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"After a couple of years shaping her sound in the studio, Budino lands the "Signal EP", a record that grew out of the desire to make music for her own sets. Citing the journey she aims to create in the club as a key inspiration, she certainly put in the mileage, with a booking schedule tirelessly spanning all points of the compass. Although this is her first label-released original record, it's no novice effort: ALT027 shows a confident artist, fully in control, with a distinct vision and the technical expertise to bring it to life. On opener "Stay More", a trippy trance rendition, the sturdy kick and distorted sines leave ample room for mid-bass acid lines to roam freely. In its company, a myriad of risers, gated white noises and delayed fills appear - signifiers within the artist's palette, as will become apparent. "Wireless" features similar crafty sub movement, but this time the drums are infused with conga patterns and other exotic slices of battery. Because of the zest these rhythms bring, the track can keep building for several minutes until a synthesised lead emerges. When that finally happens, the affair really takes off. On the other side, "Alpha 7" rides the call-and-response dynamics between different formant and deep-vibrating leads, its shimmering arpeggios and atmospheric pads adding colour. Closer "1031" provides an organic touch with its live guitar bass pulse and enigmatic, eerie vocals. Amidst ever-evolving micro-frills, a sturdy square lead thrusts it forward. The groove, again, is endlessly seductive. This characterizes Budino's skilled approach: it's often so hypnotic it feels unclear whether the themes materialise from the surrounding, seemingly fluid compositions - or dissolve into them. In any case, these are multi-dimensional cuts you will love getting lost in on a nearby dancefloor."

Delsin is pleased to announce the second volume of their extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, continues with a look at the label's legacy in the development of Dutch techno through the early 90s. This second volume in the Djax-Up-Beats 1990-2005 series comprises 25 tracks, presented again as a main triple-vinyl album plus three additional 12" EPs. The compilation also features again all-new illustration from Alan Oldham, design by Lost Communication and liner notes from music journalist Oli Warwick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. Volume 2 - The NL Connection takes a deep dive in the development of Dutch techno. Saskia Slegers didn't run her label with a specific focus on any one place, but she naturally connected with artists close to home. Emergent producers from across the Netherlands found a vital outlet in Djax-Up whether they were short-lived dabblers or dance music devotees on their way to lifelong careers. Volume 2 - The NL Connection looks at the first outings in Dutch techno by originators such as Stefan Robbers as Terrace, Dylan Hermelijn as Planet Gong and Edge Of Motion (with Gert-Jan Schonewille) and Sander Friedeman as Random XS. Whether it was sensitive, melodious machine dreaming, gnarly acid tweaking, jackhammer techno or oddball outliers, you could count on Slegers' label to point you to the best underground club music coming out of the Netherlands. With four more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture -- a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

UK house mainstay Hodge releases his long-awaited second album, eight tracks of high-calibre house and club music with a focus firmly on the dance floor.

A limited edition clear vinyl pressing for Vol. 1 of DINTE's critically acclaimed collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

With absolute joy we can announce that one of our favorite dubplates of the last years is finally going to be released. If you heard Lion’s Den play, you heard this one. This is Violinbwoy’s take on a Belarusian traditional song. A beautiful interpretation by Laboratorium Pieśni remixed for sound system play by Violinbwoy in his laboratory.

A tune gathering the ancient spirits - from that time to this time… play it loud and feel the vibrations!

Ed Nine hails from the birthplace of house and brings plenty of Windy City magic to this EP on Spanish label MATE. It's deliciously emotive tackle drenched in meaningful pads and, in the case of opener 'Feel It In Your Soul', an aching vocal sample that really sets it alight as the organic drums jack down low. 'Free Acid' is a stomping workout with prickly 303 lines defining the peak time vibe, then 'Out Of Line' cuts back into a more sunny sound with synths rising up through the mix and bringing joy. Closer 'The Drum Tool 3' is just that - a raw jam to help you get the floor locked in while moving through the gears.

Mark Funk and Danny Cruz's Cruise Music label continues to offer-up the best of its digital-first EPs via the popular Vinyl Jams sampler series. There's a real sun-splashed, dancing-on-the-terrace feel to much of the music contained on this 14th volume in the series. Mark Funk steps up first with the loopy, filter-rich disco-house release of 'Never Never', which rises and falls in all the right places in search of hands-aloft action, before Makito drops the vibraphone solo-laden deep house-meets-garage-house flex of 'Heavy Vibes' (think Masters at Work collaborating with Roy Ayers and you're close), Over on side B, Danny Cruz serves up 'Sugar', a tooled-up, house-style re-edit of a joyous disco gem, while Filth & Smell's 'Panama Sweet Spot' is an electric piano and sax-loop-fired slab of thickset house funkiness.

