Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.
Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.
What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.
Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.
“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet
“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet
“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times
“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out
With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.
It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.
Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.
Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.
This 1981 album marks the debut of the most revered and iconic figure in Peruvian chicha: Chacalón. His music combines fuzz- and wah-wah-drenched distorted electric guitars with tropical percussion and even elements of huayno. This passion for electric guitars also fueled his admiration for the British band Cream -- and, of course, Eric Clapton -- which ultimately inspired the name of his band: La Nueva Crema.
His songs speak to the working classes who migrated from rural areas to the major cities in search of better employment opportunities and portray the hardships they faced. The lyrics tell stories of heartbreak, drunken nights amid everyday struggles, and marginalization -- common experiences in the poorer communities of Peru. Chacalón became a cult figure among the most disadvantaged sectors of Peruvian society, a devotion that remains strong years after his death. The album is essential listening for anyone interested in psychedelic cumbia and the roots of Peruvian chicha. This reissue preserves the album's original artwork as it appeared on Discos Horóscopo and includes liner notes by genre expert Víctor Zela (La cumbia de mis viejos).
Toronto’s Lammping is a project built on the idea that music can exist across timelines. Founded by Mikhail Galkin and Jay Anderson, the band’s sound draws equally from heavy psych rock, hip-hop, classic songwriting, and experimental collage, creating records that feel both familiar and impossible to place within a single era or genre.
Their latest album, So What, What?, is the clearest expression of that approach. Built from fragments of memory, influence, and lived experience, the record moves seamlessly between sampled textures, personal storytelling, and adventurous songwriting. References to everything from Soviet-era recordings to golden-age hip-hop sit alongside reflections on family, parenthood, and the uncertainty of the present moment. Yet despite its wide-ranging influences, the album remains firmly rooted in songcraft rather than nostalgia.
Rekombinant is the solo project of Rome based composer and sound artist Alfonso Montagnese. Blending electroacoustic composition, analogue electronics, magnetic tape and sound design, his work explores the physical qualities of sound, embracing imperfection, transformation and degradation as expressive compositional tools.
Borrowing its title from the physical principle of parity symmetry, the album is less interested in scientific theory than in the possibility that an identity may endure even after profound change. Sound is treated as matter, it is stretched, reflected, saturated, compressed and displaced, yet never entirely separated from its origin.
Magnetic tape is the medium through which this question unfolds. Magnetic tape does not preserve sound faithfully, it reshapes the sound. It compresses, saturates, colours and gradually erodes it, producing not a copy but another state of the same material. Every recording becomes both document and transformation.
Most of the instruments used throughout the album were selected from more recent generations of electronic equipment compared to previous works. Their character is not defined by nostalgia, but by their functional and sonic qualities: instruments chosen for how they behave under pressure.
The album consists of fourteen compositions, each one approaching sound as a material in continuous state of alteration and was conceived within what feels like a new Middle Ages, one that is still unfolding. An era marked by increasing fragmentation, uncertainty and the erosion of shared cultural references. The music does not illustrate this condition; it absorbs and inhabits it.
Throughout these fourteen pieces, sound continuously changes its appearance without abandoning its identity. What remains after every inversion, every saturation and every layer of magnetic degradation is not certainty, but persistence.
Parity Symmetry is Conserved is ultimately an exploration of that persistence: the fragile possibility that memory, identity and human experience may continue to exist, even after passing through irreversible transformation.
The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.
The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.
Futurismo are proud to present DEVO’s NITROUS NIGHTMARE, Halloween Live ‘75. Never before released, or heard in it’s entirety, this legendary live performance is presented here in it’s full chaotic glory on limited edition 2xLP and 2xCD. The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility. On Halloween 1975, Devo took the stage at the WHK Auditorium in Cleveland, in a supporting capacity for jazz legend Sun Ra, to perform for a raucous crowd dressed in the finest of Halloween cliché. Already riding high on Nitrous Oxide and booze supplied by the sponsoring radio station, this unaware horde was expecting to see a slick cover band churning out renditions of Bad Company hits, only to be subjected to an act of subversive performance art that would send the growingly aggravated crowd into eventual meltdown. Physical threats ensued, but Devo played on. Acting as a live companion release to Futurismo’s much lauded Art Devo, the tracklist featured here showcases the origins of de-evolution theory in a live setting. These songs would become some of their most famous material, with this recording believed to be the very first time ‘Jocko Homo’ was performed in front of a live audience; the full 12 minute version documented here is sure to please fans, even if it displeased the urban hippies and horror masked onlookers that evening. Whilst Devo may have felt they were trapped inside a negative energy vortex during that era, it is clear in retrospect that the band was using this energy to carve out the genesis of a sonic and visual art that has truly stood the test of time. The music performed that evening would mutate culture for decades to come, long after the denizens of the auditorium packed away their cheap vampire costumes and returned to their day jobs. Spanning 2xLP’s of unreleased live material, most of which has never been heard before, this wondrous performance draws purely from that integral early history. Mixed and mastered directly from recordings kept in the bands personal vaults, this live collection showcases why Devo was, and still is, one of the most important bands in American history. De-evolution is real. The art of DEVO is real. Here is the evidence. This 2xLP is housed in a gloss laminated wide spined sleeve. It has a tracklist that has been sourced directly from the archives, and contains colour inner sleeves and a fold-out containing archival imagery and liner notes by Gerald V Casale.
