quête:k boy

Mike D will release his debut album Thank You on August 28, marking the first full length offering of new music from a Beastie Boys alum since 2011. Tracing its origins back to a series of zero-pressure, experimental recording sessions at Mike’s home studio, the album features a dozen servings of sonically inventive post-electronic grooves and hypnotic hooks that find Mike D’s unmistakable voice leading the listener through an aural playground that defies categorization. Pressed on purple vinyl.

Mike D will release his debut album Thank You on August 28, marking the first full length offering of new music from a Beastie Boys alum since 2011. Tracing its origins back to a series of zero-pressure, experimental recording sessions at Mike’s home studio, the album features a dozen servings of sonically inventive post-electronic grooves and hypnotic hooks that find Mike D’s unmistakable voice leading the listener through an aural playground that defies categorization. Pressed on clear vinyl.

Bassist, composer and arranger Bill Lee (who is the father of celebrated Director Spike Lee) helmed numerous Strata-East projects, but this is the one that most stands apart. The Descendants of Mike and Phoebe is a one-off 1974 album uniting Lee with his siblings Cliff Lee, Grace Lee Mims and Consuela Lee Moorhead under a name that pays honour to their enslaved ancestors. Elements of jazz, gospel, soul and blues are threaded into a work of complexity but spirituality, with nimble, dancing grooves next to more pensive explorations. It's a sought-after rarity from the label's catalogue that has been freshly remastered for this reissue. Essential Strata-East history.

Naughty Boys, originally released in 1983, was Yellow Magic Orchestra’s seventh and final album to top the Japanese Oricon Pop charts.

A remix album, Naughty Boys Instrumental was released in July 1983. It contained nearly the entire Naughty Boys album as instrumental tracks in an entirely different running order, as well as the b-side to "Kimi Ni Mune Kyun", "Chaos Panic"; and the full instrumental version of "You've Got to Help Yourself", of which the vocal track was included on Service.

Naughty Boys Instrumental featured additional synthesizers imitating the vocal lines, as well as new embellishments and mixes. Several tracks featured sonically updated percussion tracks, while "Ongaku" featured an acoustic piano soloing over the piece.

This release combines both the original and instrumental albums. Naughty Boys & Instrumental is available on black vinyl and includes a 4-page booklet.

Platypus Trax's first edition of the annual vinyl VA-series brings together an impressive bunch of artists around the globe! A1 - Guchon (Japan) - Hard Normal: A timeless club roller with a hardgroove attitude and inventive splatter of vocal cuts and sounds, that blend together with the driving drums and hard and stabby bassline. 140BPM A2 - Chambray (Germany) - Step Aside: A legend that is Chambray brings the old school ghetto techno back to his repertoire with Step Aside, not shying away from keeping it as minimal as possible, yet keeping the overall sound as full and destructive as possible. 132BPM A3 - Joedan & Killaman (UK) - Slam Down: A fun little ender for the A-side by them boys from Leeds. Big drums and even bigger techy bassline for the peak time of almost any event imaginable. 135BPM B1 - Little By Little (France) & Reginald (Finland) - City Skyline (Detroit Mix): A touch of experimentalism and big synths molded together with sick drum groove and stretchy vocal line. Wait for the second drop for pure nostalgia! 140BPM B2 - Beth Alana (Germany) - Birds of Paradise: A minimalistic workout from the depths of Berlin. Fresh soundscapes and the voices of birds counterbalancing the deep groove and heavy basses. Meditative piece to end the compilation with pure style and respect. 145BPM

Balaise was the original title of Vers le Nord’s debut album. In French slang, balaise means something in between badass and flamboyant. The word keeps popping up throughout the record, like a teenager’s graffiti scrawled on a bus shelter after a few drinks. Balaise robots. Balaise ghosts lurking in the shadows. Balaise is the barfly who fantasies about becoming a street vigilante. In many ways, Matthieu Pellerin's new solo project is entirely contained within that word: a gigantic piece one man against the world cobbled together, a monument shaped by hand using layers of synthesizers sounding like cathedral organs cast in concrete.


