarter, Raffaelo Visconti and Nonny Smith - remained together throughout the summer of 2024, growing into something far greater than just a band. This compilation not only documents the music played by the Residence Band, but also captures the wider story of the other bands that we recorded while they were on tour and who came to the studio with me the following day. Kai appears here after performing at Holidays in 2024. Sonic Interventions recalls a special milestone: the band's first concert outside Berlin, which took place at Holidays in 2023. Sasha Berliner performed at the Jazz Klub, which is illustrated throughout the comic included in this booklet. Benedikt Montiel Mathews joined the Jazz Montez project through a year-long internship and a record we released together. Hind Ennaira led the successor to the Residence Band during a weekend at El Barrio in 2024. However, her recording was not made in Frankfurt, but in Essaouira, Morocco, during a spontaneous late-night session.

Inlcuding: Pressed on high quality 150g vinyl, the record comes packaged in a beautiful cover, designed by artist Verena Mack. It features a 20 page booklet that includes a fictional comic on the making of a Jazzklub.

Includes unlimited streaming of Jazz Montez Presents Vol. III via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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

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

“Slide in the party like three monkeys wearing a trench,” GDP says in the opening seconds of Cross Off Matthew, his first solo album in over a decade. The line is indicative of the New Jersey emcee/ producer’s relationship with music, one that’s ebbed and flowed throughout his career and eclectic discography. Entirely self-produced, Cross Off Matthew feels like a reintroduction as well as an expansion of what makes the cult rapper so beloved. GDP came up in the respective punk, hardcore, and skateboarding scenes of New Jersey, roots that inspired his DIY approach to making hip-hop. He applied a decidedly punk ethos to his brand of neo- boom bap on early releases like 2009’s Realistic Expectations and 2011’s Useless Eaters, albums that celebrated his youthful indiscretions but also signaled an old soul lying beneath the surface.
He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. Cross Off Matthew is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like “Island In The Sky” and “Location Therapy” make rap confetti out of caustic guitars and glaring distortion, while “Seroquel” and “Rock For Light,” (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience