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In 2026, 62 years after the first release, she releases the LP Tomorrow's Yesterday, and it cannot be ruled out that this may be her last physical album. All the songs are recorded in duo or trio format. The musical sounds are excitingly combined with her voice and Rob Luft on guitar, John Surman on saxophone/ bass clarinet on side A. Whilst on side B we hear Karin Krog with Erlend Slettevoll on piano/electric piano and Rob Waring on vibraphone.

Opaque Pink Version

Bubble Bath for Giants is an ode, a Tribute, a reverence for Oceans, for the Mighty Magnificent Power of Fairies, to the energy that we are all everything, whole, well, but in different sized and shaped vessels at times . . . It is a Celebration of Gentleness and of incredible Force, and Charge . . . These, I sea as the same. The Yang Springs from the Yin and together they ever reflect, dance, and express themselves . . .

Many Bells, Bowls, Ceramics, Chimes, Cymbals, Drums (Bass, Sakara, Surdo, Tom, and many more,) Gongs (Chao, Cup, Indonesian, Sun, and Symphonic,) Keyboards (Metal, Synthesizer, and Wooden,) Percussion, Plant Leaf Bundles and Fronds (Bamboo, Eucalyptus, and Palm,) Ratlles, Shakers, Voice, Whistles, and Sound Design by Carlos Niño.

Featuring:
Luis ​Pérez Ixoneztli, Bernard Xolotl, ​Aaron ​Shaw, Surya ​Botofasina, Nate Mercereau, Laraaji, Darius ​Jones, Sheila Govindarajan, ​Idris Ackamoor, Deantoni ​Parks, André 3000, ​Marshall Allen, Sam ​Gendel, Sibusile ​Xaba, Mia ​Doi Todd, ​Anisia Uzeyman, Saul Williams, Jojo Abot, Jowee ​Omicil, Aztlan ​Unearthed

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Cover Photo by Carlos, from in the Maui Waters
Art Direction, Design and Original Art by Nep Sidhu
Layout Production by Jonny O'Hara

Recorded by Carlos Niño in Topanga, California, and by some of the Artists named above, from their Homes . . .

Mastered by David Allen

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"Orange Ave. is the fourth studio album by American post-grunge band Seven Mary Three. It was released in 1998. The album was named after a street running through downtown Orlando, Florida, their hometown. The album's only charting single was ""Over Your Shoulder"". ""Each Little Mystery"" was also released as a single, but did not chart. Their debut rode the Pearl Jam bandwagon to commercial success with a combination of crunchy guitars and angst-filled lyrics, and 1995's American Standard was more straiht forward Americana. On Orange Ave., they take chunks of their predecessors and come up with a post-grunge,soul-searching, acoustic-guitar-strumming personal statement. This album blends all this into a perfect mix. Orange Ave. is available for the first time ever on vinyl and will be released on orange coloured vinyl. Limited & numbered to 1000 copies and it will contain an insert"

Formed in 1987 by Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary. Join Jim Bob and Fruitbat, as they take a retrospective look back at the complete Carter U.S.M. singles, from 1988 to 1997.

First released in 1995, 'Straw Donkey' is an essential introduction to Carter The Unstoppable Sex Machine, featuring the U.K. Top 20 singles 'The Only Living Boy In New Cross', 'After The Watershed (Early Learning The Hard Way)', 'Rubbish', and 'Lean On Me I Won't Fall Over', along with classics such as 'Sheriff Fatman', 'Anytime Anyplace Anywhere' and 'Bloodsport For All'.

All self-penned material.

FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

illo.trio are representatives of the contemporary jazz scene who have already made their mark on numerous stages through other the world. Seamlessly blending elements of different styles, the musicians reinterpret familiar forms in fresh ways, filling them with unconventional meanings and stepping beyond the boundaries of expectation.

The new album is titled Wandering. It brings together 10 compositions that invite each listener to embark on a search for meaning and answers to essential questions.

This is a multifaceted journey where dramatic episodes coexist with retro-wave vibes, intimate chamber lyricism shifts into psychedelic phantasmagorias, and the trio's concise acoustic sound is interwoven with rich electronic textures and experimental effects.

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

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

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

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

“Tectonic” is a concise portrait of SIMON BERZ’s geological sound explorations across continents over the last 15 years: drums, electronics, and a set of electronically manipulated basalt stones from Iceland.

SIMON BERZ is a transdisciplinary drummer, sound artist, and music educator based in Switzerland and Berlin. Working at the intersection of improvised music, sound art, and performance, and deliberately crossing boundaries between disciplines, his aesthetics are shaped by a sustained engagement with natural materials, particularly stone, and their sonic transformation through electronic manipulation. Beyond his performance work, BERZ founded BADABUM as an art label and a music school.

For the last 30 years, BERZ has been performing in Japan, China, Russia, the USA, Cuba, Iceland, Turkey, and across Europe. He has collaborated with artists including BILL LASWELL,BABY SOMMER, DAMO SUZUKI (CAN), JAMES TURRELL, JIMI TENOR, JOHN SINGLAIR, JOJO MAYER (NERVE), KONDO TOSHINORI, KIDD JORDAN, LAUREN NEWTON, LEE “SCRATCH“ PERRY, MAURO PAWLOWSKI (dEUS), NILS PETTER MOLVÆR, NIKI GLASPIE, NORBERT MÖSLANG, PAUL LOWENS, PFADFINDEREI, ROB MAZUREK, SKÚLI SVERRISSON, and he was the live drummer for APPARAT. As BERZ understands artistic practice as energy emerging from nature and through dialogue with people, his recorded output is intentionally selective, with one highlight being “Beats versus Breath” with KONDO and LASWELL (2023). Alongside a regular drumkit and electronics, he has developed his own instruments such as the “Lithophon” in which resonating stones are turned into amplified sound through water drops, and “Tectonic”, a set of Icelandic basalt stones shaped through electronic manipulation. These self- built instruments form the material basis for his performances, installations, and sound recordings.

“Tectonic” is also the title of BERZ’s latest work: a summary of his geological sound explorations across continents. From Iceland to Indonesia and Bali, from New Orleans to China, in caves and at shores, BERZ carried his millions-of-years-old basalt stones as both instrument and collaborator. On Java, he met Baron, a builder of stone gamelan instruments. At the Pacitan Tabuhan Cave (Indonesia) he performed with MISBACH BILOK and WUKIR SURYADI (SENYAWA) who work with corals as instruments. BERZ brought these encounters and “field recordings” to the Stöðvarfjörður studio in Iceland, where he recorded with his “Tectonic” set-up, drums, and electronics. The music was later mixed in Berlin by DIRK DRESSELHAUS (SCHNEIDER TM). The resulting album moves from club-driven tracks to ambient passages, from gamelan-inspired textures to HipHop-like beat patterns. It resists easy categorization while staying direct and physical in its impact.

Next year, Earthtones Recordings (which was renamed to Seasons Recordings after ten releases) marks the significant milestone of 30 years in the game. Ahead of that, they have been digging in the vaults for some choice reissues and this hugely in demand one from Natural Rhythm gets the nod. It has been remastered and is a joyous house outing with 'Original Jive' layering up cascading jazz keys with soulful pads and moving drums. 'Earthtones 001' is the beatless sound of a humid jungle, then 'Eclectic Dub' reworks the original with a more stripped-down and focused, groove-driven sound. 'Dub Drums' closes a vital reissue.

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

Unreleased Records is the label founded by Arodes, recognized for its afro-house, melodic, and club-oriented sound within the international electronic music landscape. Through a combination of high-quality productions, a strong and carefully developed artist roster, and an expanding live platform, Unreleased Records positions itself as a forward-thinking imprint that bridges underground credibility with international audience reach, and are now, after much demand, debuting on vinyl, with this standout 4 tracker EP with 3 tried and tested club bangers, and 1 unreleased gem.


So far, “Gwele,” “Don’t Mind,” and “Nothing’s Changed” have already been supported by heavyweights of the scene, including, Ante Perry, Black Coffee, Bluckther, Camilo Franco, Carl Bee, Chus & Ceballos (Ceballos), Cincity, Deer Jade, Djuma Soundsystem, Enoo Napa, Facundo Mohrr, Hyenah, Jonathan Kaspar, Joseph Capriati, Mauricio Brigante, Moeaike, Nicolas Masseyeff, Queen Rami, Sasha Carassi, Simone Vitullo, THEMBA, and Xinobi.

This EP marks a natural convergence for Primal Instinct. Built around pure dancefloor intent, it presents a focused spectrum of moods, unified by intent. Each track is unmistakably Temudo, and unmistakably Primal Instinct: physical, driven, and designed to move bodies first and foremost.
The release is the result of close collaboration between Temudo and the label. A shared framework took shape, allowing Temudo to adapt to the vision without altering his sound, forming a joint effort where two aesthetics align.
Visually, an image rooted in memories of Carnival in Temudo's hometown becomes the perfect symbol: chaotic, social, and in constant motion, reflecting the absurdity of life and the human condition.

Another classic dancefloor scorcher from France's finest, with the original disco track that was jacked to make it. Limited numbers as usual.

HELP(2) ist die Neuauflage einer der beeindruckendsten Charity-Aktionen der jüngeren Musikgeschichte. Bereits 1995 schlossen sich die Größen der britischen Musikszene zusammen, um mit den Erlösen der gemeinsamen HELP-Compilation Kindern in Kriegsgebieten zu helfen. Auch 2026 ist die globale Lage verheerend. Inspiriert vom legendären Charity-Sampler HELP aus dem Jahr 1995 hat sich in Großbritannien erneut ein Community-Projekt formiert, getragen von einigen der wichtigsten Musikerinnen und Musiker unserer Zeit. Ziel ist es, in bewegten Zeiten einen würdigen Nachfolger aufzunehmen: HELP(2). Wie schon beim Original, an dem unter anderem Radiohead, Oasis, Portishead, The Chemical Brothers, Massive Attack und Blur beteiligt waren, bringt auch HELP(2) Menschen zusammen, um die lebenswichtige Arbeit von War Child zu unterstützen: schnelle Nothilfe, Bildungsangebote, spezialisierte psychosoziale Betreuung sowie Schutz für Kinder, die weltweit von Krieg und Konflikten betroffen sind. Das Album macht auf den dramatischen Umstand aufmerksam, dass heute jedes fünfte Kind auf der Welt in einem Kriegsgebiet lebt. Entstanden ist das neue Album während einer außergewöhnlichen Aufnahmewoche im November 2025 in enger Zusammenarbeit mit den Abbey Road Studios. Als Executive Producer fungierte der vielfach ausgezeichnete Produzent James Ford. HELP(2) vereint eine beeindruckende Liste internationaler Künstlerinnen und Künstler, darunter Anna Calvi, Arctic Monkeys, Arlo Parks, Arooj Aftab, Bat For Lashes, Beabadoobee, Beck, Beth Gibbons, Big Thief, Black Country, New Road, Damon Albarn, Depeche Mode, Foals, Fontaines D.C., Graham Coxon, Greentea Peng, Kae Tempest, King Krule, Nilüfer Yanya, Olivia Rodrigo, Pulp, Sampha, The Last Dinner Party, Wet Leg, Young Fathers - sowie viele weitere helfende Hände. Die kreative Leitung des Projekts liegt in den Händen des renommierten Filmemachers und Oscar-Preisträgers Jonathan Glazer und seines Teams von Academy Films, die sowohl die visuelle Umsetzung als auch die künstlerische Gestaltung von HELP(2) maßgeblich prägten. Sämtliche Erlöse des Albums kommen War Child UK zugute und unterstützen den Einsatz für Schutz, Bildung und die Rechte von Kindern in Konfliktgebieten weltweit. HELP(2) steht für Hoffnung - für Kinder, deren Leben durch Krieg zerstört wurde - und für die Kraft gemeinschaftlichen Handelns. Es ist ein eindrucksvolles Zeichen der Solidarität von Künstlerinnen und Künstlern für eine sicherere und gerechtere Zukunft. Denn kein Kind sollte jemals Teil eines Krieges sein.

Original 13 track album on Deluxe packaged Double LP Gatefold : printed inners, collector stickers .

Strut Records presents a fresh look at Oblivion Express, the 1971 album that marked Brian Auger’s shift into a new musical frontier. After years spent shaping the sound of British jazz-soul with the Trinity, Auger stepped into the new decade with a leaner, electrified ensemble and a renewed sense of purpose. This record captures the moment that transformation took shape.

Oblivion Express introduced a sound that was distinctly Auger’s own. Rather than echoing the fusion emerging in the United States, Auger developed a language rooted in the UK’s jazz underground, culminating in a spaced out jazz- rock / prog-fusion album awash with larger than life drum fills and Auger’s virtuosic organ playing. Between bassist Barry Dean and drummer Robbie McIntosh the album moves effortlessly between tight, articulated phrases and broader, improvisational passages. The trio’s interplay forms the backbone of the album and sets the tone for the sound that would define the early years of the Express.

Album opener “Dragon Song” launches with a restless drive that immediately signals Auger’s new direction. Auger chose to record this version of John McLaughlin’s piece (his friend and former bandmate in 'The Niddy Griddys') after hearing McLaughlin’s album Devotion during its mix at New York’s Record Plant Studios. Auger was blown away, recalling, “Oh my god, this is amazing. I wanted to record that myself - and I did!”. Pieces like “Total Eclipse” demonstrate the Oblivion Express’ command of dynamic contrast, and title track “Oblivion Express” explores the cinematic and compositional prowess of the group through stripped back, building moments vs. explosive melodic breakdowns. Riff-heavy “The Sword” later became known through Madlib’s usage in 2014 tracks “Yeti Movie” and “Parodies”.

In retrospect, Oblivion Express stands as a jazz leaning, prog-rock masterpiece and foundational moment in Auger’s catalogue. It captures the starting point of a new sound that is more focused, more urgent, and fully committed to the possibilities of jazz-rock at the dawn of the seventies. The album remains a vivid document of a band discovering its identity and setting the stage for the further array of influential releases that would follow.

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

They also embraced a more organic, live- recording approach on Welcome to the Mood. The group explains, "Off the back of touring the last album, we had played more shows than ever and wanted to bring more of the live element into the process, so we didn't use drum breaks and loops as much as previous records and tracked live." They continued expanding their sound by bringing in specialist musicians -- string sections, brass, pianos, and backing vocalists -- pushing the sonic possibilities beyond their individual skill sets. Yet at its core, the album remains deeply personal. Written in remote hideaways, the songs carry the tranquility of escape while capturing a newfound confidence in emotional vulnerability.

Thematically, Welcome to the Mood is a rich sonic auditory tapestry woven with threads of authenticity, humanity, and creative celebration. Lyrically, the album explores universal experiences -- love, loss, connection, hope, and purpose -- drawn from the everyday yet rendered in LEISURE's distinct palette of lush tones and laidback groove. Tracks are anchored in realness but elevated by a sonic landscape that feels simultaneously nostalgic and futuristic, mirroring the ethos of Frank Lloyd Wright, whose Taliesin West provided literal and symbolic inspiration during the album's visual journey.

Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener Ahull make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation.

Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings.
A varied cast of players appear in the loscil “ensemble”, some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldheadʼs Elaine Reynolds who provides layered violin on Catalina 1943, and Ashley Pitre contributing vocals on Bleeding Ink. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks Sea Island Murders and En Masse.

Mammal Hands are pleased to announce the release of their highly anticipated fourth album 'Captured Spirits', released 11thSeptember via Manchester tastemaker record label, Gondwana Records.

Consisting of saxophonist Jordan Smart, pianist Nick Smart and drummer and tabla player Jesse Barrett, the trio have forged a growing reputation for their hypnotic fusion of jazz and electronica and have recieved glowing recommendations from the likes of The Guardian and Gilles Peterson. Drawing on their love of electronic, contemporary classical, world, folk and jazz music, Mammal Hands take in influences including Pharoah Sanders,Gétachèw Mekurya, Terry Riley, Steve Reich and Sirishkumar Manji.

Forming in Norwich in 2012, brothers Nick and Jordan along with Jesse, developed their distinctive and polished sound with their meteoric live shows and release of three critically acclaimed albums: 'Animalia' (2014), 'Floa' (2016) and 'Shadow Work (2017). Landmark live performances have included shows at The Roundhouse London, the main stage at Field Day Festival, La Cigale Paris, Montreal Jazz Festival, Hamburg Elb Jazz, Athens Technopolis and Unit Tokyo.

Creaked out of an eck with two heads and no brain - just fracking around. Juli Zimmer and Sayizan Stange are Blowjobs Are Real Jobs, crawling right under your skin. Armed with guitar, MS-20 and a trashy drum machine, they bark about dogs, ostriches, stolen bodies, heads buried in sand, plastic spoons in freezer pops, and the big question of where the hell this whole loving-living thing is going anyway. The songs build up expectations like a delicious drink, which then, oops, gets taken away and never delivered. That’s how it is sometimes, you little puffball!

End of 2025, Blowjobs Are RealJobs dropped their first DIY tape, Bloody Situation Menstruation Masturbation. Their notorious sets, somewhere between performance art and riot gig, pop up almost monthly: gallery openings, summer garden chaos, or grimy St. Pauli basement bars. Now the duo’s first 7-inch vinyl brings 5 songs at 45 rpm with a fold-out cover, limited to 200 copies.

Represss!

Z Records continues its commitment to unearthing the obscure and
long forgotten tracks from the last 40 years through the ever-popular
Under The Influence series. Following on from Red Greg, Nick The
Record, Sean P, Faze Action, and last years Alena Arpels. It’s now the
turn of one of the scene’s most impressive collectors & DJs; Rahaan

Hailing from Chicago his love affair with muzik started in the late 70’s early 80’s, listening to muzik on the radio combined with his mom and dad playing their records every weekend. In the early 80’s on the South side of Chicago, he started hearing something a bit different, what they called ‘house muzik’. A combination of Disco, Jazz, Soul Funk, New Wave and Italo Disco. Here Rahaan digs deep into his impressive record collection that he has collected, built up and crafted over his many years of travelling, networking and DJin to showcase 22 of his finest and rarest cuts. Many of the tracks on the album would cost hundreds and that’s if you were even able to find the originals! As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible.

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark. Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground & after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega,
and many more ...

Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.
Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City.

A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from Armand Van Helden, Logic, Roger Sanchez (Underground Solution), Photon INC and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020 - Happy birthday Strictly Rhythm!

Repress

Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!

(die-cut sleeve, 45 RPM) Jef Neve, Belgium’s most-famous jazzpianist, media-personality Kobe Ilsen and topproducer Serge Ramaekers are VALKYRIE.

At the end of Spring 2026 a full album of VALKYRIE will be released and the band will start touring. As a tastemaker of what they are up to, they release a unique version of THE FIRST REBIRTH, originally released by Jones & Stephenson in 1993 on Bonzai Records.

To celebrate the birth of this new supergroup, a release in a very special packaging is due for March 2026.

Besides the original mix, there’s also a ravemix by harddance/hardstyle-hero MI37 and an unplugged version where the original melodies are stripped to the bone.