Stitching this type of freak together took time. Five years, or what sounds like forever in an age obsessed with career trajectories and content strategies. But for Matthieu Pellerin, it was never about career plans or taking the easy road. Or he would have dug up the rotting corpse of Oi Boys, his now-defunct band, whose brief existence and explosive popularity once united sullen skinheads, gothic street punks, and old school punks alike. Or he would have fully embraced the Metz scene, now that the Great International Triple Alliance of the East (Noir Boy George, The Dreams, The Feeling Of Love...) and rising solo acts like Tune Zitoune, Josy Bazar, Fantôme Josepha, and Tony Gerrano have somehow transformed this sprawling open-air heroin camp into an unlikely capital of cool. But Vers le Nord doesn't point East, and it is as a lone rider that Matthieu Pellerin can fully reveal his songwriting scope.


With Le Seul Élément, his first solo project, the Lorraine native had already shown a rare gift for crafting worlds. Picture vast sonic masses stretching like industrial zones, noise-filled fog pierced by pale neon lights and landscapes caught somewhere between the gnarliest dive bar and a doomsday bunker. And slipping through the soul-crushing slowness and fractured blackened atmospheres, one could perceive a throwback to his years plotting in black metal-tinged Loth and Bishop.

Vers le Nord populates those landscapes that once were rough sketches. Damaged characters reign supreme, with a plethora of exquisite mutts brought to life, rather than outcasts committed to the cause. Where Nuits Blanches —his new supergroup featuring members of Rixe, Lion's Law, Headbussa and La Femme— pulls no punches with raw confessions, Pellerin switches gear for tales of robot apocalypses, vagrants and fam-seeking school shooters, delivered with William Sheller-esque rhymes and striking images. Yet even within fiction, he manages to create something deeply intimate, almost defining, showing very little effort: he is a natural. All in all, à l’aise (at ease). Songs resonate deeply with the listener, perhaps because of Pellerin’s odd way or always addressing someone without ever really naming them, a floating, obsessive and inescapable “you” calling us out.


Despite all of the darkness, Vers le Nord stirs deep emotions. There is something of Type O Negative or Anna von Hausswolff in its constant collision of the ludicrous and the epic gothic, its bleak romanticism that never tells a sordid tale. While the vocals remain rooted in a distinctly French punk lineage—think No Class, La Souris Déglinguée and OG Bérurier Noir—the reactor core is hidden somewhere else. Oneohtrix Point Never feels like a closer relative with his ultra-emotional music made of cold synths and disembodied anthems, swallowing and regurgitating forty years of icy, contemplative new wave across ten songs. It comes as no surprise that Lila Ehjä and Aimable, two rising specialists in lowering the temperature below seasonal norms, appear on “Enterrez-moi bordel” (“Bury Me, for fuck's sake”), a grandiose, spectral and magnificently arrogant finale. And in the end, Vers le Nord starts where the original idea was hiding all along: somewhere amid the ruins, definitely balaise and yet somehow, completely à l'aise.

Acid Pauli's new album "Mystic Meltdown" is hypnotic mystery, textural mastery, all hurtling through your system at peak velocity, unrelenting yet full of mischief and spirit.
The first full-length Acid Pauli album since 2020's MOD, here the artist, Martin Gretschmann, who you might also remember from Console and The Notwist, reaches out to collaborators, unearths new sounds through travel and then brings it all together with one long, sweeping breath - an album to take in as a whole, to ride its compulsive energy to the end and then back to the start, over and over again.
While the album's been brewing for some time, "It took months and months to find the coherency and the story that this album is telling," Gretschmann recalls, "Arranging the pacing, feeling how the tracks come together into one album", it reads as effortless. It draws from Gretschmann's various musical languages, from the techno, house and ambient of Acid Pauli, even reaching back to the electronica of Console, but it places them in new contexts, at new speeds and in rich, giddy contrasts. Mystic Meltdown feels like endless pleasure, unflagging energy.
It's also an album rich with multiplicity. There are many voices that visit us at the Mystic Meltdown, from Hani Mojtahedy's Kurdish vocal on "Goman (Remix)", through to Lhasa de Sela's "Con Toda Palabra" in Spanish. A sample of Kingdom Molongi's voices opens the title track and returns on "Mystic Feedback" - this feels like a particularly profound connection, given the inspiration that Gretschmann has gleaned from the musical community surrounding the Nyege Nyege Tapes label and organisation over the years. He's also appeared at one of their festivals, by all accounts a revelatory experience.
Sometimes Gretschmann reaches back yet further. "Yes, Caroline" hints at an abstract relationship with the Beach Boys' pop masterpiece, Pet Sounds. Yet the way he draws these various influences into his own music always displays more than a touch of transmutation. Releasing the album on his own label All Is Acid which has recently been undertaking a reissue program of some of Acid Pauli's earlier works, "Mystic Meltdown" feels like a complete expression for Gretschmann; from beginning to end, from creation to reflection. "Building up, going into different spheres and emotions," Gretschmann concludes. "Working through some darker shades, trying to find light. Pouring in to get through."

