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Is it Kasra V or Kasra the Fifth? Fifth generation, fifth of his name? V for vendetta or V for valentine? Try as we might to figure it out and whatever the answer may be, he has sauntered back toward the decks to present this aural offering. Two tried and true edits specially brewed for dancefloor mania. Limited numbers of these tantalizing records exist, get them before they fade out into the ether.

XKatedral Anthology Series II (An Anthology Of Slowly Evolving Timbral Music), featuring exclusive music from Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, and Maria W Horn.

"XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.

The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019.

Closing side A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked version of a piece originally commissioned by Semibreve in 2020.

Side B contains the work ‘Hands Melt In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.

Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional practice usually combines acoustic and electronic source material and in this piece he molds the sound of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth.

The second piece on side B, Inertia, is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.

Closing Anthology II is Maria W Horn's work ‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics."

Atjazz presents his long-awaited 27-track long player "Starbase 17" — an epic odyssey through song and sound, offering a rich tapestry of styles that draws listeners into a wondrous sonic realm where rhythm, harmony, and imagination intertwine.

Taking inspiration from his extensive body of work, Martin "Atjazz" Iveson fuses his signature deep musicality with cutting-edge production to reach new creative heights. This time, he brings an exceptional ensemble of world-renowned collaborators aboard his cosmic vessel, each adding their own distinct brilliance to the voyage

Together, this stellar lineup consisting of Fred Everything, Nathan Haines, Sio, Karizma, LyricL, Peacey, Pete Simpson, OVEOUS, Charles Webster, Kaidi Tatham, Clyde Beats, Natasha Watts, Omar, Max Beesley, Josh Milan, Rona Ray, Osunlade, and Clara Hill joins Atjazz on a journey through sound, space, and emotion — where each track is a world of its own, yet all are united by a shared creative vision and boundless imagination.

Manuel Darquart returns to WOLF with this season’s must-have EP, Dream House Factory Vol. 1. Following his sublime 2023 release, The Del Sol EP, and a standout appearance on Permanent Vacation Records, he once again delivers a collection rich in Italo house influences, all filtered through his unmistakable signature style.

Seamlessly blending house, Italo and acid flourishes, Manuel Darquart continues to showcase why he’s a master of that sun-soaked Balearic sound. There’s a strong sense of nostalgia throughout, yet it’s balanced with a sharp, contemporary edge.

Adding further weight to the package, Malik Kassim aka Retromigration steps up to deliver a killer, remix of Pammy’s Craft. Injecting the track with extra drive and peak-time energy, he transforms it into a dancefloor weapon while retaining the character and charm of the original.

Think Ibiza via Hackney, with a pit stop in Amsterdam for a late-night pick-me-up. Balearic to the core!

“duo,” a collaboration between norwegian jazz heavyweight bugge wesseltoft and german house visionary henrik schwarz, is finally being reissued. it stands as one of the finest albums in the history of club music to so beautifully fuse jazz and electronic music. deep and experimental yet irresistibly melodic, this gem of a record possesses a captivating sensibility that draws in listeners of every kind. newly remastered by kuniyuki, this long-awaited reissue comes pressed on 180g vinyl. the refreshed artwork has been created by emerging japanese artist joji nakamura

happy 15th anniversary!

„Duo“, eine Zusammenarbeit zwischen dem norwegischen Jazz-Schwergewicht Bugge Wesseltoft und dem deutschen House-Visionär Henrik Schwarz, wird endlich neu aufgelegt. Es gilt als eines der besten Alben in der Geschichte der Clubmusik, das Jazz und elektronische Musik so wunderschön miteinander verbindet. Tiefgründig und experimentell, aber dennoch unwiderstehlich melodisch, besitzt dieses Juwel von einem Album eine fesselnde Sensibilität, die Zuhörer aller Art in ihren Bann zieht. Neu gemastert von Kuniyuki, erscheint diese lang erwartete Neuauflage auf 180-Gramm-Vinyl. Das überarbeitete Artwork stammt vom aufstrebenden japanischen Künstler Joji Nakamura.