Born from the dialogue between two distinct yet complementary visions of techno — Orbe’s futuristic and immersive atmospheres, and Psyk’s hypnotic depth, stripped-back minimalism — the record unfolds as a carefully sculpted sonic journey. Tension, space, and texture take center stage, shaping an evolving narrative that progresses seamlessly from track to track.

More than a collection of individual cuts, the album embodies a cohesive and mature concept: a shared identity refined through countless hours of studio experimentation, critical listening, and synthesis. Here, the core essence of the project crystallizes — a point of convergence between atmosphere and impact, abstraction and functionality, introspection and raw dancefloor energy.

This release not only marks the culmination of an intensive creative cycle, but also signals the beginning of a new phase in their ongoing exploration of techno’s expressive potential.

'Trying Times' is a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. James Blake explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge

13 Track Album is James' seventh studio album and first fully independent release Album features British rapper Dave, and singer-songwriter Monica Martin Marketing plan will support long term growth, audience building and connecting with super fans Strong Content Plan including Single / Focus Track Performance Videos Alternative album versions TBC inducing deluxe, piano version and more

2026 Repress

This new EP on OCD is once again another project into which we’ve poured all our love and attention, carefully working with the artist to compile a release that would, at least in our vision, stand the test of time.

Our friend Harsh (Reformed Society) caught our attention through his outstanding double EP on Basic Moves. A subsequent, very synchronistic real-life encounter with him in Barcelona led to this EP, which pays homage to the early 2000s Progressive House era.

This era played an important role in our musical journey, as it did in Harsh’s own. Within this project, he fuses the influences of that time with his own refined taste, resulting in three tracks that could easily pass as unreleased material unearthed from old dusty DATs from that era.

Black Vinyl Repress


Das Berliner Indie-/Electro-Wave-Trio Dina Summer meldet sich mit einer ordentlichen Portion Synthpop auf ihrem zweiten Album ‘’Girls Gang’ zurück!

Dina Summer ist ein kollaboratives Projekt, das aus Kalipo, einer Hälfte der legendären Electro-Punk-Band Frittenbude, und dem griechisch-deutschem DJ & Produzenten Duo Local Suicide besteht, die das Label Iptamenos Discos betreiben. Ihre bisherigen Werke umfassen das von Kritikern gefeierte Album „Rimini“ aus dem Jahr 2022, das einen nostalgischen Einblick in Retro-Disco-Vibes bietet, sowie die EPs „Who Am I“ (2021) und „Hide & Seek“ (2024). Seit der Gründung der Band vor fünf Jahren hat Dina Summers Musik mit Millionen von Streams, weltweitem Radio-Airplay und zahlreichen Spotify- und Apple Music-Editorial-Playlists für Aufsehen gesorgt und wurde von DJs wie Charlotte De Witte, The Hacker, Âme, Dixon, Joris Voorn, DJ Hell, Joyce Muniz und Dubfire gespielt. Das neue Album umfasst 11 Songs die sich mit Themen wie Empowerment („No More Tears“ & „Girls Gang“), Außenseitertum („Alien“ & „Zombie“), Vergänglichkeit („Promise Me feat, Curses & Joshua Murphy“), Nostalgie („Halkidiki“) und Beziehungen („Nothing To Hide“ & „Hypnotized“) auseinandersetzen. Legte ihr Debütalbum seinen Fokus eher auf den Club zwischen Italo-Disco und 90ies Elektro, erkundet die neue Veröffentlichung eine größere Sound-Palette, die von New Wave & Post-Punk zu Electroclash und Synth- & Indie-Pop reicht. „Girls Gang“ ist ein gutes Stück songorientierter als das Debütalbum, die Band erweitert ihr Repertoire auf einigen Songs unter anderem um echte (!) Bässe und Gitarren, vorallem aber setzt Frontfrau Dina neben ihrem Markenzeichen - Spoken Word - immer öfter auf ihre Gesangsstimme. Trotzdem knüpft das Album nahtlos an das Erstlingswerk an, man hört wieder jene poppige Melodien und Hooks mit denen sich Dina Summer zuvor schon einen Namen gemacht hat, ausgebreitet auf einem Bett aus Indiepop-Hymnen und Club-Brechern.