One of the most anticipated films of the fall, Primetime releases on September 25, directed by Lance Oppenheim (Sperm World, Some Kind of Heaven), and starring Robert Pattinson as "To Catch a Predator" host Chris Hansen. The soundtrack is equally star studded, with an original score composed by frequent collaborator of Oppenheim's, Ari Balouzian, plus an original song by Phoebe Bridgers.

One of the most anticipated films of the fall, Primetime releases on September 25, directed by Lance Oppenheim (Sperm World, Some Kind of Heaven), and starring Robert Pattinson as "To Catch a Predator" host Chris Hansen. The soundtrack is equally star studded, with an original score composed by frequent collaborator of Oppenheim's, Ari Balouzian, plus an original song by Phoebe Bridgers.

"Lost Weekend" ist das erste Album von Phoebe Bridgers seit dem mehrfach für den GRAMMY nominierten Vorgänger "Punisher" aus dem Jahr 2020. Bereits ihr gefeiertes Debüt "Stranger in the Alps", veröffentlicht kurz nach ihrem 23. Geburtstag, machte deutlich, welch außergewöhnliches Songwriting-Talent in Bridgers steckt. Mit "Punisher" löste sie dieses Versprechen eindrucksvoll ein: Das Album wurde für seine kluge, eindringliche und zugleich fesselnde Komposition weithin gefeiert und etablierte sie endgültig als eine der prägendsten Stimmen ihrer Generation. Wer nun "Lost Weekend" hört, wird jedoch feststellen, dass Bridgers noch einen Schritt weitergeht. Auf dem neuen Album präsentiert sie sich auf dem bisherigen Höhepunkt ihres künstlerischen Schaffens. Mit bemerkenswerter Präzision verfeinert sie die Motive, die ihre bisherigen Werke ausgezeichnet haben, und erweitert ihren Sound gleichzeitig um zahlreiche überraschende Facetten. Das Ergebnis ist ein Album, das vertraut wirkt und dennoch immer wieder neue Wege einschlägt. Vor ihren jüngsten Pop-up-Shows stand Bridgers zuletzt mit ihrer Supergroup boygenius auf der Bühne, die sie gemeinsam mit ihren engen Freundinnen Lucy Dacus und Julien Baker gegründet hat. Für das 2023 erschienene Album "the record" erhielt die Band mehrere GRAMMY Awards, darunter "Best Alternative Music Album" sowie "Best Rock Song" und "Best Rock Performance" für die Single "Not Strong Enough". Phoebe Bridgers verließ die Preisverleihung zudem als meistprämierte Künstlerin des Abends. Ihren vierten GRAMMY gewann sie in der Kategorie "Best Pop Duo/Group Performance" für "Ghost in the Machine", ihre Zusammenarbeit mit SZA auf deren Erfolgsalbum "SOS". Zuvor war Bridgers als Support-Act auf ausgewählten Terminen von Taylor Swifts "The Eras Tour" zu sehen. Davor absolvierte sie fast zwei Jahre lang ihre eigene "Reunion Tour" mit mehreren ausverkauften Nordamerika-Etappen, rund dreißig Konzerten in Europa sowie abschließenden Shows in Südamerika, Asien und Australien. Auch abseits der Bühne prägte Bridgers die vergangenen Jahre mit einigen der eindrucksvollsten Live-Performances im Netz und Fernsehen, darunter ihr viel beachtetes NPR Tiny Desk Concert sowie ihr Auftritt bei Saturday Night Live. Seit ihrem letzten Soloalbum veröffentlichte sie zudem zahlreiche Singles, Coverversionen und Kollaborationen mit Künstler wie Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift und The National.