Futurismo are proud to present DEVO’s NITROUS NIGHTMARE, Halloween Live ‘75. Never before released, or heard in it’s entirety, this legendary live performance is presented here in it’s full chaotic glory on Super Limited edition Deluxe cassette format!
The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility.
On Halloween 1975, Devo took the stage at the WHK Auditorium in Cleveland, in a supporting capacity for jazz legend Sun Ra, to perform for a raucous crowd dressed in the finest of Halloween cliché. Already riding high on Nitrous Oxide and booze supplied by the sponsoring radio station, this unaware horde was expecting to see a slick cover band churning out renditions of Bad Company hits, only to be subjected to an act of subversive performance art that would send the growingly aggravated crowd into eventual meltdown. Physical threats ensued, but Devo played on.
“These songs were written just before and while in my first stint in rehab at 20 years old. They were recorded about 4 days after I got out. Broke, walking on freshly sober baby giraffe legs, I sold my car and moved back in with my mom to make that recording happen. At a time where I had no direction, the mission of capturing sonically the love that unraveled my heart at that age became my North Star. These songs have sat in the vault for 8 years, and somehow never managed to collect dust. Anytime I’d revisit them, the glow they carried upon conception still shined bright. For years I’ve known there would be a time to let them loose, and that time has finally come. It took nearly a decade of gaining life experience and perspective to truly appreciate the beauty of young love, courage in the face of unknowning at such a formative time in a lifespan, and belief in magic that can break your heart as quickly as it can mend it. I hope these songs can serve as a reminder of the lessons we all learn from early heartbreak and that belief, and even more so, a looking glass at how our hearts are capable of forever expanding to find love that’s true.”
— Briston Maroney
“These songs were written just before and while in my first stint in rehab at 20 years old. They were recorded about 4 days after I got out. Broke, walking on freshly sober baby giraffe legs, I sold my car and moved back in with my mom to make that recording happen. At a time where I had no direction, the mission of capturing sonically the love that unraveled my heart at that age became my North Star. These songs have sat in the vault for 8 years, and somehow never managed to collect dust. Anytime I’d revisit them, the glow they carried upon conception still shined bright. For years I’ve known there would be a time to let them loose, and that time has finally come. It took nearly a decade of gaining life experience and perspective to truly appreciate the beauty of young love, courage in the face of unknowning at such a formative time in a lifespan, and belief in magic that can break your heart as quickly as it can mend it. I hope these songs can serve as a reminder of the lessons we all learn from early heartbreak and that belief, and even more so, a looking glass at how our hearts are capable of forever expanding to find love that’s true.”
— Briston Maroney
byt’ continues its eclectic journey with the third release in its catalogue. This chapter sees the return of Telva, shifting into a new frequency with a story born between 11.11 and a full Taurus moon back in 2024 in Berlin. The composition recorded in a single take, is articulated through a dreamy, electronic, minimal house, and vocal infusion. Left as romantic and unrestrained as the artist’s reverie, it is preserved in its raw form to protect its intimacy.
“Every record I make is a guide towards a better understanding of all that I can be. 11:11 is a fragment of a special spark I experienced, which peeled back another layer of myself enriched by the lessons along the way, until finally holding it in my hands today. What started as an epiphany on Heideglühen’s dance-floor unfolded into a kiss of destiny, a fleeting delirious love affair, and a quest of passion that hugged my memory, compelling me to revisit my early days. An endeavor of surrender, no matter how unknown, unconventional or uncertain it all may feel. To finally have the courage to let it be messy, raw and true, so that I stand naked once again, while daring to honor the absence of order as part of the magic and mystery of life.” - Telva
Klara Lewis’ distinctive talent for disfiguring sound into forms that remain recognisably song-like reaches a new peak here. Her new album Opening is a deceptive recording with veiled melodies and clandestine bangers.