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

Die internationale Rocksensation The Hives, die beste Liveband der Welt und immer noch eure neue Lieblingsband, hat wieder einmal, schneller als erwartet, ein neues Werk geschaffen, wie man es noch nie gehört hat und wahrscheinlich auch nie wieder hören wird. Ihr siebtes Album 'The Hives Forever Forever The Hives' erscheint am 29. August auf dem ehrwürdigen Label Play It Again Sam. Ein neues Album voller Energie, Freude, Wut und Leben! Jeder einzelne Song eine Single, jede einzelne Single ein Hit, jeder Hit ein Volltreffer mitten ins Gesicht. Diese neue Meisterwerk entstand unter der Leitung des langjährigen Kollaborateurs Pelle Gunnerfeldt in Stockholm. Mike D von den legendären Beastie Boys ist als Gast vertreten und auch Josh Homme (Queens Of The Stone Age) stand mit Rat und Tat zur Seite.

The Hives, bestehend aus Howlin’ Pelle, Chris Dangerous, The Johan And Only, Nicholaus Arson und Vigilante Carlstroem, haben sich in über dreißig Jahren in die Annalen der Rockgeschichte eingeschrieben. Dank ihrer Erfolge füllten sie große Stadien und teilten die Bühne mit so monumentalen Acts wie AC/DC und den Rolling Stones. Die BBC bezeichnete sie als „Naturgewalt“, und der Rolling Stone kürte ihr Album 'Veni Vidi Vicious' zu einem der 100 besten Alben des Jahrzehnts. Mit Millionen verkaufter Alben, Platin-Auszeichnungen und zahlreichen Preisen - Grammys, MTV Awards, NME Awards - gelten sie als Titanen der Musikwelt. Oder wie Joe Strummer es gesagt hat: The Hives haben den Rock ’n’ Roll gerettet!

Industrial experimental noise dub movie atmospheric soundtrack - words that define this album by J.K. He found his true calling here in the perfect medium of the Chrome Type 2 tape for an analog sound. Accompanied by the gesture and noises of removing the tape, inserting it into the deck and pressing play, the experience is complete while watching the tape spin. Just 20 copies so very limited stock!

2026 wird der 100. Geburtstag von John Coltrane gefeiert, dessen bahnbrechende Kunst als Saxophonist,
Komponist und Bandleader ihn zu einer der einflussreichsten Musikpersönlichkeiten des 20. Jahrhunderts
machte. Zu Ehren seines unermesslichen Einflusses fängt „The Best of John Coltrane“ den legendären
Saxophonisten in seinen prägendsten und kreativsten Jahren bei Prestige ein. Diese LP wurde aus seinem
produktiven Schaffen der Jahre 1957–1958 zusammengestellt und enthält eine Auswahl, die Coltranes
rasante künstlerische Entwicklung als origineller Tenorsaxophonist beleuchtet. Mit Klassikern aus dem
American Songbook und Jazz-Standards ist sie sowohl die perfekte Einführung für neue Hörer als auch eine
wertvolle Anschaffung für Liebhaber, da sie die Aufnahmen präsentiert, die John Coltranes Vermächtnis
begründet haben.

Representing a more analog sound than before, Itken jos mua huvittaa was recorded in Gothenburg in the autumn of 2025. The album was produced by Gustav Ejstes, known as the leader of the band Dungen, and engineered by Mattias Glavå, renowned for producing Håkan Hellström's albums. Counting among the most popular bands in Finland, Maustetytöt also enjoy international cult fame and have toured extensively across Europe over the past two years, performing headline shows in England, Germany, France, Italy, Spain, Switzerland, the Netherlands, Greece, the Czech Republic, Poland, and throughout Scandinavia.