Herzlichen Glückwunsch zum 15-jährigen Jubiläum!

Sakura is without doubt the most loved and lauded entry in Susumu Yokota’s catalogue.

The music unravels like cascades of petals falling from the eponymous cherry blossom trees. Yokota intended to ‘express ki-do-ai-raku (the four emotions; joy, anger, sorrow, and happiness) through music’, and throughout Sakura, the effect fluctuates between profound tranquillity, hesitation, melancholy and joy with ease, addressing the fickle nature of human emotion, while transcending the inclination to label moods entirely.

Sakura became Yokota’s best selling album. It was greeted with universal acclaim, lauded by Philip Glass and Brian Eno and launched Yokota internationally.

‘A bittersweet beauty, heightened by the sadness that all things must one day end.’ - Martyn Pepperell

,Mount Zero", das Debütalbum von Swapmeet, ist ein mitreißender, gitarrenlastiger Road Trip, der an den Slowcore und Alternative Rock der 90er und frühen 2000er Jahre erinnert und diesen Stil neu belebt. Es markiert den Moment, in dem das australische Quartett zu seiner eigenen Identität findet. Nach ihrer verträumten Debüt-EP ,Oxalis" aus dem Jahr 2024 erscheint ,Mount Zero" kurz nach der Unterzeichnung des Bandvertrags beim in LA ansässigen Label Winspear, nachdem sie in ganz Australien für Aufsehen gesorgt hatten, bei den South Australian Music Awards Auszeichnungen für die beste Veröffentlichung und den besten Song (,Ceiling Fan") mit nach Hause nahmen und bei SXSW Sydney den Titel ,Bester Newcomer" erhielten. ,Mount Zero" verbindet luftige Sanftheit mit schrägem Surrealismus und verwandelt so viele der Bedauern und Unsicherheiten des jungen Erwachsenenalters in ein aufkeimendes, neu gewonnenes Selbstvertrauen. Obwohl die Mitglieder von Swapmeet ihre Songs oft zunächst einzeln schreiben, drehten sich die Titel auf ,Mount Zero" letztendlich um gemeinsame Themen: erste Lieben, erste Liebeskummer, erste Peinlichkeiten, erste Katastrophen. Wie schon seit ihren Anfängen als Band tauschten Swapmeet auch bei ,Mount Zero" die Instrumente untereinander aus und teilten sich die Produktionsaufgaben als Quartett. Sie entwickelten ihren Sound, indem sie Dutzende (manchmal Hunderte) von Spuren in jedem Song übereinanderlegten und dann sorgfältig Elemente entfernten, bis die Produktion eine klare Form annahm. Das Ergebnis ist ein Album, auf dem Swapmeet die zähneknirschende Intensität einfangen, die man empfindet, wenn man sich unter dem unerbittlichen Druck der Realität auf zellulärer Ebene verändert. Es ist eine Hommage an all die Leben, die niemals gelebt werden können, an all die Wege, die niemals beschritten werden - und zugleich eine Ode an das Leben, das direkt vor uns liegt.