The duo of Nail and Barney Osborn are rising stars who work under the Indoor Tall Boys alias, a new name on us but this fresh drop on In The Dance suggests they have a deep understanding of dancefloor dynamics and a wide-ranging taste. 'Flames' is a supple, succulent and poppy sound with silky disco flourishes and a soulful, almost gooey groove. 'Re-Vibrations' has a lovely double skip in the drums and a gloopy bassline that brings a nice louche vibe, while 'Hold A Groove' has a sunny outlook and subtle strings worked into a smooth groove that exudes summery heat. 'KTT' shuts down with a filter-edge and glistening keys all stitched into a classic disco house groove full of colour and funk.

Originally released in 2023, this highly sought-after release finally gets its much-needed repress in 2026. Original copies are already exchanging hands on Discogs for £50+, so make sure you grab this while you can — before the Discogs sharks get their grubby mitts on it!

Two Cold, a name synonymous with the number two and of course, ice cold beats. Even though the London based brothers haven’t actually released any music yet, their coming has been foretold by a growing chill that has permeated the dance music stratosphere.

Legs beginning to quiver and shake? That’s Two Cold.

Hips involuntarily gyrating in an attempt to stay warm? Two Cold.

Jaw chattering like maracas? It’s those frosty boys, you’d better believe it.

If you like your dance music to take you on a psychedelic journey through time and space, the DESERT LEATHER EP is for you.Winding passages that explore breaks, bleeps, bass and beyond. Genre defying influences snatched from every dimension of the dance diaspora.

Inescapable body-rocking beats that echo through your very bones so hard that even your ancestors have a boogie.

The DESERT LEATHER EP will expand your mind to the very edge of the horizon, where earth and sky meet and where all laws of nature are meaningless.

Two lads
Wicked beats
Original styles

Clever boys
Original styles… wait I said that already
Lots of bass
Delightful melodies

Two - as in there are two of them

Cold - as in their beats are ice cold

Format: LP , Limited
With his first longplay EUROSTAR, the Danish disco-dj-turned-rock-crooner Boogie Rookie seeks to bridge the troubled waters between UK new-wavey rock and sleazy euro-disco. It's a ten track italo-rock outburst uniting extreme hedonism, climate crisis and the European railnet.

The album is produced partly in Copenhagen with Danish disco royalty Vinnie Who and balearic-proghouse wunderkind William Winding, and partly on the hills of Napoli with the Neapolitan Italo-don Whodamanny. In the middle of the album there are steamy vocal features from the Parisian disco queen Corine and the Danish model-chanteuse Klara Kristin.

The album is already remixed by the likes of Prins Thomas, Italo Deviance and Danger Boys and has gained traction amongst DJ's all over who fear neither kitsch or raw rock'n'roll power.

When he's not busy making punky HI-NRG tunes, Boogie Rookie is one of the busiest European cosmic disco dj's. On weekend nights, you're very likely to find him with a glass of red wine behind the booth of his countless Copenhagen residencies, his residency at Paris' hyped disco La Fète or at happening disco dances elsewhere in Europe.

Tauchen Sie ein in die goldenen 60er Jahre mit der neuen Vinyl-Compilation „Chart Hits der 60er Jahre Vol. 1“! Diese exklusive Zusammenstellung bringt Ihnen die unvergesslichen Hits und Interpreten, die eine ganze Generation geprägt haben – in originaler Aufnahmequalität und mit zeitlosem Charme.

Erleben Sie die größten Erfolge der damaligen Zeit mit legendären Künstlern wie Nana Mouskouri, Connie Francis, Peter Alexander und Peter Kraus. Jede Seite der Schallplatte erzählt die musikalische Geschichte eines Jahrzehnts, das voller Emotionen, Melodien und Lebensfreude steckte. Freuen Sie sich auf eine sorgfältig kuratierte Auswahl von Originaltiteln, die die Hitparaden der 60er Jahre stürmten und bis heute Kultstatus genießen Ein Muss für Nostalgiker und Vinyl-Liebhaber gleichermaßen! „Chart Hits der 60er Jahre Vol. 1“ ist die perfekte Gelegenheit, die Magie der 60er Jahre neu zu entdecken – authentisch, emotional und unvergesslich.

2026 Repress

Assembler Code - We've Felt This One Coming For A Minute Now. After An Unstoppable Run Of Releases Along Side Jensen Interceptor On Labels Such As Cultivated Electronics, Private Persons & Boysnoize Records, Ac Is Finally Flying Solo With This 4 Track Electro Assault Masterpiece 'mental Escape'.

