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Portuguese powerhouse Ka§par joins the Snuff Trax family!

With the »Catch 22« EP, he delivers three precisely crafted club tracks bursting with energy and soul. Stripped-back, razor-sharp grooves intertwine with raw, preacher-style vocals, lush pads, and fierce basslines — a hypnotic blend designed to move both body and mind.

As a special treat, 2Jack4U turn up the heat with their psychedelic acid remix that pushes the EP into full-blown dancefloor ecstasy.

»Catch 22«: Pure dancefloor alchemy, straight from Lisbon on Snuff Trax.

2026 Repress

SHDW presents 'Federation Of Rytm IV': a bumper 30-track collection spanning the past, present, and future of techno.

Offering powerful standalone club cuts and a cohesive deep-dive, the expansive VA lands on 24th October 2025.

The fourth edition of SHDW's flagship 'Federation Of Rytm' VA series has been carefully curated by the DJ/ producer and head honcho over more than a year, with close attention to detail given to sequencing. It is a balance of label regulars and debutants that represents the past, present, and future, both sonically and through the generational diversity of the artists involved. There are plenty of surprises along the way while always remaining true to the Mutual Rytm ethos and reflecting the journey of the night from start to finish, whether that's in intimate, sweaty clubs or on big festival stages.

Across 30 tracks in the digital collection and 24 on four sides of wax, the release explores the full breadth of the Mutual Rytm sound. Driving grooves and relentless percussion set the pace, gradually unfolding into hypnotic and atmospheric passages that invite deeper immersion. Pulsating low-end power alternates with eerie minimalism, while bursts of futuristic energy and cavernous kick drums keep the tension high. Elsewhere, dub textures and moments of introspection provide balance, creating a narrative arc that moves fluidly between intensity and release, atmosphere and tension, darkness and light.

After 4 years of re-issuing some of the best house and disco, from hard to find deep-house gems to all times classics, Groovin Recordings are really excited to start releasing new music too, featuring some of the best young producers from the new generation. The first release introduces Groove Boys Project (Lucas Moinet and Alexandre Valard), a talented duo from Paris with a unique sound, a classy mix of fender rhodes, jazz chords, MPC based drum beats, soulful strings and some classic synths.
“Studio 937 cuts” is a two tracks EP that show their skills in the best way.
"Never Give Up" is a sophisticated jazzy-house track, composed with Kamasari and GBSiX who wrote the lyrics and the vocal part too. You’ll never get tired of GBSiX’s vocals !
On the B side "Deep In The Blue" is a Fender Rhodes deep-house ballad from Lucas Moinet, for all the Rhodes lovers out there.

Jen Cardini & Shonky revive their 20 year old anthem August In Paris with remixes from Kasra V, Jennifer Loveless and Jump Source.

Originally released on Mobilee Records in 2006, Jen Cardini and Shonky’s record ‘August In Paris’ remains a defining statement from the minimal era. Ahead of its time upon release, the record distilled the genre to its essentials, bleeps, hypnotic grooves and impactful vocals, unfolding with the kind of restraint that continues to resonate two decades on.

To mark its 20th anniversary, ‘August In Paris’ returns with three distinctive reinterpretations from Kasra V, Jennifer Loveless and Jump Source plus a re-release of the original coming out on Jen Cardini’s formidable label Correspondant. As well as this Jen Cardini and Shonky will be playing an All Night Long set at Paris nightlife institution Rex Club on 29th August. Look out for merch on the night too.

Speaking about the project Jen Cardini discussed: “It is crazy to think this was two decades ago and that Shonky and I are still touring and sharing our love for music. For the anniversary, we decided to bring this special track to light again’.’

Each remix approaches the source material from a different perspective while preserving the essence of the original.
UK DJ and producer Kasra V leans further into the track’s skeletal framework, blending his signature sultry sonics into this hypnotic chunky groove to produce something entirely new but familiar.

Jennifer Loveless, an unearthed gem when it comes to production, strips things back even further, delivering a rough and tough uncompromising club version primed for sweaty dark dancefloors, it perfectly encapsulates the original without overshadowing it.

Closing the EP, Montreal duo Jump Source, Priori and Patrick Holland, take the record into more left of centre territory. Their version stretches the original into a warped, slow-burning electro excursion, perfectly suited to the blurred edges of the after-hours.

the iconic project returns late September with its milestone 10th studio album, ‘I Wrote You A Letter’.

Twenty-five years after his debut, M83 (Anthony Gonzalez) stands as a genuinely era-defining electronic act, renowned for pushing indie-electronic into the mainstream while maintaining absolute critical credibility. With a massive catalog compounding billions of streams—anchored by the timeless “MIDNIGHT CITY” (1.5B streams)—the iconic project returns late September with its milestone 10th studio album, I WROTE YOU A LETTER’.
Recorded between Los Angeles and Paris alongside BENOIT DE VILLENEUVE, this new record follows the highly acclaimed ‘FANTASY’ (2023) and features striking artwork by celebrated Australian photographer BILL HENSON. This release marks a historic chapter, encapsulating a quarter-century of sonic evolution.
Commercially, M83’s power lies in an unmatched ability to transcend generations. Synonymous with cinematic emotion, nostalgia, and immense scale, M83’s sound is virtually a genre of its own, heavily sought after for film, TV, and sync. Live, the act holds top-tier global status, proven by headlining slots at major festivals like Coachella, Glastonbury, and Primavera.
‘I WROTE YOU A LETTER’ delivers exactly what M83 does best: big emotional scale, breathtaking cinematic atmospheres, and sharp hooks, all pushed into a fresh, modern palette.

Fünfundzwanzig Jahre nach seinem Debüt gilt M83 (Anthony Gonzalez) als ein wahrhaft epochaler Elektro-Künstler, der dafür bekannt ist, Indie-Elektro in den Mainstream zu bringen. Mit einem riesigen Repertoire, das Milliarden von Streams umfasst – angeführt von dem zeitlosen „MIDNIGHT CITY“ (1,5 Milliarden Streams) – kehrt das ikonische Projekt Ende September mit seinem wegweisenden zehnten Studioalbum „I WROTE YOU A LETTER“ zurück.

Das neue Album, das gemeinsam mit BENOIT DE VILLENEUVE in Los Angeles und Paris aufgenommen wurde, knüpft an das hochgelobte „FANTASY“ (2023) an und besticht durch ein eindrucksvolles Cover des gefeierten australischen Fotografen BILL HENSON.
Diese Veröffentlichung markiert ein historisches Kapitel und fasst ein Vierteljahrhundert klanglicher Entwicklung zusammen.
Kommerziell liegt die Stärke von M83 in der unübertroffenen Fähigkeit, Generationen zu verbinden.
Als Synonym für filmische Emotionen, Nostalgie und immense Größe ist der Sound von M83 praktisch ein eigenes Genre, das für Film, Fernsehen und Synchronisation sehr gefragt ist.
Live genießt die Band weltweit Spitzenstatus, was durch Headliner-Auftritte bei großen Festivals wie Coachella, Glastonbury und Primavera unter Beweis gestellt wird.

„I WROTE YOU A LETTER“ liefert genau das, was M83 am besten kann: große emotionale Bandbreite, atemberaubende filmische Atmosphären und eingängige Hooks, alles verpackt in einer
frischen, modernen Klangpalette.

For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.

Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.

'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.

'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.

Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Dich lieb ich, Erde! trauerst du doch mit mir! Und unsre Trauer wandelt wie Kinderschmerz In Schlummer sich und wie die Winde Flattern und flüstern im Saitenspiele

The third stanza of Friedrich Hölderlin’s poem ‘Dem sonnengott’ evokes a narrator who is tortured by Spleen until slumber makes his childlike gloom disappear with music. Although today’s readers might judge these nineteenth century musings of the Imagination as mere stylistic platitudes, they also still speak beyond the grave as universal truths. A mere two hundred years later similar anxieties and hopes are still channeled through various art forms, with changing success and reverberation. Brannten Schnüre are one of those neo-romantic music experimentalists who add to a long tradition of celebrating folk tale and exoticism. Their meticulously crafted loops, hesitant melodies and heavily nostalgic lyricism could easily be translated to what the late philosopher and music critic Mark Fisher called ‘hauntology’, a postmodern longing for a lost future. To describe the beauty of ‘Geträumt hab’ ich vom Martinszug’, however, the term seems somewhat dissatisfying. Romanticism is a hard nut to crack in the Anthropocene, and Brannten Schnüre’s realms of the cerebral are too deeply ingrained in a German tradition of story telling to define them within popular paradigm.

‘Geträumt hab’ ich vom Martinszug’ was recorded in 2014 in Würzburg and functions as the autumn part of the band’s seasonal cycle quadrilogy (the other segments being ‘Aprilnacht’ (SicSic), ‘Sommer im Pfirsichhain’ (Aguirre) and ‘Durch unser zugedecktes Tal’ (Youdonthavetocallitmusic)). It deals with the Saint Martin’s parade, a mostly European tradition to celebrate the medieval spirit of Saint Martin of Tours, friend of children and patron of the poor. Around 11 November children come out on the streets with lanterns and sing ancient songs in exchange for sweets. It’s a period of snugness and expectation, of yearning and dreaming, and therefore a consummate subject for the duo to scrutinize.

To the adult’s ear the dream of the Saint Martin’s parade isn’t all that consolatory. The dark and slow loops of Christian Schoppik rather sound like motifs for a welcome paralysis. Sometimes as a gentle backdrop for vocals by Katie Rich and Schoppik himself, the repetitive structures serve as tricksters that trade innocence for the uncanny. The dream becomes a fever dream which quickly absorbs the listener into a vacuum, an eternal post-panic attack semi-relief. Maybe that’s the amazing paradox of Brannten Schnüre. The space they occupy is never comforting – as if being locked up inside a Carl Grossberg painting – but it’s also a subliminal aural zone you do not want to leave. It’s music as being, as a stream, devoid of climax or catharsis. And because it is flux and being, and exists to be taken, it speaks in art’s purest form. ‘In place of a hermeneutics we need an erotics of art’ Susan Sontag famously concluded her essay ‘Against Interpretation’ with. Well, look no further …

Emerging in 2023, Die Anstalt are a Berlin-based post-punk and minimal synth trio who quickly established themselves with a blistering fusion of early EBM, synth-punk, and classic post-punk. Their sound channels the grit and tension of 1980s industrial sub cultures while feeling unmistakably contemporary. Recently signed to City Slang worldwide, the band are reissuing their independently released debut album through the label. They have also announced a UK and Ireland tour supporting A Place to Bury Strangers, alongside a hometown headline show at Berlin's legendary SO36 in November 2026.

Die Anstalt sound like no one else, even if everyone hears something different. Depending on who you ask, you'll catch traces of Malaria!, Boy Harsher, DAF, early EBM, synth-punk, or X-Mal Deutschland. Then there's the surf guitar, a detail that shouldn't work but somehow holds the whole thing together. The result is theatrical, confrontational, hypnotic, and relentlessly physical. They write slogans that stick. They're appropriately furious. Live, they're less a concert than a controlled explosion.

Their songs give voice to generational exhaustion, the dystopian absurdities of the present, warmongers, the manosphere, and the constant sense that the world is coming apart at the seams. Somehow, they also sound unmistakably like Berlin. That doesn't happen often, maybe once a decade, if we're lucky.

Most of all, Die Anstalt are proof that beneath the noise, the algorithms, and the endless churn of industry discourse, something vital still burns: rage, conviction, and hope in equal measure. At their core, they are a punk band. No posturing. No compromise. No messing around. They don't ask for permission. They burn it all down.

Die Anstalt, 2023 in Berlin gegründet, bewegen sich zwischen Post-Punk, Minimal Synth und frühem EBM. Innerhalb kürzester Zeit hat sich das Trio mit einer kompromisslosen Mischung aus Synth-Punk, klassischem Post-Punk und der rauen Energie der industriellen Subkulturen der Achtziger einen Namen gemacht – und klingt dabei nie nostalgisch, sondern entschieden gegenwärtig. Kürzlich unterschrieb die Band weltweit bei City Slang, wo nun auch ihr zunächst in Eigenregie veröffentlichtes Debütalbum neu erscheint. Im Herbst 2026 begleiten sie A Place to Bury Strangers auf deren UK- und Irland-Tour, bevor sie im November mit einer Headline-Show im legendären SO36 nach Berlin zurückkehren.Die Anstalt klingen vor allem nach sich selbst – auch wenn jede*r etwas anderes hört. Die einen denken an Malaria!, andere an Boy Harsher, DAF, frühen EBM, Synth-Punk oder X-Mal Deutschland. Und dann ist da diese Surf-Gitarre, die eigentlich nicht funktionieren dürfte und doch alles zusammenhält. Die Anstalt sind theatralisch, konfrontativ und hypnotisch. Sie schreiben Parolen, die hängen bleiben. Ihre Wut ist berechtigt. Live gleichen sie einem kontrollierten Ausbruch.Ihre Songs finden Worte für die Erschöpfung einer Generation, für die dystopischen Exzesse der Gegenwart, für Kriegstreiber, die Manosphere und die Absurditäten unserer Zeit. Irgendwie klingen sie dabei unverkennbar nach Berlin. Das passiert nicht oft – vielleicht einmal pro Jahrzehnt, wenn wir Glück haben.Vor allem aber beweisen Die Anstalt, dass unter dem Lärm, jenseits von Algorithmen, Trends und dem endlosen Gerede der Musikindustrie noch immer etwas brennt: Wut, Haltung und Hoffnung zugleich. Im Kern sind Die Anstalt eine Punkband. Kein Posieren. Keine Kompromisse. Kein Bullshit. Sie bitten nicht um Erlaubnis. Sie reißen alles nieder.

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.

Mothers of All is Mark Gomes' second album as Blue Chemise for Students of Decay, following 2018’s acclaimed Daughters of Time. Though built from very different materials, it shares its predecessor's economy, sense of proportion, and fascination with the ways domestic life can open onto larger and less easily defined realms. Where Daughters of Time evoked tender, if alien, nursery songs, Mothers of All takes the form of spectral salon music heard at a temporal and geographic remove.

These pieces feel fundamentally receptive, with Gomes allowing his chosen fragments to retain their own histories - both personal and aesthetic - while revealing unexpected tonal relationships through their idiosyncratic arrangement. The resulting music is at once deeply personal and strangely unmoored, a space where the intimate and the distant occupy the same plane.

What lingers about this project as a whole is the paradox that the most private experiences can also be the least singular: that family, memory, and devotion become most legible at the point where they cease belonging to any one life.

Es handelt sich um einen Vermerk, den der Dark-Ambient-/Industrial-Titan Lustmord beinahe in die Liner Notes seiner neuen Zusammenarbeit mit der Schlagzeuglegende Dave Lombardo aufgenommen hätte. Bei ihrer ersten Zusammenarbeit loten sie die Tiefen des ursprünglichen Industrial und Dark Ambient aus und schaffen dabei etwas, das über die reine Musik hinausgeht. Dave Lombardo bedarf keiner Vorstellung. Sein Ruf als innovativer Schlagzeuger und musikalischer Vorreiter ist unübertroffen. Ob es nun seine jahrzehntelange Tätigkeit bei den Thrash-Metal-Giganten Slayer, seine vier Alben umfassende Zusammenarbeit mit den einflussreichen Experimentalisten Fantômas oder seine Arbeit mit dem renommierten Komponisten und Saxophonisten John Zorn war - Lombardos Leidenschaft für den Klang und seine spirituelle Verbindung dazu überschreiten alle Grenzen Lustmord ist der walisische Musiker, der weithin als Begründer der Dark-Ambient-Musik gilt. Er war zunächst in den frühen 80er Jahren als Mitglied von SPK mit der Industrial-Szene verbunden, bevor er seinen charakteristischen Sound mit Veröffentlichungen wie ,Paradise Disowned" aus dem Jahr 1986 etablierte. Über sein Solowerk hinaus hat Lustmord eine umfangreiche Karriere als Kooperationspartner und Film- sowie Spielekomponist aufgebaut, wobei er mit Bands wie den Melvins, Tool, Nurse With Wound und Wes Borland zusammengearbeitet hat; zudem hat er zu über vierzig Kinofilmen beigetragen, darunter ,First Reformed", ,The Crow" und ,Underworld".

Georg Danzer war eine Lichtgestalt der Austropop Szene. Wie kein anderer hat er mit seinen Songs und Texten ins Schwarze der österreichischen Seele getroffen. Die Anekdoten auf "13 schmutzige Lieder" sind schlüpfrig, verwegen und oftmals herrlich unkorrekt. Danzers lässiger Dialekt macht den Reiz aus, er gibt den schmutzigen Liedern den Charme, der sie so unverwechselbar macht. Am 7. Oktober hätte Georg Danzer seinen 80. Geburtstag gefeiert. Zu diesem Anlass veröffentlicht Sony Music eine Neuauflage seiner "13 schmutzigen Lieder" auf "schmutziger Vinyl" - als Spezialpressung auf Black Dust Vinyl mit Orange & Schwarz. GEORG DANZER - "13 schmutzige Lieder" - ab 2.10.26 auf schmutziger Vinyl erhältlich! Tracklist: New Orleans Alptraum Stomp | Murphy's Law | Sado-Maso | Swinging Prostata | Rosarode Gummihandschuach | Gnädige Frau in Malaga | Eigentlich bin ich ein Schwein | Der imaginäre Vibrator-Walzer vom 22. Juli 1998 | Karibik in Unterhosen | Olle Weiber san G'frassta | A alte Drecksau | Strandbrunzer-Tango | Ballade vom versteckten Tschurifetzen | Ruaf die Zeitansage an | Leck Mich | Ich denk an Sex | Suche nette Partnerin zum Bumsen ... | Kreuzritter | Tanz Erotisch

Murder tbs is back with a special three-part vinyl series, paying homage to the genres that have influenced the label since its inception. The first various artists release is dedicated to ELECTRO & WAVE, while Parts II and III will focus on TECHNO and EBM. 
 Written & produced by various artists: L.F.T., Le Syndicat Electronique, The Exaltics, Electro Nation, Leroy Se Meurt, and Charlou. Mastered by Daniele Antezza at Dadub Studios. B1 mastered by Thomas P. Heckmann. Artwork by ZIMMMERIT. Curated by Davit Japaridze. Dedicated to Juan Mendez (Silent Servant) and Simone Ling. Murder tbs © 2026. All rights reserved MURDERCH01

Herausragende Aufnahmen des letzten Konzerts von Swans in ihrer „Big Sound“-Ära – die Apotheose von fünfzehn Jahren kosmischen Klangexpressionismus, zugleich himmlisch und abgründig, unmittelbar und transzendent. Über zweieinhalb Stunden Musik mit einer Fülle neuer Stücke, die nirgendwo sonst aufgenommen wurden, sowie einer DVD des Konzerts.
Auf einer Stufe mit den legendären Live-Alben von Swans verabschiedet sich diese Besetzung mit Liebe und ungezügelter Leidenschaft von einem prägenden Kapitel ihrer Geschichte.
Ein Abschied von dieser außergewöhnlichen Inkarnation von Swans: Norman Westberg, Michael Gira, Dana Schechter, Phil Puleo, Chris Pravdica, Larry Mullins und Kristof Hahn.
Einmalige Vinyl-Pressung.

Spring 2026 saw The Proclaimers recording their new album, You May Offend. It is brothers Craig and Charlie Reid’s first album since 2022’s hugely acclaimed Denture’s Out (“Proves you don't need to be a young pretender to land hit after palpable hit,” – MOJO magazine). Their 13th studio album’s 12 tracks – punchy and punky, rousing and carousing, tender and tough – were recorded at Monmouth’s legendary Rockfield Studios with producer Dave Eringa, their crack live band – Steven Christie, Garry John Kane, Zac Ware and Clive Jenner – and frequent guest guitarist, Manic Street Preachers’ James Dean Bradfield. The result is an album, as ever, concise as well as incisive, and about looking forward. Pushing on and digging into the issues and feelings that matter to them here, now and tomorrow, not yesterday, as with the title track, and first single, a lament for the state of free speech, with Charlie approving of the fact that the title can be taken two ways: “As in: ‘Look, careful what you do, you may offend someone.’ Or: ‘OK children, you may now offend.’ Is it an instruction or an invitation? Or a warning?” A powerful accompanying video for the You May Offend single is being created by Emmy & BAFTA award winners, director Douglas Mackinnon in partnership with Peter Anderson Animation. “My favourite band of all time. They write the most spectacular songs, big hearted, uncynical passionate songs.'” - David Tennant “There is a whole other world of music behind that song that I’ve just been discovering, and they’re a wonderful, wonderful band. Now we live in the age of coolness that doesn’t mean anything, it's just quality and soul. The Proclaimers make more sense than ever.” – Chris Martin after Coldplay performed Sunshine on Leith at BBC’s The Piano Room

Listen!

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.

Published by Mute Song. Released by Editions Mego© 2026

”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.

Partner in crime: Hampus Högberg.

It’s one thing to edit a song; extending sections, taking parts out, even adding a kick. Karizma uses his Knevrm!nd moniker to completely re-imagine tracks, producing completely new music and re-arranging vocals to create something completely different.

After building up a substantial catalogue of these in demand cuts we thought it was time to make some available on vinyl for the first time.

Knevrm!nd Vol.1 comes blasting out of the gate with four essential jams from the vault.

Stripped-back dub techno driven by rolling grooves and deep textures.

Mastering & lacquer cut by Kassian Troyer at Dubplates & Mastering Berlin

Mutual Rytm's Versus sub-label returns with a dark, absorbing new EP from contemporary techno innovators Kameliia and BLANKA. Kameliia and BLANKA both previously appeared on Federation of Rytm IV and now step forward with their long-awaited debut EPs. It is another standout for Mutual Rytm's Versus series, which has already made an impact with two previous EPs from Regent and Chontane and Klint and Hemka. This third release subtly evolves the sound into more hypnotic and atmospheric worlds that bring fresh perspectives to the series. Bulgarian-born, Norway-based Kameliia’s music is rooted in cinematic, melancholic and hypnotic sounds. She translates deep emotions into immersive sonic landscapes inspired by nature, particularly the moon, the sky and their atmospheric qualities. Along with Berlin-based Spaniard BLANKA, she has released on labels such as SK_Eleven, while BLANKA also co-founded Room Trax and draws heavily on the human voice, which she considers one of the most personal and intimate instruments. She uses it to create an emotional, direct connection with the dance floor, with a clean, minimal, timeless style rich in emotion. Kameliia opens up with the weighty kicks and eerie atmospheres of 'Bird In A Cage' before 'Red Sky' layers taut kicks and icy synths into a hypnotic forward charge full of depth and darkness, then 'Lightness' has an unsettling and paranoid lead hanging in the air next to vocal fragments and haunting pads. BLANKA’s offering begins with tightly wound kicks and bass on the dubby 'Say It With Me'; 'Self Pleasure' is an immersive and rubbery rhythm with cosmic synth work, and 'Rabbit Habits' brings funky synth lines that radiate a sense of subtle light and hope amidst the darkness of the groove. Two digital bonus cuts from each artist follow: Kameliia's unsettling, dystopian soundscape 'No Longer A Desire' and the backlit suspense of 'Vivere', and BLANKA's gritty, loopy 'Dream VST' and the deep-space odyssey that is 'Gone For Good'.

You wake up abruptly on cold floorboards, your body aching as if from a great fall. White light floods your vision. Where are you? Last thing you can remember you were hurtling through the Genesis Domain at breakneck speed, but this is definitely somewhere different. As your eyes come into focus you see the hall is grand, intimidatingly opulent. A full house of seated onlookers peers at you expectantly. You’re on a stage, you realize. Flames creep up the walls, engulfing the room and lighting the faces in the audience; the heat is oppressive, but nobody seems to notice. A voice booms out.

“And now, ladies and gentlemen, the moment you’ve all been waiting for! Presenting: a performer of great renown all across the land, yours for one night only… introducing—”

Tiny bells jangle around your head as you shift your weight, obscuring whatever name the announcer just called out. You try to sit up. The jester’s hat tumbles off with a clatter. Not this again, you groan. Your head spins with vertigo. You grimace, trying to remember something. You had just gleaned an urgent and existential truth in the Genesis Domain, but it’s slipping away now… what was it?

Off to your left, a whip cracks. The impresario glares at you from the wings, fist clenched around a diamond-encrusted whip, mouthing at you to get up.

You try to run, but the weight of an incorporeal authority bears down upon you. The impresario cracks his whip again, an impish smirk forming on his lips.

With resignation, you begin to work the room. What else can you do? Tendrils of giggling and gossip creep through your periphery. The heat is suffocating and the smoke stings your eyes, but the show goes on. Remembering your bag of tricks as if from a dream, you raise your hands in the air, invoking the universal call to audience participation. The crowd goes wild. You feel the rush of a familiar thrill. Being the Fool comes naturally to you, you realize, as the palace burns around you.

Jazzy & city pop unit "paris match"'s 4th album to be released on vinyl record!

This is their 4th album released in 2003. It is a masterpiece that is immensely popular among fans, with a summer-oriented light jazz, Brazilian, and R&B groove feel at the forefront.

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

Building up from his multiple appearances on the label, one of our closest producers, Luca Durán, makes his full studio album debut on TraTra. This work is meant to showcase the vast world of influences the diasporic experience comes with: his rhythm-driven tracks coexist in high contrast, but fluidly, with the experimental and textures of his european school of sound. The title itself works amongst these two edges of Luca's aesthetic existence, the softness from the flight of a Mariposa with the harsh hit of a death blow.

Killing Mariposas is filled with seemingly clashing techniques, field recordings, acoustic instruments, and analogue synthesis, which converge with modern and forward-thinking production tools to build heavily layered music. Constructing an emotional narration from the contemplative to the euphoric. A sort of contextual shapeshifter, with hints of cumbia, grasps of reggaetón and dembow, but always submerged deeply in a windy and fragmented memory.

This whole project gets rounded up by the packed lineup of collaborators, both vocal features and production partners. Astute minds from distinct internet niches: Kelman Durán, Gavsborg, Iceboy Violet, Debit, Rosa Pistola, BEBE YANA, Kamohelo & Kacha.

One true reflection of Luca's production abilities and sonic poetry.