,Mount Zero", das Debütalbum von Swapmeet, ist ein mitreißender, gitarrenlastiger Road Trip, der an den Slowcore und Alternative Rock der 90er und frühen 2000er Jahre erinnert und diesen Stil neu belebt. Es markiert den Moment, in dem das australische Quartett zu seiner eigenen Identität findet. Nach ihrer verträumten Debüt-EP ,Oxalis" aus dem Jahr 2024 erscheint ,Mount Zero" kurz nach der Unterzeichnung des Bandvertrags beim in LA ansässigen Label Winspear, nachdem sie in ganz Australien für Aufsehen gesorgt hatten, bei den South Australian Music Awards Auszeichnungen für die beste Veröffentlichung und den besten Song (,Ceiling Fan") mit nach Hause nahmen und bei SXSW Sydney den Titel ,Bester Newcomer" erhielten. ,Mount Zero" verbindet luftige Sanftheit mit schrägem Surrealismus und verwandelt so viele der Bedauern und Unsicherheiten des jungen Erwachsenenalters in ein aufkeimendes, neu gewonnenes Selbstvertrauen. Obwohl die Mitglieder von Swapmeet ihre Songs oft zunächst einzeln schreiben, drehten sich die Titel auf ,Mount Zero" letztendlich um gemeinsame Themen: erste Lieben, erste Liebeskummer, erste Peinlichkeiten, erste Katastrophen. Wie schon seit ihren Anfängen als Band tauschten Swapmeet auch bei ,Mount Zero" die Instrumente untereinander aus und teilten sich die Produktionsaufgaben als Quartett. Sie entwickelten ihren Sound, indem sie Dutzende (manchmal Hunderte) von Spuren in jedem Song übereinanderlegten und dann sorgfältig Elemente entfernten, bis die Produktion eine klare Form annahm. Das Ergebnis ist ein Album, auf dem Swapmeet die zähneknirschende Intensität einfangen, die man empfindet, wenn man sich unter dem unerbittlichen Druck der Realität auf zellulärer Ebene verändert. Es ist eine Hommage an all die Leben, die niemals gelebt werden können, an all die Wege, die niemals beschritten werden - und zugleich eine Ode an das Leben, das direkt vor uns liegt.

,Mount Zero", das Debütalbum von Swapmeet, ist ein mitreißender, gitarrenlastiger Road Trip, der an den Slowcore und Alternative Rock der 90er und frühen 2000er Jahre erinnert und diesen Stil neu belebt. Es markiert den Moment, in dem das australische Quartett zu seiner eigenen Identität findet. Nach ihrer verträumten Debüt-EP ,Oxalis" aus dem Jahr 2024 erscheint ,Mount Zero" kurz nach der Unterzeichnung des Bandvertrags beim in LA ansässigen Label Winspear, nachdem sie in ganz Australien für Aufsehen gesorgt hatten, bei den South Australian Music Awards Auszeichnungen für die beste Veröffentlichung und den besten Song (,Ceiling Fan") mit nach Hause nahmen und bei SXSW Sydney den Titel ,Bester Newcomer" erhielten. ,Mount Zero" verbindet luftige Sanftheit mit schrägem Surrealismus und verwandelt so viele der Bedauern und Unsicherheiten des jungen Erwachsenenalters in ein aufkeimendes, neu gewonnenes Selbstvertrauen. Obwohl die Mitglieder von Swapmeet ihre Songs oft zunächst einzeln schreiben, drehten sich die Titel auf ,Mount Zero" letztendlich um gemeinsame Themen: erste Lieben, erste Liebeskummer, erste Peinlichkeiten, erste Katastrophen. Wie schon seit ihren Anfängen als Band tauschten Swapmeet auch bei ,Mount Zero" die Instrumente untereinander aus und teilten sich die Produktionsaufgaben als Quartett. Sie entwickelten ihren Sound, indem sie Dutzende (manchmal Hunderte) von Spuren in jedem Song übereinanderlegten und dann sorgfältig Elemente entfernten, bis die Produktion eine klare Form annahm. Das Ergebnis ist ein Album, auf dem Swapmeet die zähneknirschende Intensität einfangen, die man empfindet, wenn man sich unter dem unerbittlichen Druck der Realität auf zellulärer Ebene verändert. Es ist eine Hommage an all die Leben, die niemals gelebt werden können, an all die Wege, die niemals beschritten werden - und zugleich eine Ode an das Leben, das direkt vor uns liegt.