Plugging Into The Title Track 'mental Escape', It's A Rugged Machine Driven Work Out Through Idm & Industrial Landscapes Formulated To Present His Vision Of Futuristic Electro Whilst Still Providing All The Nostalgic Rother & Drexcyian Nods We All Love.

Now That The Tone Has Been Set, 'simulant' Follows Suit. Entering The Celestial Sphere Via Some Haunting Sci-fi Strings, We're Slapped In The Face With Slamming Percussion Followed By A Relentless Acidic Modulated Baseline That Takes Us From One Planet To The Next At Light Speed.

The Journey Wouldn't Be Complete With Out His Old Partner In Crime Jensen Interceptor Coming On Board For A Ride. 'type 2' Is A Classic Case Of Past Meets Present. Scrapyard Industrial Groove Ready To Split Speakers At Your Next Warehouse Party Married With A Selection Of Classic Alpha Sounds To Keep All The Purists In Check.

The Thunder Continues To The Very End. If You're A Tape Saturation Fiend Begging For Your Next 808 Crack Hit, Prepare To Have Your Back Bent In Half With Euphoria As Soon As 'hal's Machine Tool' Is Injected Into Your Ears. In Short, 4 Minutes & 44 Seconds Of Hard Nasty Robotic Electro Booty Sweat.

Analog Africa's latest essential compilation began with a ruined needle. Samy Ben Redjeb, who was newly back from a 2002 digging trip, dropped a stylus into a groove that censors at the SABC had gouged with a blade. The record had been marked "not suitable," and the story behind it runs through the whole compilation. The 22 tracks pull American soul, funk and disco toward jazz, reggae and local rhythm until the result sounds utterly Jo-burg. 'How Long?' and 'Take It' are the early standouts, though the Beat Set two-parter and Dudu And The Big Time Boys hold their own. The 16-page booklet fills in the context nicely on this well assembled deep dive.

TBM’s 9th title, newly recorded by Tsuyoshi Yamamoto with renewed energy after his time training in the U.S. Featuring a lyrical touch on "Autumn Leaves", a bold and swingin’ Tsuyoshi-style take on "Wave", and the superbly tasteful "Blue Manhattan" in both performance and composition—an exquisite piano trio album.

featuring the complete 17-track deluxe edition available on vinyl for the very first time, plus additional rare bonus track "Stay With Me Baby", making this the definitive edition for collectors and fans.

Originally released in 2014, Travellers, the acclaimed album from Bison, returns in a newly remastered edition as a limited double vinyl LP.

Created by an exceptional cast of collaborators including Paul Mudd Murphy, Ben Smith, Ursa Klose, and the late Holger Czukay of the legendary German group Can, Travellers occupies a unique space between experimental electronics, psychedelic soundscapes, and leftfield dance music.The album also features reinterpretations by Conrad McDonnell of the influential DJ and production duo Idjut Boys, helping to cement its reputation among adventurous listeners and collectors alike.

Over the years, Travellers has quietly become a cult favourite. Long unavailable on vinyl, original copies have become highly sought after and increasingly expensive on the second-hand market, earning the record a near-mythical status among collectors and fans.Fully remastered from the original recordings, this new edition of Travellers brings renewed depth, clarity, and presence to an album that has quietly earned cult status over the past decade, while preserving the atmosphere and character that made it so distinctive.

More than ten years after its original release, Travellers returns not as a nostalgic artefact, but as a vital and enduring work whose reputation has continued to grow through word of mouth, discovery, and devotion from collectors and listeners around the world. Travellers remains a document of a unique moment in time, a collection of friendships, ideas and happy accidents that somehow found their way onto tape.

2026 Repress

NC4K, based in Kyoto, presents the third installment of their vinyl-only series. This four-track EP features House and Breakbeats tracks exclusively produced by artists residing in the Kansai region.

Expect raw, impactful drums and skillful sample manipulation designed to deliver a jolt of energy to the dance floor.

We’re delighted to be working with London based deep house label, To The Rocks

Presenting the Visions of love EP from Lucas Moinet, a Paris-born producer with his roots planted firmly in the soul of house music. Through projects like Keraw, Groove Boys Project and Projecture, he’s built a catalogue that doesn’t chase trends, it’s going straight back to the source. Chicago, Detroit, New York. Four tracks. Deep, soulful, deliberate. Made by someone who clearly loves and lives the culture.