Erweiterte Deluxe-Jubiläumsausgabe von "The Fallen By Watch Bird", das neben dem Originalalbum auch das Kompendium "The Watchbird Alluminate" enthält, alternative Versionen und Neuinterpretationen von u.a. Demdike Stare, The Focus Group, Anworth Kirk und Emma Tricca. Seit der ursprünglichen Veröffentlichung vor 15 Jahren hat sich Jane Weaver zu einer der markantesten und experimentierfreudigsten Stimmen aus UK entwickelt und eine Reihe von gefeierten Alben veröffentlicht, darunter "The Silver Globe", "Modern Kosmology", "Flock" und "Love In Constant Spectacle". Es ist ein psychedelischer Femme-Folk-Rock-Teppich, der Einflüsse aus dem osteuropäischen Kinderkino, deutschen Kunstmärchen, der TV-Musik der 70er Jahre und elektronischen Soundtracks der 80er Jahre aufgreift. Dieses konzeptionelle Album, das von Synths und Mystik durchdrungen ist, verwebt Bilder von abwesenden Seeleuten, Telekinese, Tierbotschaften und weißer Magie mit heidnischen Themen wie Tod und Wiedergeburt. Ein prägendes Meisterwerk aus ihrer ständig wachsenden Diskografie, das ihre Reise von ihren folkloristischen und poporientierten Anfängen bis hin zu den psychedelischen Synth-Pop-Experimenten von heute dokumentiert. Das Album umfasst sieben Kapitel und enthält Beiträge von Septième Soeur Wendy Flower vom Folk-Pop-Duo Wendy & Bonnie, das 1969 das Album Genesis veröffentlichte, Lisa Jen, der walisischen Sängerin auf Gruff Rhys' Candylion, der verstorbenen amerikanischen Folk-Pop-Sängerin Susan Christie und dem bosnischen Folk-Musiker und Violinisten Behar. Als Extra setzt "The Watchbird Alluminate" die Reise fort, indem es in Drone, Psychedelia, Folk und weitere Klanglandschaften eintaucht. Einzel-CD oder limitierte 2LP-Edition in Marineblau und Cremefarbenem Vinyl, Gatefold-Sleeve + Obi-Streifen & DL-Karte.

High Focus Records are proud to present the latest collaboration from Verb T & Illinformed. ‘Stranded in Foggy Times’ both continues and completes the trilogy that began back in 2015, with ‘The Man with the Foggy Eyes’, before broadening the horizons with last year’s release ‘The Land of the Foggy Skies’. This final chapter returns to the same conceptual landscape as its predecessors, but also sees Verb T & Illinformed returning to a more classic approach to album making. In spite of its concept, the Foggy Trilogy is something of a personal outpouring for Verb T, with the original aim being to vicariously discuss the trials and tribulations that play a part in his life, including his struggles with chronic illness and the feeling of alienation from leaving his hometown, while also reflecting on the state of the world as a whole. Their approach to making the album meant taking it back to the most natural form, where the idea for the track would be outlined, Illinformed would make the beat, Verb T would write to it and then they would tweak and adjust accordingly. The result is 19 of the most finely crafted tracks to emerge from the UK shores this year. As with the previous albums, ‘Stranded in Foggy Times’ finds Illinformed moving away from the more rugged sound that has shrouded the British scene over the last few months, thanks to his collaborations with the likes of Datkid and Wish Master, instead providing Verb T with an arguably more mellow backdrop. From the string and piano driven introduction on ‘Legacy’, to the blissful head-nod vibes of the closing track, ‘Blind Faith’, the union between beats and rhymes sits at the perfect level. The album also boasts one of the most impressive guestlists of the year, one that is very much a product of both players’ worlds. Thanks to Illinformed’s Bristol connection, there are features from the likes of Res One, Datkid, Leaf Dog, Smellington Piff and Chillman, as well as some locally sourced cuts from DJ Rogue. While on Verb T’s side of the fence, we have features from Rye Shabby and Moreone, along with a collaboration that reignites the same creative spark he found in his early days, as King Kashmere steps into the booth on Feeling Strange. All in all, ‘Stranded in Foggy Times’ does exactly what it sets out to do, by drawing the trilogy to a close while also providing insights into Verb T’s personal world and the world at large. The fact that it also happens to be one of the strongest rap albums of the year is the icing on the cake

 The ‘Fantasy’ EP saw Jacques Greene push further
into his downtempo and ambient influences than ever
before. Now he returns with a special club-tested
extended edit of key EP track ‘Relay’, alongside an
incredible Skee Mask remix.
 Since releasing his last studio album, ‘Dawn Chorus’,
in 2019, Jacques Greene has scored the short film
‘Exhaust’ starring Jimmie Fails (‘The Last Black Man in
San Francisco’), Glenn Kaino’s installation piece
‘Tidepools’ (alongside Nosaj Thing), and videogame
‘Homeschool’. He released remixes for artists such as
Para One, DC Salas, Amtrac, Kllo, Elohim, Kacy Hill
and Montreal disco legends Lime.
 In 2020 he made headlines for creating ‘Promise’ - the
first single released with associated NFT that staked
the owner to music publishing. In 2021 Greene
released ‘ANTH01’, a reissue compiling his first few
years of releases across various labels, alongside
unheard tracks from the era.
 Fresh off a US / European tour in 2022 in support of
his ‘Fantasy’ EP, as well as a high profile support slot
on the recent Bonobo tour.
 “Immaculately produced and mixed, and profoundly
effective - both for the pleasure centers it fires, and
also for the associations it triggers. It feels like a
genetic memory passed down across generations of
ravers, encoded in their very DNA.” - Pitchfork
 “An exercise in restless soul-searching, striking a
delicate balance between struggle and serenity as if
one necessitates the other.” - Resident Advisor

An assorted mixtape-style collection of recordings from Constantin Brăiloiu's World Collection of Folk Music archive, originally broadcast on NTS Radio in July 2017, issued as part of DINTE's 10th anniversary series.