Lewis, creator of worlds, treats music as a mirror that reflects a perspective misaligned with the real image. Her music moves in unusual and often startling ways. Acoustic instruments such as ukulele and piano are subjected to processes of deconstruction and reconstruction, their original forms continually reshaped.
The tracks within Opening offer an array of disorientating tactics; damaged field recordings are suddenly sliced into ominous rhythmical patterns whilst deceptively simple tactics provide foreboding dread. Often alien on entry, the progression of a piece can land in a surprising tenderness, or the other way around. The momentum grows as a physical state but also one which is questioning, desiring, encapsulating a feeling, to explore a further way of expression and ultimately connecting: A new closeness, a new perspective.
Opening is an album in which the protagonist’s manipulation of sonic matter seems to extend beyond the music itself, resulting in a corresponding manipulation of the active listener. Sounds shift, dissolve, and re-emerge in altered forms, creating an experience that feels both intimate and disorienting. Lewis maintains a delicate balance between abstraction and emotional immediacy, drawing the listener into a world where familiar musical gestures are constantly reconfigured in surprising ways.
The works on Opening are refracted through an exploratory and transformative lens, suggesting an artist continuing to redefine the possibilities of musical language as a space where the instantaneous and the eternal come together.
Music by Klara Lewis. Mastered by Stephan Mathieu. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Artwork by Klara Lewis. Design by Klara Lewis & Nik Colk Void. Images from ”En Masse” by Circa, directed by Yaron Lifschitz. Dancer Holly-Rose Boyer.
”Tide” commissioned for compilation album "Dissolving Strawberry" (2020), released by Irrlicht. ”Drip” and ”Feel” originally composed for the film ”Failed Emptiness” (2024) by Mika Taanila.
Minutiae is the first full-length release form Stockholm’s Ināra Quartet, made up of brothers Kasper (guitar, banjo, mandolin) and Mauritz Agnas (bass, cello), Johan Graden (piano, harmonium, synths) and Mischa Grind (percussion). Drawing on wide performance and composition experience in free improvisation, jazz, and composed new music, the quartet have carved out a unique niche where radical approaches to rhythmic organisation and group interaction are wedded to immediately accessible, folkish melodic and harmonic material. Unfolding briskly across eight pop-song length tracks, Minutiae places these folk fragments under a microscope, expanding them into intricate patterns of group interplay by turns austere and lushly psychedelic.
The quartet’s layering of independent rhythms, pulses, and tempi suggests a range of precedents, from Ligeti’s ticking clock textures to the pulse music of John McGuire, the repeating asynchronous cycles of The Necks, and the intricate irregular crosshatching of Banda music. Rhythm, harmony and melody shade into one another within each of the instrumental layers that overlap to form the music’s rippling surface. At points guitar, bass, percussion, and keyboards can seem each to occupy their own world, each player moving independently according to their own internal tactus, but attention to the details of group interplay reveals carefully planned collective movement. On ‘Klapparen’, strummed acoustic guitar chords and clinking percussion accelerate and decelerate in unison, washed over by floating synth lines. At other points, the quartet as a whole suddenly shift direction like a This Heat tape edit. Check the opener ‘Box Pieces’, where a brief percussion tag cues an unexpected cut from frenetic layering of percussive attacks undergirded by slow moving synth and bass foundations to a rumbling, locked-in dirge.
The eight pieces span a range of tones, from plaintive abstraction to surging minimalism. Touches of whimsy relieve any threat of over-seriousness: witness the wacky electric guitar glissandi that open ‘Tilting’ or the lovely, almost Pascal Comelade-esque fairground wobbles that begin the wayward journey of ‘Cadence: not even,’ before it stumbles into a totally different zone of spacious Paul Bley balladry sprinkled with banjo plucks. Recorded across two days at Stockholm’s Atlantis studios, Minutiae’s minutiae truly sparkle thanks to the careful mixing work of Ghosted drummer extraordinaire Andreas Werliin. A wonderfully approachable document of the richness of the next generation of contemporary creative musicians from Sweden, Ināra Quartet’s debut also looks back to 70s touchstones like Archimedes Badkar in its joyful embrace of musical collectivity.