DJ Support: Paul Woolford, Machinedrum, Kettama, LDLDN, Sinistarr, A.Fruit, Machine Woman, Octo Octa, Paco Osuna, Bradley Zero, Tzusing, Lefto, Synkro, John Tejada, 12x12 and many more

BBC6Music - Gilles Peterson

NTS - LDLDN

BBC6Music - SHERELLE - DJ Mix and Interview

NTS - Ross Allen
Enter the kaleidoscopic world of Lone - returning to Greco-Roman for his first album in five years, ‘Hyperphantasia’

An artist who has been soundtracking dancefloors since the early 2000s, Lonemade his production debut in 2008 with “Lemurian”, a hip-hop inspired release before moving into the vibrant future-facing soundscapes we have come to know. His back catalogue ranges through house, rave, ambient and electronica, and on ‘Hyperphantasia’, Cutler sets himself the challenge to bring all of those influences together for one body of work that he describes ‘like an album in my mind’. Referring back to the album title, the definition of hyperphantasia is a condition characterized by exceptionally vivid and detailed mental imagery and for this album he tested himself to see how close he could get the music to sound exactly like what he was hearing in his imagination.

On Hyperphantasia, Lone deepens his relationship with vocals. Having previously relied on vocal samples or more abstract live vocal treatments, this latest album marks a shift toward richer, more pop-leaning sensibilities. Cutler makes a clear lyrical statement, enlisting a diverse and carefully chosen cast of collaborators: London-based artists and fellow Greco-Roman affiliates Ell Murphy and Lou Hayter, Barcelona’s breakthrough singer Bikôkô, cult Nottingham rapper Juga-Naut, and Hong Kong-born, London-based musician Merry Lamb Lamb. Together, they contribute to what stands as a career-defining project.

The end result is a cinematic experience exploding full of colour. You are introduced to the album with an old school rave anthem ‘Life Spark’ and an interlude welcoming you into this musical world. Like chapters in a novel, the album ebbs and flows beautifully between stripped-back melodies ‘Opening A Portal’, ‘Photographs That Don’t Exist’, ‘Sickly, Sweetly, Summer Movie’ and ‘Fruit Rots, Water Floats Downstream’, bubbling feel-good house ‘Affinity (Cloud Four Four Mix)’, ‘Triton’ and ‘ Wemove’, the rap-influenced ‘Throw The Ember’ and epic future-pop tracks ‘Miracle Mile’, ‘Big World’, ‘Scattergun’ and ‘Home’. The album ends with a full circle moment, back to the early hardcore and jungle rave scene, on ‘Ascenscion.png’.

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

Solar Operandi is a new Parisian label born from a B2B project and developed into a curated platform rooted in electro and exploring its darker intersections with techno, acid and trance. It's focusing on peak-time energy with depth and character.

Its first various artists release, Carnal Savana Vol. 1, brings together standout producers from across the globe, each delivering a distinctive yet cohesive vision of modern electro. The compilation balances raw club functionality with refined sound design, built for powerful systems and late-night intensity.

,In the Grace Of Your Love" kam ursprünglich 2011 raus und war ein Neustart für The Rapture und eine willkommene Rückkehr zu DFA, dem Label, das ihnen zu ihrem sofort erfolgreichen Debüt ,Echoes" verholfen hatte. Der Schwung und Erfolg dieser Jahre führte zu einer Achterbahnfahrt mit einem großen Label, die sie wieder da landete, wo sie angefangen hatten - mit Narben, aber jetzt frei, die Grenzen der Erwartungen zu sprengen. Begleitet wurden sie dabei vom verstorbenen, großartigen Philippe Zdar, einer Hälfte des französischen Dance-Duos Cassius und Produzent von Künstlern wie Phoenix und den Beastie Boys. Zdars Begeisterung und technisches Können sind schon in den ersten 30 Sekunden des Albums zu hören: ,Sail Away" ist The Rapture in voller Pracht und Strahlkraft, ein fünfminütiger Ausatem mit Disco-Drums. Natürlich gibt es auch jede Menge Futter für die Dance-Kids - ,How Deep Is Your Love" rockt immer noch die Tanzflächen der New Yorker Bars, ,Miss You" ist ein unwiderstehlicher kleiner Streich in Moll -, aber insgesamt herrscht das Gefühl vor, dass man langsamer wird, Bilanz zieht und an den richtigen statt an den falschen Orten nach Sinn und Liebe sucht. Daher auch das Finale: ,It Takes Time To Be a Man", ein charmant ehrlicher, von Klavierklängen untermalter Song über Verantwortung übernehmen und anderen helfen. Er klingt wie nichts anderes im Repertoire von The Rapture und rundet es dennoch perfekt ab. Der Abspann läuft, die Zeit vergeht, Platten bedeuten immer noch alles.