Comprising field recordings made by the pioneering Romanian ethnomusicologist of English, Irish, Gaelic, Norwegian, Breton, Japanese, Italian, Swiss, Basque, Fulah, Sardinian, Estonian, Georgian, Greek, Turkish, Judaeo-Spanish, Portuguese, French, Chinese, Russian, Hausa, Tuareg, Indian, Corsican, Ethiopian, Romanian, Walloon, Flemish, German, Kabyle, Bulgarian, Macedonian, Bosnian and Caribou Eskimo folk songs & dances.

Kassie Krut is comprised of Kasra Kurt and Eve Alpert — former members of Philadelphia math rock institution Palm — alongside Matt Anderegg (Mothers, Body Meat). On their self-titled debut EP, the newly minted Brooklyn three-piece have retained the fangled snarl of their prior work, outlining sugary melodies with visceral flourishes. Front to back, 'Kassie Krut' smudges starkness & filth, settling into a commanding partnership fit for muddy raves, basement punk spaces, and festival stages alike.

After years of twisting rock instrumentation into unknown shapes, the first release by Kassie Krut represents a transformative refocusing of energies. These tracks evince the kind of wisdom that only comes from experience—and the kind of experience that can only be scored by new sounds, still glittering with the metal filings of their making

DJ Himitsu is a Tokyo-born, London-based producer and DJ, known for his understated approach and deep knowledge of Japanese vinyl and book culture. Following a debut EP of acid house on Australian imprint Lunatic Music in 2023, 'Exotic Animals' marks a new waypoint in Himitsu's artistic evolution.

On this debut full length, driving 303 basslines and kickdrums are traded in for obscure recordings and convoluted samples, which spiral and fuse to form shuffling, heady new compositions. Like shattered pottery reassembled into top-heavy sculptures with golden glue, 'Exotic Animals' shapes and juxtaposes opposing forms and fragments, with lolloping aplomb.

When not producing, DJ Himistu runs Caravan - a vintage Japanese record, ceramics and bookshop in London. It's with the same warmth, care and curiosity that he arranges his findings in the plunderous grotto of 'Exotic Animals'. In this way, stepping inside this work is like entering a remote trading post of instruments, memoirs and other sonic curios - as Himitsu stands patiently at the counter.

Recommended for fans of Jon Hassell, Giovanni Venosta, Discrepant.

RANDY'S 50th ANNIVERSARY CHAPTER ONE / VARIOUS - First time on vinyl for Chapter Two second part of the acclaimed previously CD only set that was released to celebrate the 50th Anniversary of Randy's Records. From Augustus Pablo's groundbreaking 'Java' to Carl Malcolm's UK pop crossover hit 'Fattie Bum Bum' Chapter Two showcase classic after classic from a all-star line up of the 70's reggae music greats including Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones & Big Youth. Beautifully packaged with inner sleeves featuring rare photos and liner notes by reggae historian, Dennis Katz.

Italian cinematic funk heroes Calibro 35 announce a limited edition 45 rpm vinyl featuring two previously unreleased singles. The record is pressed on clear orange vinyl, limited to 600 copies, making it a must-have collector’s item.

On the A side, Calibro 35 reimagine Grover Washington Jr.’s jazz-funk classic “Mister Magic” with an ultra-groovy cinematic funk stormer, perfect for DJs and collectors alike. On the B side, the Milan-based combo revitalizes Can’s krautrock anthem “Vitamin C” with a fresh jazz-punk energy, a track recently brought back into the spotlight through Kanye West’s sampling. Both tracks are taken from the Deluxe Edition of their latest studio album Exploration, set for digital worldwide release on February 6th via Record Kicks.

Praised by Rolling Stone as “the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years,” Calibro 35 have built an international reputation as one of the coolest independent bands around. Their music has been sampled by Dr. Dre, Jay-Z, and The Child of Lov (featuring Damon Albarn), and they’ve collaborated with icons such as PJ Harvey, Mike Patton, and Stewart Copeland, continuing to push their cinematic funk universe further.

To celebrate the release, Calibro 35 will hit the road starting mid-October, with two special U.S. shows in Miami and Los Angeles, followed by a European tour including Barcelona, Berlin, Paris, and London.

In the spring of 2025, after a year of General Electrix collaboration, the other half of the duo continued working on new music with Secret Order. Recorded in two parts - May-Aug '25 and Jan-Apr '26, Myos yo on aurinko is Santtu XL's debut album. Selected works 25-26 - SOFYI-05.