The Mighty Diamonds are one of the most famous vocal groups to come out of the Jamaican Reggae scene.
Their perfect harmonies ride over the wholesome and Garveyite influenced lyrics to such great effect that they will always evoke memories of that time and place, but also like all great music never seems to date.

The Mighty Diamonds consist of Donald ‘Tappy’ Shaw (lead vocals) Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson providing those fantastic harmonies.
They began their recording career working with producers Stranger Cole and Rupie Edwards but found their breakthrough success with producer Joseph ‘Joe Joe’ Hookim at the legendary Channel One Studios recording ‘Hey Girl’ and covering two foreign tunes namely ‘Country Living’ (The Stylistics) and ‘Stoned Out of Mind’ (The Chi-lites) which suited their vocal styles perfectly.

The vocal group also cut tracks with other famous producers of the time Joe Gibbs ,Gussie Clarke and Mr.Tappa Zukie of which we focus this release on.On listening, these tunes work perfectly with harmonies weaving together and lifting the songs to another level.
The group also leave some room for a history lesson in the shape of ‘Morgan the Pirate’ and the thought provoking ‘Do You Want to Spend Your Time Wasting Time’.
Well waste no more and enjoy this set by one of Jamaica’s finest vocal groups….

In the rapidly shifting tectonic plates of the global Afrobeats scene, few arrivals have been as seismic as that of Ahmed Ololade—better known to the world as Asake. With his breakout project Mr. Money With The Vibe, the artist didn’t merely debut; he effectively recalibrated the tempo of the Nigerian pop soundscape. The EP functions as a masterclass in synthesis, pulling from the ornate, percussive history of Fuji music and grafting it onto the driving, bass-heavy architectures of contemporary Amapiano. It is a calculated, deeply rhythmic hybridization that manages to feel both nostalgic and jarringly modern.

From a critical vantage point, Mr. Money With The Vibe is defined by its brevity and density. Asake treats each track as a focused vignette, utilizing a vocal delivery that oscillates between a melodic, almost liturgical chant and the staccato urgency of a Lagos street orator. The production—characterized by sharp, frenetic percussion and deceptively simple melodic loops—creates a high-intensity atmosphere that mirrors the relentless pace of urban life. He avoids the pitfall of bloated experimentation; instead, he doubles down on a "street-pop" ethos, prioritizing accessibility without sacrificing the complex rhythmic interplay that gives the genre its distinctive texture.

Ultimately, Mr. Money With The Vibe stands as a pivotal document of the current era, capturing the transition of Afrobeats from a regional powerhouse to a dominant global force. By blending the aspirational "hustle culture" narrative with an increasingly sophisticated sonic palette, Asake established a blueprint that has since influenced a new wave of artists. The project is a testament to the idea that authenticity, when paired with relentless precision, remains the most effective currency in contemporary music.

Following the massive, multi-platinum success of the global hit "A Bar Song (Tipsy)" and his breakout contributions to Beyoncé’s COWBOY CARTER, Shaboozey returns with his most ambitious work to date: the new concept album, The Outlaw Cherie Lee & Other Western Tales. Building on the genre-bending foundation of Where I've Been, Isn't Where I'm Going, this project cements Shaboozey’s status as a pioneer of New Americana through a cinematic outlaw revenge story with a tragic love at its center.

The narrative follows Cherie Lee, who, after witnessing her sheriff father’s murder by the Bootcut Boys, abandons the badge to hunt the gang down one by one. In the heat of her vengeance, she falls for an outlaw—not the killer, but a man guilty by association. While he seeks redemption through her love and she seeks a cure for her darkness, both find that violence is not so easily escaped. When her lover kills the real murderer in her name, he proves that bloodlust doesn’t end; it only evolves. In a devastating final act, Cherie chooses her vendetta over her heart, killing the man who loves her most and fully becoming the very monster she set out to destroy. Gritty, soulful, and narratively daring, The Outlaw Cherie Lee is a bold evolution from one of music's most dominant current forces.