12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking to bring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 13 opens with Kollektiv Turmstrasse - Sorry I Am Late, the club track many will recognise from Solomun's legendary Boiler Room set in Tulum. Its unmistakable bassline sets the mood straight away. Next comes Skape D'Jear - Everything In You (Dedicated Clubba Mix), a
lesser-known house gem making its first appearance on vinyl.
Side B features Karmon feat. Terry Shand - Take My Hand, a melodic house track with a strong vocal performance that remains hard to find on vinyl. Tocadisco - Morumbi then takes things up a notch. With its driving percussion, this is a record that has blasted through the speakers of countless Belgian clubs and beyond.
Side C brings Fred again.. x The Blessed Madonna - Marea (We've Lost Dancing). A track about missing the shared experience of dancing, it became closely linked to the return to the dancefloor for many. Next, we head to Berlin with Kotai - Sucker DJ (Marcin "Highfish" Kozlowski Remix), a distinctive club classic that still holds its own. Daddy's Groove & Little Nancy - It's Not Right, But It's Okay closes this side with a groovy reworking of Whitney Houston's well-known song, now available on vinyl for the first time.
Side D captures the spirit of Ibiza with G Club presents Banda Sonora - Guitarra G (Martijn ten Velden Remix). Its recognisable guitar lines and gradual build make this a track to lose yourself in. This remix makes its vinyl debut here. Closing the sampler is Slam feat. Tyrone Palmer -
Lifetimes. Palmer's distinctive voice and the Scottish duo's outstanding production make this a record that still hits home after all these years.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, lesser-known gems and tracks making their vinyl debut. Selected with the same love for music that has driven 12 Inch Lovers' events for 15 years.
‘Better Over Time’ represents a major next chapter
for BigX. Built around the idea that every action
has a result, the project explores what happens
after you get everything you wanted, including the
pressure, sacrifice and unexpected consequences
that can come with success.
The team is building a connected creative world
around the music, with the intention of creating
one album, one story and one film. The broader
campaign is expected to include cinematic
performance content, a connected short film and
music video narrative, physical product, retail
activations and immersive fan experiences
Raised in Virginia and based in Baltimore,
Dawuna’s experimental R&B lusts, yearns and
beckons.
After the acclaimed release of his 2021 album
'Glass Lit Dream' (“masterpiece” - The Guardian),
he experienced a series of unfortunate events:
amnesia, breakups and leaving NYC.
Fast-forward a few years, he falls in love with a
woman named Love.
‘Love’s Arp’ is the result of R&B love songs done
right.
Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.
Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.
The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.
The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.
Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.
Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.
Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.
Nu Vision is a modern salon for visionary leaders, fighting for their art, standing by truths, defending voices, honoring progenitors, whilst pushing forwards towards a new paradigm. The band all have their own stories and extensive discographies, records released on labels you might know, gigs played in places you might have attended but none of that matters. This is a new beginning. A group. A collective.A movement. Nu Vision is a band in the classic do-you-believe-in-alchemy sense. Equal parts rhythm, damage, and deep feeling. Their friends at DFA noted that the album “sounds like Depeche Mode scoring a Michael Mann montage: brooding,motorik, and shot through with black-and-blue beauty.” this idea is taken further in the first video from the album for track one / side one “Time” that launches the project publically along with the albums announcement. The palette of ‘The Seed’ is defined and refined in the best way. It’s an album that opens up many pathways. Brisker, freakier tracks like “Shadow In The Dark,” “R U Serious?” and “Humanity” run towards a softer finish with “Somedays” and the seven-minute, eyeliner-smearing closing ballad, “Lullaby Garden.” These are proper songs made with vintage machines, with a sound that carries obvious influences. ’ The Seed’ pulses forward as the body of the beast is turned inside out, wearing a beating heart on its sleeve, honoring those who left us too soon - DAF’s Gabi Delgado, Nitzer Ebb’s Douglas McCarthy, Depeche Mode’s Andrew Fletcher, and Sandwell District’s Juan Mendez. It’s important to note the emotional core of ‘The Seed’ album is the song ‘Synchronicity’ that is filled with both love and regret, the story of losing a friend without properly making amends. It is unquestionably heartbreaking, but is also delivered with a pang of hope, the feeling that with so many sunrises caught, so many additions and subtractions in life, a perspective has been gained. This is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A New Vision
Powerhouse vocalist Sandra St. Victor returns with Eleven, her eleventh studio album and first solo release in over a decade. From her years with The Family Stand to collaborations with Roy Ayers, Curtis Mayfield, Chaka Khan, Prince and Lalah Hathaway, Sandra has built a remarkable career that has consistently blurred the lines between soul, funk, jazz and gospel.