Confronting 2026, hope can seem in short supply, as the most divisive and toxic voices worldwide are amplified amidst an ever-rising temperature of conflict and alienation, yet hope is abundant in ‘Losey’, the latest release on Rocket Recordings from the mercurial duo Gnoomes. Just as this couple have taken a bold step into the unknown by leaving Russia and moving to Slovenia, so their music has thrown off all shackles to flourish in a defiant show of vibrant and revivifying colour. “The life of an immigrant is a strange thing.” says the bands Sasha Piankov “But luckily, that glow music brings us has never faded, even though the emotional landscape has definitely shifted.” Yet whilst the music that Sasha and his creative and life partner Masha Piankova came up with is testimony to a liberating triumph against oppression and adversity, it also goes beyond. What has emerged is a kaleidoscopic collision of styles which sends the ‘skygazing’ realm of their previous work spinning into electronic orbit. Whilst the opener ‘Foreign Agent’ explicitly tackles the pressures of the Russian state, it also throws a Stereolab-style motorik meditation through an in-the-red psychedelic prism. Elsewhere we can behold Bulgakov and Chris and Cosey as bedfellows amidst the mesmeric, 303-fried EBM of ‘Satan’s Ball’.
“Rave as therapy. Pop as resistance. Love as endurance. ADHD as a production technique.” These are the primary ingredients of Losey, by the reckoning of the band themselves. This is an album that exists purely on its own distinct frequency, driven by defiance and positivity. Losey is a soundtrack to set fire to the old order, the better to dance in the glow.

Dream Sonic Research returns with its second installment, blending techno with elements of trance and progressive.The release opens with The Portal, driven by a straightforward bassline, wobbling sub-frequencies, and chords that evoke Detroit techno. It is followed by Rise of June, a track that sets the mood for the party with a groovy bassline and an opening melody.

On the flip side, Blind Karma is a straight-to-the-point, psychedelic tune crafted for adventurous dancefloors. Closing the EP, Water Float takes everything to another place, an ethereal journey that draws you home.

Yes, yes funky people, another super sexy, soul, classic dancer makes it onto the DYNAMITE CUTS 7” series. This all-time soul gem “That what friends are for” by the amazing Madeline Bell and Alan Parker. This version is taken from her solo album, uplifting, with a touch of Latin hip movement, is the fresh, must-have 45 everyone is waiting for. On the flip “That’s the way I like it” is a banging version club mover. When you get the best British Library musicians with one of the hottest American soul singers, the magic happens. The band is made up of some of the biggest library legends; Alan Parker, Alan Hawkshaw, Chris Karan and Duncan Lamont to name a few.

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

Originally released on cd in 2017 on Rope a dope and Sounds of Crenshaw, this landmark project now receives a strictly limited audiophile vinyl edition. This release marks the debut of Terrace Martin’s all-star collective, featuring Robert Glasper, Kamasi Washington, Chachi a.k.a. Problem and more, a defining statement of modern Los Angeles jazz, hip-hop and soul.

Wewantsounds is delighted to continue its Ziad Rahbani reissue program with Ana Moush Kafer, a classic album by the Lebanese legend Ziad Rahbani, recorded at his By-Pass Studio in Beirut during the height of the Lebanese Civil War in 1985. Showcasing Rahbani’s signature blend of Arabic music infused with touches of jazz-funk and bossa nova, the album has attained cult status over the years. Originally released on cassette, it has never before been available on vinyl. Newly remastered, this edition features the original Relax-In cassette artwork from 1985 and includes new liner notes by Mario Choueiry of the Institut du Monde Arabe in Paris.

Ziad Rahbani, who passed away in 2025, remains one of the most influential figures in modern Arabic music and a cultural icon in Lebanon. A musician, composer, pianist, producer and playwright, he helped modernize Arabic music over five decades. The son of composer Assi Rahbani and singer Fairuz, he shaped her late 70s–80s recordings producing Wahdon and Maarifti Feek, while building a major solo career with classics such as Abu Ali and Houdou Nisbi, which have become cult favourites for a new generation of DJs and music lovers.
Released in 1985 in Lebanon, Ana Moush Kafer stands as one of Rahbani’s key achievements. Recorded at his By-Pass Studio during the Lebanese Civil War, it blends Arabic melodic traditions with jazz-funk, bossa nova and Western arrangements. Originally cassette-only, it became one of his most revered releases. Throughout the album, Rahbani’s writing reflects the turbulence of wartime Beirut with a blend of sharp social observation, political satire and melancholy. It captures a moment in Lebanese cultural history where experimentation, satire and popular song intersected, giving the album its enduring influence among music lovers.

Sung by Rahbani and Sami Hawat, alongside Beirut-based musicians, the album features both Western and traditional Arabic instruments. It balances refined arrangements with lyrical irony, social commentary and political reflection, which remain deeply resonant in today’s context in Lebanon.
One of the highlights of the album is the song “Shou A’ada Ma Bada,” with lyrics by Joseph Harb, which reveals a clear bossa nova influence, while the closing track, “Al Mokawama Al Watania Al Lobnani,” offers a deeply human view of war, avoiding patriotic cliché in favour of a nuanced perspective rooted in lived experience.
As Mario Choueiry observes in his liner notes, “Ana Moush Kafer stands as one of the high points of modern Arab political songwriting, yet transcends its historical and geographical context through the universal relevance of its themes and the timeless quality of its music.”
Forty years on, Ana Moush Kafer remains a landmark of Arab music. Wewantsounds presents it on vinyl for the first time, newly remastered and featuring original artwork. This long-awaited reissue restores one of Ziad Rahbani’s most important works to circulation, reaffirming its place as a defining statement in modern Arabic music.

a 1. Ana Moush Kafer 5:03
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]