2026 Repress
The dream team is back! Borrowed Identity and his boyhood friend Mechanical Soul Brother have been doing hot sessions in their studio and the output is the fantastic „Return to yourself EP“. All tunes have a classic yet modern house flair. The A-side is full of groovy rhythms, deeeeeep basslines, splendid vocals and subtle acid lines - „just be yourself“ might even slightly recall Larry Heard/Mr. White’s „the sun can’t compare“! The club friendly b-side offers two versions of „point of no return“. The 2 am version has those old schoolish drums and some blissful sounds and voices, just the way we love it, whereas the 6am version is the more straight forward, catchy early morning groover. What a return from Borrowed Identity & Mechanical Soul Brother! Watch out for the limited coloured vinyl edition!

Volume Six in the ongoing saga of the Jahtarian Dub mothership, full of 8-bit explosives, cosmic curveballs and sound system heavy hitters.

Roger Robinson teams up with West Coast beat maestro Mophono (watch out for the limited 7” instrumental “Budokan Dub”!), Maffi and Tapes return with mutated killer riddims, Casio shaman Green Jesus is transmitting from the Polish woods, while The Other Others beam in alongside Daniel Monaco, followed by a special Dub cut from Elijah Minelli x Kiki Hitomi.

On the flip Bo Marley are back with a track previously only released on tape, S.NOVA spreads her haunting vocals over an Alien Trackers depth charge and Slim Levy dubs the Beatles into outer space.

There is more Dub love coming from the newly born Snorks outfit, disrupt appears with a beautiful spaced out hiphop track and Barcelona Dub heroes STA finish the journey with a super hypnotizing brain melter that will see an extended 12” version soon.

Pascal Moscheni presents his first full length EP on M.A.D RECORDS and we couldn't be more excited. The three-tracker kicks off with ‘Pasion Latina,’ a groovy house jam featuring an original vocal from Miranda Makaroff. Sexy and rolling, it's a real party starter—pair this with the Tino remix and it's game over. Closing the EP ‘Gambling & Arts’ - a rude boy bass heavy banger that will put any sound system through its paces.

The latest game in the stylish Katamari Damacy series in which you roll your katamari and collect items to become large enough to form a star for the cosmos, Once Upon A KATAMARI, is getting its own vinyl record release called Katamari Once Again! A total of 23 wondrous songs have been personally selected by the game"s sound composer, Yuu Miyake. The album features BGM stage music in addition to songs performed by an all-star lineup of various artists such as Saya Asakura, Amane Uyama, KAF, Clémentine, Kocchi no Kento, Masashi Sada, San Francisco Boys Chorus, Katamari Damacy feat. suis from Yorushika, Daoko, chelmico, Kenji Niinuma, Saki Hanami, Shigeru Matsuzaki, and Yakushimaru Etsuko. Once Upon A KATAMARI immerses you in the colorful worlds and eras of time and history. Product shown is a luxurious gatefold sleeve housing two records inside. The cover was designed by Kazuki Takakura with supervision from Yuu Miyake, the game"s sound composer. When you think of Katamari Damacy, you think of the colorfully chaotic artwork that comes hand in hand alongside it, and this packaging offers a high-quality, must-have item for a fan"s collection.

TRON: Divergence (Companion-Album zum Soundtrack)
Mit „Tron: Divergence“ veröffentlichte Nine Inch Nails das Companion-Album zum Soundtrack des aktuellen TRON-Films Tron: Ares, dem neuesten Kapitel des legendären Sci-Fi-Franchise, das 1982 mit Tron
begann und 2010 mit Tron: Legacy fortgesetzt wurde. „Tron ARES: Divergence“ vereint neue Songs und
Remixes. Darunter Tracks, die im Film selbst zu hören sind und zusätzlich neue Interpretationen von einer
stilistisch vielfältigen Riege an Kollaborateur:innen. Mit dabei sind u.a. Boys Noize, The Dare, Pixel Grip
und Chilly Gonzales, die dem digitalen TRON-Universum ihre ganz eigene klangliche Handschrift verleihen.
Das physische Album wird am 5. Juni erscheinen.

BOY Records was founded by Michael Zosel back in 1987 but it was after a few releases that he started to work with producer Arno Müller. “Brian” by Absurd was the first techno release on the label and a great success in the German techno scene. The cooperation continued with singles by Hypnopedia and New Scene that worked very well and put the name of BOY Records in the charts and clubs all around Germany and abroad. In 1990 another massive success came with the single “Kennedy” by Deep Thought and since there the label did not stop to release hit after hit by lot of names like Time Modem, “O”, Cybex Factor, Sonic System, Moskwa TV, MCL and lot more.