What began as a pandemic-era radio show on Openlab FM and Ralph Lawson's sonic escape hatch into distant electro worlds has since become a consistent home for the genre. Exit Planet Earth returns from hiatus with a new chapter, and Manchester's Jonny Strinati, aka Kalcagni, is the ideal artist to reopen the transmission. Already well-versed in the EPE universe through the radio show and releases on Cosmoba and Distrito 91, Strinati drops relentless machine beats, intricate synth programming that references all forms of electro from Kraftwerk to Drexciya, with dynamic bass and cinematic designs. It's an intergalactic mind trip as much as a dance floor workout and the production is next level. Welcome back!

Wayne Shorter stepped out as a Blue Note artist on his masterful 1964 label debut Night Dreamer, a sublime set that signalled the arrival of one of the most important saxophonists and composers in jazz history. Timeless Shorter compositions are given transcendent performances by a quintet with Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Ossios makes his Yay Recordings debut with two deep cuts that capture the magic of his creative process - summer house excursions shaped by back-and-forth flights and fleeting moments of inspiration.

On one side, Deadbeat opens up his studio a fires up the studio stove with "One Night at the Ranch (Betting the Farm)," featuring vocals from his love soul Elle. Tumbling drums, understated grooves, and subtle house hypnosis unfold with effortless ease.

On the flip, "Drama Is a Game" channels a hazy afternoon in Mexico City, exploring memory and duality through shape-shifting synths and warm, drifting vocals. The result is a deeper, darker journey where emotion and atmosphere remain in constant motion.

Take a trip back to the golden age of popular music with Golden Oldies, a 2LP collection bringing together 40 timeless favourites from the 1950s and early ’60s. Featuring legendary artists including Elvis Presley, Buddy Holly, Sam Cooke, The Everly Brothers, Roy Orbison, Chuck Berry, Etta James and Bobby Darin, this hit-packed set captures an unforgettable era of rock ’n’ roll, pop, soul and rhythm & blues. Highlights include Johnny B. Goode, Heartbreak Hotel, The Wanderer, Mack The Knife, Crying and Smoke Gets In Your Eyes – classic recordings that still sound as good today as they ever did.

2026 Repress

Life is like a mirror ball! The first one in a hopefully long-lived series of disco and pop influenced Super Sound Singles on Running Back, comes courtesy of the unmistakeable Gibson Brothers. Leaving their biggest wedding hits "Cuba" and "Que Sera Mi Vida" to the side, the philanthropic and smile-forcing "Ooh, What A Life" gets an extended edit service by Shan & Gerd Janson, who cut away some of the fat and make it fit for fun on contemporary dance-floors. The flip side sees them remixing and sandpapering "Heaven" into a disco-house interbred (filters and looping mandatory). To quote John Lyndon: "Disco sucks You never heard that from me."

Sure Thing presents its latest compilation Alba, welcoming six new interpretations of the label’s collective ethos into the fold. As tempos swirl and subconscious energy swells, each artist leaves their indelible mark on the label’s journey inward, an atlas of stories reflecting connections made and visions shared across worlds apart.

The fifth edition of Meganesia’s annual vinyl release, this year featuring AWHM & Shugo Noss, two leading forces in the fast trance and psytek scenes.
Striving to imagine these two artists as creatures inhabiting the same environment and imbuing it with their sonic identity, we arrived at the idea of a tidal zone in which AWHM’s sound inhabits and defines the warmed, sunlit state of low tide, while Shugo Noss’ sound inhabits and defines the submerged, watery state of high tide.
The resulting release creates a trance-focussed environment inhabited by both the deep, multi-textured, audio-hallucinatory sound of Shugo Noss and the driving, energising force of AWHM.

This release comes out on vinyl and digital on October 27, 2026.

Mastering by Chris Scholz and Dave Miller at Audiosculpture NL
Artwork the THEAJM
Vinyl distribution by One Eye Witness

SHUGO BIO
Shugo Noss is a producer/DJ from Naarm who explores the intersection of sound and form through a blend of hypnotic rhythms, eclectic soundscapes and sonic experimentation. His work aims to exist outside genre binaries, weaving through a multitude of emotional experiences that both relate to, and contradict, one another in an attempt to formulate their own identity. There are no limits that restrain these journeys.

AWHM BIO
A dedicated consumer and creator of trance music, AWHM’s production style draws clear influence from old school goa, psytrance, jungle breaks, and tekno, most easily recognised by his ability to combine driving basslines, hypnotic rhythms, and scattered percussions to transport audiences through uncharted psychedelic realms of fast trance music.
Evolutionary by nature, he’s managed to leverage extensive experiences that led to a self-taught studio process which now stands out in one of the more niche corners of electronic music.

MEGANESIA BIO
Meganesia is an independent music label operating in the broad genres of trance and techno. Drawing its name from the continental plate beneath Australia’s landmass, Meganesia focuses distinctly on developing and platforming artists living and working in Australia.
Since the start of 2022 Meganesia has grown to a catalogue of 12 releases. Across these releases, the label has directly platformed over 40 individual artists on digital and vinyl gaining us recognition as one of Australia’s strongest and most dynamic electronic labels.

Blackwater Label’s Goldenboy sub-label third chapter is an ode to the immensity and vastness of the sea, a journey across deep waters, uncertain ports and endless horizons. "Never Give Up" is dedicated to the memory of Alessio Fantozzi, a pioneer of the waters whose spirit continues to resonate through those who choose to venture beyond the shore. This four-way collaboration is our tribute to him: four artists, four visions, one voyage into the unknown. Loris Ligonzo opens the journey with "Subalpine Nocturne", a Balearic-tinged deep house excursion that invites us to dive into the sonic ocean Blackwater has been navigating for more than a decade, warm, hypnotic and submerged. With "Apparently", T/Error brings us into an unsafe and gloomy harbour. Dark electro and suspended tension create the feeling of a vessel waiting to depart, caught between the certainty of the shore and the call of new waters. Stefano Rocchi contributes "Mushy", acting as the propulsion system of our pirate vessel, the Blackwater Ship. Acid-infused electro drives the journey deeper into the abyss, with no fear for those who trust the... more credits releases September 24, 2026 Written and Performed by V/A Mastered by Stefano Rocchi at Niumen Studio,Rome Produced by Blackwater Label, 2026 Distributed by Triple Vision, Rotterdam Nvmqvam Cede // Vsqve Ad Finem

Following on from the highly anticipated Rebirth 20 anniversary project, Rebirth return with the first of two limited-edition bonus 12"s, digging deeper into the label’s catalogue with four killer remixes and previously overlooked gems.

Kicking things off with Leon Feat. Corrina Joseph – I Follow You (Darryl Baalki Remix), a soulful and deeply grooving house cut with Corrina Joseph’s beautiful vocals riding over a warm, hypnotic groove. Darryl Baalki adds his signature touch, making this one a serious late-night house weapon.

Next up is Gianluca Pegoiani Feat. Ann Saunderson – Numero 5 (Rough Ride) (Nick Holder Trackheadz Remix). Nick Holder’s Trackheadz take the original into deeper territory, delivering a classy, rolling slice of deep house with that unmistakable Detroit/Chicago-inspired feel.

On the flip we have Mata Jones & Mikey V – Funky (Elado Remix), bringing a more energetic and playful edge to proceedings with a seriously infectious groove, chunky drums and plenty of dancefloor funk.

Finishing off the EP is Psycho Radio Vs LC Anderson – Bad Reputation (Red Axes Remix). Red Axes work their magic on this one, twisting it into a dark, psychedelic indie-dance workout packed with attitude and hypnotic momentum.

Another essential selection from Rebirth as they continue celebrating 20 years of the label with some seriously choice cuts.

Limited Press — act fast!

Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.

Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.

The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.

Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.

In Permanent Vacation 20th anniversary year, Joe Goddard returns to the label with You — a fivetrack EP that feels both timeless and deeply connected to the label's musical DNA. Blending disco, house, electronica and subtle folk influences, the release captures the optimistic spirit of the early 2000s while sounding effortlessly contemporary.
Across five beautifully crafted tracks, Goddard balances warm melodies, organic textures and dancefloor elegance with his unmistakable songwriting touch. The EP features three standout collaborations: Glynn joins on the uplifting "Cutting You Loose", fellow Hot Chip member Alexis Taylor lends his unmistakable voice to "Hide & Seek", while Absolute appears on the intimate closer "Gentle Man".
You is a fitting addition to the Permanent Vacation catalogue—music that looks back without nostalgia, embraces the present, and reminds us why timeless records never go out of style.

DJ Support: Katia Curie, Inkasso, Lea Occhi, Chloe Caillet and many more


Chris Gerber & aljalj return with the second vinyl release on Computer Toys. Featuring three driving, bassline-led house cuts built for the dancefloor, the record closes with a spacious ambient finale, providing the perfect landing after the house journey.

repress 2026

not many artists are able to develop a distinct sonic identity releasing just 5 solo records. through his selective output in the course of 5 years on nina kraviz's Trip, vladimir dubyshkin gained not only an army of loyal fans analysing his live sets for new music, he also inspired many who followed and continued to develop his unique sound.

his tracks, many of which became underground hits like "lady of the night", "ticket to childhood" or "russian porn magazine", always stand out and are immediately recognisable. be it weird syncopated euro dance reminiscent bangers with crazy vocal snaps or haunting hypnotic beauties on a techno side. his music always has that genius dubyshkin groove, a pinch of irony and the ability to make just anyone dance, from a small underground club to a huge festival dancefloor. this universal appeal ensures his tracks resonate across sound systems of all sizes, embedding themselves in the listener's consciousness long after the music stops.

on "ivanovo night luxe", his first double ep on Trip, vladimir sounds as amazingly unhinged as ever embarking on a surreal journey, from the eerie echoes of a haunted funfair ride to the core of a peak-time set.

"ivanovo night luxe" continues to captivate and intrigue, solidifying dubyshkin's standing as an artist of unwavering integrity and reminding us that sometimes 'less is more'.

DJ Support: Laurent Garnier, DJ Deep, Moplen, Tedd Patterson, Hector Romero, Quentin Harris, Jamie Jones, Danny Krivit and many more

Rocco Rodamaal puts his touch to 'More' (Danism + Train feat. Toshi) and delivers a deadly touch. Following on from ’Ndisole’ and ‘Mabele’, Danism + Train continue their regular collaborations with Toshi on 'More’. The original mixes dropped in the summer as the trio continue to explore a journey through afrocentric grooves. Now Rocco Rodamaal takes things in a new direction; maintaining focus on Toshi’s etheral vocals while adding deep, driving drums and a fierce baseline. It's a real pleasure to have one of our favourite remixers back on SoSure Music. Moplen adds stunning touch to 'Mabele' from Danism + Train. Reimagining the track as only he could with some tremendous additional production and new arrangement on Toshi's vocal.

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

Cosmic Voodoo is an immersive musical experience that combines the best of cosmic disco with the pulsating energy of contemporary electronica. Through alternating synthesizers and acoustic instruments, this project presents an irresistible arsenal of sounds.

This is the third volume of four that will create a unique graphic work created by the famous Aldo Drudi.

Written and produced by Daniele Baldelli, undisputed master of cosmic-disco, and Mattia “Matta” Dallara, sound explorer and producer of Cosmic Temple, this EP is a journey that evokes dreamy and nostalgic atmospheres, perfectly in line with disco roots.

The tracks unfold between enveloping grooves, spacey synthesizers and rhythms that pay homage to the 1980s, generating a sound that is both classic and innovative. An electronic tribal ritual, a dancing spell that can transport the listener to a parallel universe full of psychedelic sounds and magnetic beats.

Ideal for those who like to lose themselves in the depths of sound and be guided by vibrations that oscillate between past and future.

Electrumos is said to be a lost continent hidden somewhere on Earth. Some believe it lies beneath the surface, others claim it drifts invisibly through the atmosphere or exists between different layers of time. Despite countless attempts, nobody has ever managed to locate it.
On this EP, pdqb becomes the first known traveller to access Electrumos, intercepting and decoding the mysterious electromagnetic transmissions emanating from within.
He transforms these signals into irresistible electro-cognitive frequency patterns.
Featuring remodels by dynArec and DMX Krew, along with artwork by John Armleder.

Yore Records proudly welcomes back DJ Alone Again from NYC for a second journey into timeless House aesthetics.

Across four cuts, DJ Alone Again moves effortlessly between raw, uplifting New York energy and deeper late-night moods. From classic swinging drums, dusty stabs and peak-time pressure to warm chords and smoother hypnotic grooves, this EP captures different shades of the unmistakable 90s house spirit.

Stripped-back, soulful and driven by pure dancefloor functionality, these tracks feel both familiar and refreshingly honest — a tribute to the golden era without sounding trapped in the past. A sincere nod to classic underground House Music and another statement by yours truly YORE RECORDS.

Bo Harwood (1946–2022) was one of those behind-the-scenes figures of American independent cinema: a self-taught musician, composer, sound editor, sound mixer and songwriter.

Harwood started out as the lead singer and guitarist of a Southern California rock band before a chance meeting with John Cassavetes changed the course of his career. He scored his first feature, The Bach Train, in 1969, and later joined Husbands as an inexperienced assistant in the editing room. He gradually became Cassavetes’s sound editor, music supervisor, composer and sound mixer, eventually working across six of his films, from Husbands and A Woman Under the Influence through The Killing of a Chinese Bookie, Opening Night and Love Streams.Harwood’s music is inseparable from the peculiar emotional universe of those films: strange, romantic, funny and often devastating.

Harwood and Cassavetes worked closely and instinctively together, developing music in the process of making the films. The surviving master tapes reveal something of this exchange: alongside finished pieces are improvisations, experiments and conversations, capturing the two of them working through ideas in real time. Harwood’s compositions were often recorded as rough “scratch tracks”, with Cassavetes preferring their immediacy and vulnerability to more polished arrangements.

This nine-track LP brings together some of that work. There is something wonderfully intimate about hearing these recordings outside the films: the songs stand on their own, while retaining the rawness and emotional charge that made Harwood’s collaboration with Cassavetes so distinctive.

A small document of a remarkable and largely overlooked body of work.

Tracklisting:

"Temporary World" sees the return to Canopy of musical whizz kid Joi N'Juno, teaming up with the creative force of Kaleta, who has been a long-time collaborator of the label and long known for his work with Nigerian legends Fela Kuti & Sunny Ade.

For this project, the inspiration came from vintage Nigerian funk & disco, channelled through modern production aesthetics, bridging the gap between past & present.

Joi N'Juno's bouncy disco beats and groovy basslines lay the foundation over which Kaleta's funky guitars and the horn section from London Afrobeat Collective pepper the details. Keys bubble and synths soar as Kaleta's vocals, sung in both English & Yoruba, bring his evocative soulfulness. The culmination is an authentic melting pot of both vintage influence and originality.

Joi N'Juno turns in two different mixes of each song, the first in a "live", sounding approach and a second Mmore "oomphy" mix with fat synth bass, suited to the late night dance floors

A Safe Place To Be Wild is the seventh LP from Jordan Rakei, arriving after more than a decade of pushing the boundaries of soul, jazz and alternative R&B. Fearless, intimate and emotionally direct, the album finds Jordan embracing uninhibited self-expression and placing vulnerability at the centre of his songwriting. Stripping everything back to raw feeling and unfiltered moments, A Safe Place To Be Wild captures an artist fully stepping into himself, confronting the fear of exposing his inner world and finding power in doing so.

Gold vinyl. Norwegian folk/prog collective Lumsk returns with Einsemda, a dark, emotional and deeply atmospheric new album based on selected poems by Tor Jonsson (1916-1951). Following their acclaimed return after a long hiatus with Fremmede Toner, Lumsk have continued to refine their distinctive blend of progressive metal, folk rock and evocative Nordic storytelling. On Einsemda, the band moves even deeper into the emotional core of the material, shaping music that amplifies the tension, vulnerability, beauty and darkness of Jonsson's poetry. Jonsson's writing is known for its lyrical clarity, emotional intensity and stark contrasts between hope and despair, closeness and distance, life and death - a natural match for Lumsk's powerful and nuanced sound.

ARE YOU HOUSE Records presents: Are You House Sampler 2

Following the success of the first edition, ARE YOU HOUSE Records returns with the second instalment of the Are You House Sample series — bringing together three distinctive cuts rooted in groove, rhythm and the spirit of house music.

Opening the release, June Jazzin delivers “Iksasa”, a 9-minute broken-beat journey that takes you deep into its rhythm and groove. With its extended arrangement and hypnotic flow, the track gives you the time and space to settle into the groove and let the music take you on a journey.

Track 2, June Jazzin returns with “Driver Step On It”, a driving house cut built to push the energy forward, lock into the groove and keep the dancefloor moving.

Closing the release, SculpturedMusic delivers “Sing My Blues Dub”, a 6-minute deep, rolling and groovy house journey layered with hypnotic rhythms and soulful energy.

Three tracks. Two artists. Different grooves, different moods, one unmistakable house spirit.

ARE YOU HOUSE?

VVAA. SLOW AND STEADY (Downbeat 015)

After a three-year hiatus, Downbeat returns with its 15th release, marking the very first Various Artists compilation in the label's history.

The A-side features the masterminds behind Tetrode, Damon Lamar and Specter, who deliver two tracks showcasing their signature sound. Machine house at a lower BPM, packed with repetitive Akai percussions and synth lines—gentler and warmer on Damon's track, and darker, more unhinged on Specter's side."

The B-side kicks off with label co-founder Jose Rico, who delivers "The Invaders," a track that transports us straight to the roots of the genre. This is textbook Chicago deep house—straightforward and infectious from the very first beat. Closing out the EP, Leonid makes his label debut with an emotional, Detroit-infused deep electronic gem, beautifully crafted with soft percussions, silky synths, and a subtle touch of epic grandeur. Absolutely stunning.

Barefoot Beats drop two highly infectious Brazilian power jams for all the vinyl collectors and lovers of International sounds out there.

Regular contributor to the imprint Bernardo Pinheiro teams up with Zaidan to expertly craft a timeless Reggae classic into a pure Brazilian good times anthem.

Over on the flip, Rio based producer Joutro Mundo combines superbly with Dicky Trisco to produce a more late night inspired number which is ready to fuel your Carnarave and set that dance floor on fire.

All delivered on a beautiful, LTD edition 10inch vinyl pressing.

Recut and repressed

Every now and then, there are tracks that stand the test of time. Tracks that are more than just another DJ-tool. Tracks to remember. When „Fom Within“ was released 13 years ago. the track found its way into almost every DJ-Case that summer, and to this day, people playit out at special moments. When Gregor Tresher started to mix Celeda´s „Music Is the Answer“ Acapella over it, inofficial remixes popped up everywhere. We decided to actually never release that version, as we believe some things should be in the DJ´s hands, as there´s nothing quite magic as if a DJ-Mix creates something new. We are happy to give to you an official repress of one of the strongest tracks from our label´s history. Play it out and let it work it´s magic.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Chilean label Soundrive hits double figures with an EP that is as tasteful for house heads as all the other have been. Four serious names step up for this one, starting with Nottingham's DIY man Nail. His 'In The Sky' has all his usual hallmarks - heft to the groove and rawness to the drums, but also an emotional pull that cuts through from the woozy sax notes. Sakro stacks up his kicks into driving, nicely pressured loops on 'Deep In The Street' and runs them through with some thoughtful pad work and Texan Brett Johnson brings his usual off-beat tech house trippiness to 'Beautiful Smurf'. Gari Romalis shuts down with a warm, enveloping dub classic in the form of 'I'm Ya Dancer' complete with smoky vocals and wispy pads that are primed for dead of the night sessions.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

Open Universe is a new record label founded in 2025 following an invitation to envision a series of releases for the German production music library Sonoton.

Curated by Jon Tye (Lo Recordings, Ocean Moon, Seahawks, MLO) with a remit to explore and create new worlds of sound in which to dwell and discover. Prismatic Fields is a collaboration between Ocean Moon and Silver Ley (Jon Tye & Bethany Ley), together they create metaphysical pop from another dimension where warm oscillations mingle and resonate to conjure a world alive with light and life.

An album that leans lightly into the worlds of fantasy synth and sacral medievalist electronics where silken harp glissandos, synth waves and enchanted vocal tones mix with lush fourth world textures and clusters of rhythmic invention.

Tripping into spaces modern and game-like, soundtrack moods that dip into the liminal dream states found in the work of Daniel Lopatin, Susumu Yokota and Boards Of Canada. Music that is both functional and formless, designed to stimulate and facilitate, to inspire and motivate.

Ocean Moon & Silver Ley will be performing live alongside Sonic Boom and Alexis Taylor at the Sonoton Music Label showcase @Schmidtchen, Hamburg 17th September 26.

Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.

A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.

Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.

Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.

Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.

The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.

Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.

Anlässlich des 10-jährigen Jubiläums von ,Lost Themes II" präsentiert Sacred Bones stolz eine neue, erweiterte Kunstausgabe von John Carpenters gefeiertem zweitem Album mit Nicht-Soundtrack-Kompositionen. Mit neu in Auftrag gegebenem Artwork von Randy Ortiz vereint diese Jubiläumsausgabe das Originalalbum auf limitiertem "Violet Sunrise" Vinyl mit einer Bonus-7"-Single, die ,Real Xeno" enthält - nun zum ersten Mal auf Vinyl erhältlich, abseits der ursprünglichen, limitierten Veröffentlichung der Sacred Bones Society. Die B-Seite zeigt ein exklusives, speziell für diese Ausgabe entworfenes Gravurdesign. Die ,Lost Themes"-Reihe hat sich zu einem der prägendsten Kapitel in Carpenters Karriere entwickelt. Befreit von den Zwängen der Leinwand haben diese Kompositionen ein Eigenleben entwickelt und Carpenters Vermächtnis über Filmmusik hinaus erweitert. Das 2016 erschienene ,Lost Themes II" erweiterte die Klangwelt seines Vorgängers und verband Carpenters unverkennbares Gespür für Atmosphäre und Spannung mit seinem charakteristischen Minimal-Synth, reichhaltigeren Arrangements sowie elektrischen und akustischen Gitarren. Ein Jahrzehnt später bleibt ,Lost Themes II" ein Meilenstein in einer Reihe, die weit über imaginäre Soundtracks hinausgewachsen ist und als unverzichtbare Werke in Carpenters Katalog gilt - ein Zeugnis seiner musikalischen Vision und seiner bemerkenswerten Fähigkeit, Welten zu erschaffen, die weit über den Film hinausreichen.

“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.


A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.


The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.


“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.


Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).


An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.

Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.

LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.

LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.

Turn back the clock to an unforgettable era, with 32 huge hits from 1980–1984 brought together across 2LPs.

LP1 launches with Wham!’s feel-good ‘Wake Me Up Before You Go-Go’, before Duran Duran’s ‘Is There Something I Should Know?’ and Eurythmics’ ‘Sweet Dreams (Are Made of This)’ capture the contemporary sound of the new decade. The Human League’s ‘Don’t You Want Me’, Soft Cell’s ‘Tainted Love’ and Heaven 17’s ‘Temptation’ continue an outstanding run of synth-pop classics, with Blondie and Frankie Goes To Hollywood completing Side One. Culture Club open Side Two with ‘Do You Really Want To Hurt Me’, followed by colourful 80s favourites from Adam & The Ants, Altered Images and Kajagoogoo. Haircut 100’s ‘Love Plus One’ and ABC’s ‘The Look Of Love’ lead into Dollar and Bucks Fizz, rounding out a side packed with pure pop nostalgia.

LP2 starts in suitably anthemic style with Spandau Ballet’s ‘Gold’, alongside Elton John’s uplifting ‘I’m Still Standing’ and Billy Joel’s ‘It’s Still Rock and Roll to Me’. The Cars’ ‘Drive’ and Bonnie Tyler’s epic ‘Total Eclipse of the Heart’ bring some of the decade’s biggest power-pop moments, while Laura Branigan’s ‘Self Control’ and Matthew Wilder’s ‘Break My Stride’ pave the way for Dexys Midnight Runners’ ‘Come On Eileen’. Side Two brings another burst of ’80s energy with Ray Parker Jr.’s ‘Ghostbusters’, Chaka Khan’s ‘I Feel for You’ and Billy Ocean’s ‘Caribbean Queen’. Diana Ross’ ‘Upside Down’ is followed by favourites from The Police, Pretenders and The Jam, before Roxy Music’s ‘Jealous Guy’ provides an elegant finale to this celebration of 1980–1984.

Celebrate the season with Christmas Hits, a festive collection of modern holiday favourites and timeless classics pressed on beautiful opaque green vinyl. Featuring tracks from Wham!, Mariah Carey, Kelly Clarkson, Whitney Houston, Bruce Springsteen, and more, this essential Christmas soundtrack brings warmth, joy, and holiday spirit to every gathering.

2 tunes from 2 masters ! BANG !

B side includes a noisy locked groove

Noisy donwtempo Hardcore industrial destroyer !... play it 45 if you feel it too slow ^^

a good record is a record you can spin at every speed !

'Nieuwe planeten om thuis te komen' is - na 6 jaar stilte - een nieuwe start voor Jonas Winterland. Samen met producer Nicolas Rombouts maakte hij een tijdloze songwriterplaat, waarin al zijn invloeden - EELS, Bonnie Prince Billy, Spinvis, Wilco... - rijkelijk doorschemeren. Soms klinkt hij volledig uitgepuurd, soms prettig rammelrockend. Nergens zit de productie de haarfijne teksten in de weg. Eentweede debuut van een gelouterde liedjessmid.

Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.

Mutual Dreaming label head and New York favourite Aurora Halal is back on her own imprint for the first time in some seven years. This new EP finds her in a cosmic mood and exploring new frontiers, starting with the journeying 'Red Alert' which is encircled by clean sci-fi melodies as slinky drums power onwards and upwards. 'The Spell' is less mobile, instead hunkering down in a deeper, slower, more inert groove, but one no less detailed by intergalactic melody. 'Airtrain To Jamaica Station' takes flight on liquid and linear deep techno grooves with a psychedelic synth wash and 'Mist' and 'PF Tek' bring anxious moods to restless grooves.

Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.

If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.

While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.

From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Since forming in 2020, Dinner Party has continued to erase the lines between jazz, soul, and hip-hop, building a discography celebrated for its warmth, musicianship, and effortless chemistry. Following their Grammy-nominated 2020 self-titled debut, the Dinner Party: Dessert reimagining, and 2023's Enigmatic Society, Whatchu Bringing? finds the group as locked-in as ever — trading the same easy, in-the-room feel that has made them one of the most beloved collectives in modern music.

Whatchu Bringing? arrives on the heels of a pair of 2026 Grammy nominations for Dinner Party co-founder Terrace Martin. Martin's collaborative album with Kenyon Dixon, Come As You Are, was nominated for Best Progressive R&B Album, while its single "WeMaj" (feat. Rapsody) earned a nod for Best Melodic Rap Performance at the 68th Annual Grammy Awards. The nominations arrived in the middle of an especially prolific run for Martin, who spent early 2026 rolling out his ambitious four-part album series — Passion, Peace, Purpose, and Perspective — building toward the full-length Love Is Louder Than Algorithms. Whatchu Bringing? marks his next chapter, bringing that same restless creative energy back to Dinner Party.

With Whatchu Bringing?, Dinner Party continues a run defined by joy, community, and genre-defying collaboration — an invitation, as always, to pull up a chair.

2026 Repress

It’s Italian time! Sam Ruffillo is back. Sicilian producer doing smooth Balearic disco with Italian vocals. The direction is clear: Sam Ruffillo's music brings us back into the Italian riviera and the hippy days of Ibiza in the late 1970ies. Even his way of production is similar to how the early days disco producers in Italia used to work: No samples needed. Instead a few guest musicians come to jam over Sam's beats in his Italian studio space. Guitar, bass, percussions. Sam later makes the production and added keyboard solos and put together the vibes into what is this new EP.

The girl voice comes from NINFA. It’s the classic studio story: Ninfa is a singer and DJ and friend of Sam. She was hanging at the studio while Sam was finishing these tracks. She stated to sing along... the words came up spontaneously… so they decided to record her and finally decided to keep them. The vibe was too good. Why talk English if u can do it better: in Italian! :)

This is second for Toy Tonics after his Sport House EP from last year. Sam also appeared on the solo record of Joel Holmes on Toy Tonics. Together with Kapote Modica he co-produced and made the beats on that record. Now Sam is back with this pure Italian EP. Inclusive remixes by new German artists Gome and Italian Musemeci - known to many from his fabulous Italo-trance releases on Diynamic records.

Reissued on Pascal Pinkert's new label 'Phantom Sounds'. Originally release 2019, now remastered with bonus track included! TIP!

Excerpt from the original release text

"On the album, you’ll find a touch of the old and a great deal of new material. ‘Geen Genade’, ‘Wat Voel Je Nou’ and ‘Verloren’ still stand strong in pride of place, reminding us why we love De Ambassade so much in the first place. The opener and title track, ‘Duistre Kamers’ has a dark industrial vibe that is a perfect introduction of what is to come. Somehow ‘Zo Hoog Als De Bogen’ feels warm and cold simultaneously, it maintains an almost spooky tone; ‘Malefica’ in comparison sounds raw, uncut and almost upbeat. ‘Niet Van Mij’ is one of the reasons the album is so special. Its unexpected wavering synths create another contrast of the melancholic and the joyful in one, and the heavy percussion and echoing vocals tie it in with the rest. ‘Laatste Uur’ kicks you in the face, again with this industrial, moody feel and beautifully handled synths. The closing track ‘Wapengekletter’ is elegant, and a new favourite here. The dark vocals, haunting melody and cleverly tempoed percussion conclude the album wonderfully. Overall, De Ambassade has hit the nail on the head and produced this autumn’s must have Amsterdam album."

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

Jack Hamill concludes his trilogy of space saga albums with The World Overhead landing on Tiraquon Recordings on October 30, 2026, with a special limited transparent blue edition issued exclusively via Bandcamp from October 16, 2026.

Introducing the science fiction realm of Mikrosector-50 and Mr. 8040 on breakthrough electro funk 12-inch, The Love Quadrant (2009), Hamill signed to R&S Records with the double 12-inch "prequel", The Pathway to Tiraquon6 (2011), setting the stage for debut-album proper Welcome to Mikrosector-50 (2013), where Prince-inspired funk and sleek '80s synth-pop soundtracked Mr. 8040's hazardous journey home via heartbreak and drugs. By Love Beyond the Intersect (2019), Hamill's vocoded opus turned introspective, pairing gentle krautrock influences with themes of love, redemption and self-discovery, mirroring Hamill's personal life, sobriety and creative renewal. Through lockdown Hamill retreated to the countryside around Belfast to reacquaint himself with his machines, experimenting with driving acid and trance, and playing guitar, culminating in a fuzzy shoegaze meets banging IDM sound. Relocating to Amsterdam in 2024 and setting up a new studio, Hamill wrote the third installment of Mr. 8040’s saga, bringing the storyline – and himself – back to earth.

Presenting under the new moniker, Jack Tiraquon, and releasing via his own label, Tiraquon Recordings, The World Overhead is the sound of Hamill removing the guise of Space Dimension Controller and concluding the space-themed concept to move forward as the cinematic hardware musician he's always been at the core.

Rooted in raw, minimal, dubby and emotional music, the Amsterdam-based Label Delver focuses on expressive recordings rather than polished productions, with releases that wander across genres.
The label’s first vinyl EP grew out of a shared passion for hardware jams between three friends, who regularly come together for live performances. Recorded in the afterglow of the summer of 2025, Delve Deeper Vol.1 brings together four tracks that combine from deep and hypnotic to more ambient and experimental territories.

Vand joins the roster with a collaboration with Holotropic, adding his singular interpretation of techno to the record. Each artist brings their perspective and while dub techno is the common ground here, the record explores a variety of its expressions.

Holotropic opens with “Sabra”, a patient, raw dub techno cut with subtle traces of the deeper Vril catalogue. Sasemoi’s “Those Who Seek” heads into more ethereal territory, its rhythm gradually surrounded by layers of sound that seem to pull the track upwards. “Binary” goes further into Sasemoi’s more experimental side, with broken rhythms and a heavier dub presence. Closing the record, Vantropic’s “Rift” shifts towards ambient and IDM, built from textured sounds and open space rather than a conventional dancefloor structure.

Born from a summer of shared sessions, Delve Deeper Vol.1 carries something of that time with it: the closeness of playing together, the freedom of improvisation, and a shared love of dub techno.