Vesu’s returns with List of Lizards IV, the fourth installment in his ongoing series, released July 17, 2026 via
Managua Records in partnership with Moodmusic—marking his first release on the label.
Composed by Vesa-Matti Kivioja, the album features eight original tracks written specifically for the Vesu’s
moniker, blending atmospheric depth with refined musical storytelling. Guest appearances from Kristos’, Georg
Marander, and Tinu add further texture to the record’s layered sound.
Alongside digital formats, List of Lizard IV will also be available on vinyl LP format.

Baba Stiltz continues to showcase his songwriting capabilities with Relief.
Backed by Ilari Larjosto on drums, Relief sees Stiltz delving deeper into the slacker-country territory explored on his last album, Paid Testimony, though here the sound is more refifined and hi-fifi. The track hints at the indie apathy of decades past while maintaining a distinctly contemporary sensibility.
A dubby yet fractured-sounding bassline and sparse three- chord verse structure intertwine with Theo Stocks’ beautiful lap steel arrangement, while Larjosto’s steady, Moe Tucker- esque drumming keeps the song moving forward.
Lyrically, Stiltz navigates pop songwriting tropes with restraint and precision. The repeated refrain of “congratulations” feels both strung-out and melodic, while fragmented, Garielle Lutz- like imagery — “tick tock, wrist watch, clif bar, trunk car, its cargo” — quietly sets the scene. Somehow, the juxtaposition resolves elegantly.
When asked about the theme of the song, Stiltz simply responded: “There is relief in acceptance.”
With Relief, Stiltz offers another compelling glimpse into his evolving songwriting practice, and perhaps an indication of what is still to come. The release follows a prolifific start
to the year for Stiltz, including Blurb 2 with Okay Kaya, co- production, writing and mixing work on Ana Roxanne’s Poem 1, and co-production and mixing on the SY3 EP for Music From Memory.

WRWTFWW Records announces the return of Louisiana-based composer and producer Jammin’ Sam Miller with A Link To The Past Tribute, his homage to the music of Zelda (A Link To The Past). His remake of the classic video game score is available as a limited edition green vinyl LP with artwork and sticker sheet by French illustrator Pierre Thyss, as well as an obi strip.

Originally composed by the legendary Koji Kondo, the epic 1991 Zelda soundtrack for the Super Nintendo Entertainment System is one of the most celebrated pieces of video game music ever, a sound that will automatically bring fans to a complete state of pixelized nostalgia bliss.

Jammin' Sam Miller entirely remade the soundtrack from scratch, note by note, without sampling any of the original audio. He recorded his cover versions by finding the original equipment used to create the score, translating the MIDI into a modern studio context, adding his keyboard sounds, and re-mixing and re-mastering the whole soundtrack with modern techniques. The result is a new experience of vintage Zelda music in full HD uncompressed glory and blessed with the beloved Jammin’ Sam Miller touch!

Pure heaven for video game music lovers!

Acid Acid Session Vol. 4 continues the steady development of the series toward a clearer Acid House direction.

Paul Renard from the Netherlands, behind Deep Acid Records, adds his 303-driven Acid House approach to the Acid Session series.

The flip side features Acidskool, delivering their UK Acid House sound, raw in groove and hardware-driven.

Late 80s & 90s energy, reworked for today's club floor.

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.

mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

2026 Repress