“Timeless Technology 1988-1991” compiles some of the best singles released on label’s most fruitful years. A selection of 24 classic tekkno traxx. Four records with printed inner sleeves packed on a silk-screened transparent Pet-Gag box. Limited edition of 500 copies.

pressure control’s second release comes from the hands of Shift label-head Phase O’Matic.

Following seismic hits on Libertine, Exarde, EYA, New Fair Tracks and Chandelle, our boy wonder crashes into the pressure control spotlight with a deadly five-tracker primed for the floor.

Touching all corners of what we know and love – you can run, but you can’t hide.

Available for pre-order now via One Eye Witness.

All music by Jules Von Daniken
Pressing and distribution by One Eye Witness
Design by Al Robertson
Mastering by Marco Pellegrino

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!

2026 Repress 10" coloured vinyl
Following on from last release's b-boy junglist outings, this time the ill behaviour comes in the form of two reggae-tinged Amen rollers, bringing new meaning to the word "delicious"

Back in stock and highly coveted, The Smiths - Best… II is a compilation of some of The Smiths’ biggest tracks featuring Heaven Knows I’m Miserable Know, Ask, There Is A Light That Never Goes Out and more.

Originally composed by Collage in 1985, Herzschlag returns in a newly recorded cover version by Berlin-based synth-wave duo Bionda e Lupo. Describing themselves as a “boy/girl band like no other,” Lupo recreated the NDW-electro tune from the ground up using an impressive array of vintage instruments and studio equipment, including classic synths such as a Pro-One, a Roland Juno-60, and a Farfisa Syntorchestra. Bionda’s distinctive voice adds a new emotional depth to Katrin A. Kunze’s lyrics while still remaining true to the original spirit of the song.

Lupo of Bionda e Lupo has long been a devoted fan of Mit den Puppen tanzen, Collage's only release at the time, originally issued as a 12" single in 1984. Despite never managing to acquire an original copy, he considers the record unique within the German NDW landscape thanks to its unmistakable "Bravo-breakdance-meets-synth-pop" character. Indeed, Markus Kammann, Jürgen Grah, and Katrin A. Kunze drew significant inspiration from the electro-funk pioneers of the era, particularly Afrika Bambaataa's iconic Planet Rock. When we approached Bionda e Lupo about re-editing a track from the Collage's Motel d'amour release, they instead proposed recording an entirely new cover version.

Work on the project began in spring 2025 in coordination with Markus Kammann, who, together with Jürgen Grah, originally composed the music. Sadly, Kammann, born in 1958, passed away unexpectedly on October 17, 2025. This release is dedicated to his memory.
The liner notes reveal additional details about Kammann's remarkable life and achievements. He was the founder of the legendary Beatbox club in Wuppertal, which was once recognized as the "Best Club in Europe," and a co-founder of the Groove Attack record store. Groove Attack would later grow into one of the world's most influential music distributors, especially for Hip-Hop.

The 12" release is limited to 200 copies. Pressed on transparent red vinyl with black "smoke" effects, it comes housed in a picture-disc sleeve with an accompanying sticker. As an additional highlight, the record includes a previously unreleased NDW bonus track recorded around 1983 by Collage. It features Katrin A. Kunze as well as Thomas Kohl, the vocalist of Schwarze Bewegung.

- Red transparend vinyl with black smoke
- Housed in a picture-disc sleeve with large sticker
- Released in memory of Markus Kammann (1958-2025)
- Contains A4-sheet with liner notes
- 5 tracks, including the vinyl only bonus track "Hallo E.T.",
- Quality lacquer cut by Manmade Mastering

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

Transparent Green Vinyl Repress

The Sound of Love International 008 curated by Ivan Smagghe.

The next chapter of Love International's compilation series with Test Pressing arrives through the lens of Ivan Smagghe. Guided by his long-standing mantra, “the style of no style,” the 12-track selection drifts effortlessly between shadow and light - a reflection of the festival as he knows it.

This is Smagghe’s version of Love International: unpolished in the right places, intuitive, and deeply attuned to the stranger corners of the Adriatic experience. The compilation captures the balance at the heart of the festival: connection, curiosity, and a shared rhythm that holds it all together. Slightly out of reach yet exactly where it should be.