Executive produced by Sandra St. Victor and Patrick Gibin for Mother Tongue, Eleven brings together Sandra's longtime collaborators alongside the Mother Tongue family, bridging her rich musical legacy with a fresh, forward-looking sound rooted in soul, jazz, boogie and soulful dance music.
The album combines brand new compositions with inspired reinterpretations, from Kaidi Tatham's stunning reimagining of Captain Sky's Moonchild and his masterful reinvention of the Leon Ware/Syreeta underground gem Tiki Tiki Donga, to a beautifully understated new version of Sandra's own Dizzy, originally released on Gemini: Both Sides in 2001 featuring Questlove, Roy Ayers and Donald Byrd, here reimagined by Mark de Clive-Lowe. Along the way, the lo-fi soul of Black Ice, the timeless duet No More Water featuring Lalah Hathaway, and the straight-up funk of Makes Me Wanna Fall In Love Again and What Would Miles Do showcase an artist continuing to evolve while remaining true to her artistic voice.
Rooted in experience yet driven by curiosity, Eleven bridges Sandra's remarkable musical legacy with the creative vision of Mother Tongue, resulting in an album that feels both timeless and unmistakably
The A-side delivers two sublime cuts drenched in that unmistakable Italo-Balearic magic. Warm chords, sun-kissed melodies and effortless grooves transport you straight back to the golden days of mid-'90s Italian house music. Eyes closed, you're cruising along the Riviera with the top down, lost in pure bliss.
Flip it over and the mood shifts firmly toward the dancefloor.
The B-side explores deeper territory, moving through a range of shades while keeping things locked into a tough, clubfocused framework. There's a distinct New York stomp running through these tracks—driving, hypnotic and full of attitude— yet they never lose the emotional depth and musicality that have become a Westcoast Goddess trademark.
Just when you think the journey is complete, the EP saves its ace for last. Closing things out is a hypnotic funk groove built around silky Rhodes, a tight rhythm section and an iconic bassline—a fitting finale that leaves a lasting impression. A seriously strong package from start to finish, and another essential chapter in the ever-expanding world of D3 Elements.
New Time is an ode to musical innovation, a captivating fusion of nu jazz, nu funk, and soul that captures the essence of the contemporary era. Mr. Thruout's skillful production combines with Sandro Lilliu's masterful guitar work, creating a unique sonic experience.
New Time is a work that redefines the concept of contemporaneity in the music scene, offering a unique and engaging experience for enthusiasts of nu jazz, nu funk, and soul. With the signature of Mr. Thruout and the collaboration of Sandro Lilliu, this vinyl is destined to become a modern classic.
Across the cosmic boundaries via spiritual exploration and in the void between shimmer and shadow you will find the astral soundscapes of Birds Of Pandaemonium...
Emerging from Brooklyn's late-night music ecosystem, 'Hazy James' Armstrong and Tim Wagner met nearly 20 years ago through the city's DJ and club scene. Each with different but complementary musical backgrounds which included a mix of folk, guitar, DJing, synths, drum machines, country rock, disco, jazz, and rhythm-heavy club music (being just a few!), the duo began various musical endeavours together & "exploring the darkness while pursuing light" which eventually lead to the birth of Birds Of Pandaemonium.
It was only a matter of time that the stars aligned (via an introduction from Shane Watson of Causeway) to bring the Birds onto the musical radar at Sprechen which led to the release of 3 renowned E.Ps and ultimately, their debut album, Eudaemonia. Obscure covers including Idris Muhammed's Loft classic 'Could Heaven Ever Be Like This', the rave defining Born Slippy by Underworld and the post punk/new wave 'On Islands' by New Musik sit alongside original songs shaped by fresh reflections on life, grief, and love with elements of dream pop, shoe-gaze & gothic pop to give wistful and pulse-driven listening experience that is hazy, romantic, and deliberately genre-blurring.
A truly unique listening experience that delivers broad strokes of sunsetting psychedelia and bleary-eyed optimistic, astral dream-pop across all 8 tracks.
Is it balearic? Not really, it's pretty much a genre all on its own (answers on a postcard).
"Now and Forever," the latest EP from Boo Williams, showcasing his unmistakable style once again. Known for his hypnotic grooves and infectious rhythms, Williams delivers a collection that embodies his signature sound. Each track on this EP captures the essence of deep house, blending intricate beats with soulful melodies. The production is polished, allowing the music to resonate authentically while inviting listeners to immerse themselves in the experience. "Now and Forever" reaffirms Boo Williams' position as a master of his craft, offering a captivating journey that will resonate with fans of electronic music. This EP is a testament to his talent and a must-listen for anyone seeking quality grooves.
This new series is an atemporal series: Spicy Electro. Sexy vibes. Ecstatic sounds.
PORNOTRONIX brings together Dark Vektor, X-Truder, DJ Overdose and Calagad 13, turning this concept into music through machine funk, raw grooves and contemporary Electro. Four distinctive artists, four different approaches and one shared language where attitude, rhythm and underground spirit converge into a timeless Electro experience.
Best known for its ambient explorations, Idee Du Femelle, the alias of Catalan synth pioneer Toni Parera, reveals a lesser-known minimal synth side on “Red Dress”, one of our favourite sonic discoveries of 2026. Bringing together nine songs recorded between 1995 and 1997, alongside a much more recent bonus track, “Red Dress” explores the classic vocabulary of minimal synth and the elegance of the very best synthpop. Some tracks and vocal performances evoke the sophisticated atmosphere of Bryan Ferry’s “Don’t Stop the Dance” era, while others draw on the motorik pulse of krautrock and the offbeat spirit of Neue Deutsche Welle, making for a delicious listening experience. Delicate synth textures, deeply emotive melodies and irresistible rhythms make for a beautifully crafted synthwave record that feels timeless, yet firmly at home on the dancefloor. “Red Dress” brings a hidden chapter into the spotlight, revealing an artist whose mastery of atmosphere finds an equally compelling expression in the minimal synth universe.
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.
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.
This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.
Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.
Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."
That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.
Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.
The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.
Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.
As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."
In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".
- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.
For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse
Best known as the longtime DJ for Sugar Ray, DJ Homicide brings decades of turntable experience to this pair of soul-soaked hip-hop instrumentals. 'You're No Good (Flip)' rides a classic boom-bap groove, layering warm samples and heavyweight drums into an effortlessly head-nodding cut, while 'Rich Kind Of Poverty (Flip)' digs even deeper with smoky brass, vintage soul textures and laid-back swing. Unfussy, authentic and built on faultless foundations, both sides underscore Homicide's knack for transforming familiar sounds into grooves that feel fresh.
16 scrap-rock sketches straight from the heart to the gut…
Maybe we can keep rock’n’roll alive for one more day?
Who knows? The Joe Glass experience is a telecastered-explosion of hooks and guitar charms
One G chord away from tearing a diamond-shaped hole in the stratosphere.
Originally Released as a Hallogallo Tape January 2026
Sharp Pins Bassists Strides out under his own banner
Spring Back, Ball Forward is the Soda Gong debut from Jung dj, nom de plume of shapeshifting multi-instrumentalist Randy Riback. Following a series of uniformly great self-releases and cassettes on the dearly missed Lillerne Tapes, this collection observes the spacious and angular dynamics of 1990s Midwestern post-rock through the lens of the bedroom electronic music producer.
Perhaps surprisingly, amp worship lies at the center of the album: a fascination with the grain, pressure, and emotional charge of amplification and gain, refracted through the strange remove of digital amp modeling. Tubes, speakers, sag, and in-the-red textures are a critical part of the album’s expressive vocabulary, imparting density and colorful saturation while lending even its most weightless passages a vital sense of physical presence. Over the course of twelve tracks, wistful ambience gives way to blunt heaviness and roiling catharsis, underpinned by a palpable sense of loss and grief.
The album’s auspicious cast of collaborators further complicates its emotional terrain. Spoken contributions from Natalia Panzer and Angelina Nonaj occupy strikingly different registers: Panzer’s diffuse and oblique, drifting in and out of the music’s contours; Nonaj’s a vivid travelogue, grounding the record in place and lived experience. Elsewhere, Soda Gong veteran Mister Water Wet joins a small constellation of guests whose playing folds naturally into Riback’s arrangements, blurring the boundaries between computer and ensemble music.
For all of its attention to texture, process, and the material qualities of sound, Spring Back, Ball Forward is first and foremost an emotionally potent work, possessed of a directness that can feel rare within experimental electronic music. Riback draws from a rich and idiosyncratic musical vernacular, arriving at something deeply felt and difficult to place: a singular statement whose pathos exceeds the sum of its references.
**BenArt Ensemble ft. Baptiste Herbin** unveil a distinctive debut album at the crossroads of jazz, world music and groove. Led by bassist and producer Ben Artuphel, this eight-piece ensemble brings together musicians from diverse backgrounds and with a wide range of influences: Baptiste Herbin (saxophones), Amina Mezaache (flute), Céline Bonacina (baritone saxophone), Ben Artuphel (bass), Antoine Banville (drums), Alexis Bajot-Nercessian (keyboards), Laurent Avenard-Kohler (guitar) and Nils Wekstein (percussion).
Born from a musical encounter in 2023, the band has developed a unique sound in which intricate bop-inspired writing meets 1970s funk, Afro and Creole rhythms, and the vibrant energy of samba. The album features 13 original compositions, the result of a deeply collaborative process and an exceptional musical chemistry between the eight musicians.
At the heart of the project, saxophonist **Baptiste Herbin** brings his virtuosic playing and extensive international experience. Nominated for the Victoires du Jazz in 2013 for his debut album *Brother Stoon*, he went on to receive the Django Reinhardt Prize and was named Musician of the Year by the Académie du Jazz in 2019. He has released four albums under his own name and has appeared on around fifty recordings alongside some of the leading figures in jazz.
With its finely crafted arrangements, rich melodies and irresistibly groove-driven rhythm section, **BenArt Ensemble ft. Baptiste Herbin** delivers a vibrant and generous take on jazz, where each musician's individual voice shines through while serving the collective. Balancing heritage and modernity, this album is an invitation to dance, dream and travel.
Following the successful return of Cyberfunk Records, Frequency Damage EP showcases four brand-new productions from DJ Quest, blending over 25 years of breakbeat experience with modern production techniques.
From old-school funk influences and rolling basslines to heavy club grooves and precision-engineered drums, the EP demonstrates the versatility that has made DJ Quest one of the pioneers of the Bassline Breaks movement.
Each track brings its own identity while remaining unmistakably Cyberfunk—music written for DJs, built for powerful sound systems and inspired by the underground dancefloors that shaped the label's legacy.
Dutch-born and Singapore-based, Mike Risk has spent more than three decades immersed in house music. As a DJ, producer, promoter and agent, he has experienced the culture from multiple angles, building relationships and sharing dancefloors across Amsterdam, London, Ibiza, New York, Chicago, Singapore and beyond.
Now Is Forever is a full-circle moment. A statement. A celebration of a lifelong relationship with house music.
Mike first made his mark in the Dutch underground through Club Risk and later RiskSoundSystem, two platforms that helped shape nightlife culture in the Netherlands throughout the 1990s and 2000s. After decades spent championing the music of others, Now Is Forever is Mike adding his own chapter to the culture that shaped his life.
Created with longtime collaborator Greg van Bueren (Hardsoul) between Amsterdam and Singapore, the album is a deeply personal tribute to the music, people and places that shaped him. From the clubs of Amsterdam and London to the sounds of Chicago, New York and Detroit, it distils decades of dancefloors, record stores, studios and late-night conversations into one body of work.
From deep and soulful grooves to raw house cuts and acid-tinged late-night moments, Now Is Forever explores house music in its full spectrum. It reflects the way Mike has always approached a dancefloor as a DJ: not as a collection of tracks, but as a journey through the many moods and moments that make a greatnight unforgettable.
Featuring Mike Dunn, Bluey Robinson, Marc Evans and John Agesilas, the album brings together years of experience, inspiration and dedication. Crafted not out of commercial pressure but out of creative necessity, it is the product of pure love-for the culture, for the craft, for the music.
Now Is Forever is a past-forward record: rooted in the music, dancefloors and relationships that shaped Mike, while carrying their spirit firmly into the present. At its heart, it is about honouring the kid who first fell in love with house music-and never let go.
Because when you are truly lost in music, there is no past and no future. There is only now.
For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.
Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.
Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.
Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.
It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.
My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.
My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.
Following the critically acclaimed Fantômes… Futurs, praised by FIP, France Inter, Radio Nova, ARTE and International jazz press, double bassist and composer Kham Meslien returns with Vévés électriques, a deeply immersive second album where memory, landscape and improvisation merge into a singular sonic journey. Joined by Laurent Bardainne, Roger Raspail, Naïssam Jalal and David Neerman, Meslien expands the intimate language of his double bass with subtle loops and organic textures, weaving together echoes of Iceland, the Caribbean and imagined territories. Blending spiritual jazz, contemporary classical influences and ambient soundscapes, Vévés électriques is an invitation to drift beyond geography and into a profoundly personal exploration of emotion, identity and freedom.
Set upon an oil-smooth sea, an immense range of directions opens up before Kham Meslien for “Vévés Électriques”, his second album after “Fantômes… Futurs.”
With only his double bass and bow as vessel and sextant, a distant journey nevertheless begins to take shape. Vibrations and the striking of strings against wood quickly trace lines and winding paths across the surface of the water—so many routes to follow before leaving them behind, allowing the outward journey to become an inward voyage as well.
After an improvisation intended to shed light on the course ahead, isolated lands came into view: the shores of Iceland, the lands of the far north, places cut off from the rest of the world by vast expanses of water. Islands battered by a harsh climate that can only be endured by drawing warmth from deep within oneself.
Then the Caribbean arc appeared. The archipelago, a setting for joyful and unsettling experiences, takes Kham back to a childhood from which the passing years have carried him away. Rather than following the conventional channel of the music of these places, the West Indies emerge through memories whose colors are still vivid.
Through the morning mist, Roger Raspail’s percussion locks into the same frequencies of the groove. Double bass and struck skins then become companions on a road that intersects with Laurent Bardainne’s saxophone. Carrying a dreamlike message, David Neerman’s vibraphone also joins the narrative to write a few chapters of its own, while others are enchanted by the flute and voice of Naïssam Jalal, or struck by the metaphorical rhymes of rapper Rocé.
On the surface, through the themes along which the pieces navigate, landscapes slowly reveal themselves and change shape as the shore draws nearer or recedes. Straying from the marked course and allowing oneself to drift, breaking free from pure acoustic sound by adding loops first played live and then sampled, allows Kham to explore the depths. The depths of the ocean, as well as those of his soul. To enter a world of improvisation that reveals itself even as he explores it. Examined up close, feelings become shells to pick up and hold to one’s ear, so that they can be felt intensely until they take material form.
This sea, which had appeared peaceful, became the stage for a succession of stories and images, which then accumulated to give birth to a larger narrative.
When Index moves, it’s in lockstep, as a single, indivisible unit. Alan Creedon and Alex Lichtenauer (both ex-Control Top) started the project in the summer of 2025, and it quickly became clear that its sound would be an outgrowth of their close friendship. Eschewing the densely orchestrated compositions of their previous band, Index would instead focus on sweaty, visceral physicality, with Creedon’s guitar intuitively latched to Lichtenauer’s drum kit, navigating corridors of tricky rhythm as one. Creedon and Lichtenauer recorded Vis Inertiae in NYC with acclaimed producer Arthur Rizk (Power Trip, Show Me The Body). Despite a litany of freak injuries that befell Lichtenauer before and during the band’s studio time, they say it was the best experience they ever had in a recording session, and Creedon concurs. Rizk was brought into the process early on, when the band played him some bare-bones demos that impressed him, and he was critical in helping ferry the songs to their final forms.
10th anniversary, limited Edition pressing of 1000 worldwide, expanded to 2xLP w/ nine demos & live tracks, sleeve jacket art updated with foil elements! Released in 2016, Trophy Eyes' sophomore album, Chemical Miracle, is celebrated as a modern masterpiece for its seamless blend of hardcore grit and pop-punk melody. The record marked a massive evolution for the Australian band, driven by frontman John Floreani's dynamic vocal shifts between raw, gravel -throated screams and soaring clean melodies. The instrumentation perfectly matches this energy, swinging effortlessly from manic, punk-rock aggression to softer, atmospheric alt-rock moments. The album's defining characteristic is its deeply confessional and gut-wrenching lyricism, which offered a mature contrast to a genre typically dominated by simpler themes of heartbreak. Floreani tackles the darkest corners of his life with unflinching honesty, exploring survivor's guilt, suicidal ideation, addiction, and profound loneliness. This emotional weight is best exemplified in the opening track, "Chlorine," which pairs bouncy, energetic instrumentation with the devastating true story of Floreani processing the suicide of the man who saved him from drowning as a child. Culturally, Chemical Miracle elevated the mid-2010s pop-punk scene by proving that catchy music could effectively tackle heavy, complex human experiences. By addressing severe mental health struggles frankly and without glorification, the album fostered a profound connection with fans and provided a vital, relatable outlet for listeners. Furthermore, its massive critical and commercial success helped propel the thriving Australian alternative music scene onto the global stage, cementing Trophy Eyes' legacy in the genre.
