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,Frozen Charlotte" - das siebte Studioalbum von Jack White zeigt den Rock and Roll Hall of Famer in Bestform; unterstützt von einer unglaublichen Band (Patrick Keeler am Schlagzeug, Dominic Davis am Bass, Bobby Emmett am Keyboard), die nach einer Tournee mit allseits gefeierten Auftritten gerade erst richtig in Fahrt gekommen ist. Anstatt sich auf ihren Lorbeeren auszuruhen, machten sie sich direkt im Studio an die Arbeit und nahmen das auf, was schließlich zu ,Frozen Charlotte" wurde. Aufgenommen in Whites Third Man Studio in Nashville, zeigt dieses Album, dass Jack dieselbe raue, rohe und frenetische Energie aus seinem gefeierten 2024er-Album ,No Name" beibehält. Mit 13 Tracks von unterschiedlichem Gefühl und Klang ist ,Frozen Charlotte" ein intensiver Rock-'n'-Roll-Kraftakt, bei dem die Blues-Wurzeln nie weit entfernt sind _ all das passt perfekt zu langjährigen Fans und lässt gleichzeitig die Tür für Neulinge weit offen.

,Frozen Charlotte" - das siebte Studioalbum von Jack White zeigt den Rock and Roll Hall of Famer in Bestform; unterstützt von einer unglaublichen Band (Patrick Keeler am Schlagzeug, Dominic Davis am Bass, Bobby Emmett am Keyboard), die nach einer Tournee mit allseits gefeierten Auftritten gerade erst richtig in Fahrt gekommen ist. Anstatt sich auf ihren Lorbeeren auszuruhen, machten sie sich direkt im Studio an die Arbeit und nahmen das auf, was schließlich zu ,Frozen Charlotte" wurde. Aufgenommen in Whites Third Man Studio in Nashville, zeigt dieses Album, dass Jack dieselbe raue, rohe und frenetische Energie aus seinem gefeierten 2024er-Album ,No Name" beibehält. Mit 13 Tracks von unterschiedlichem Gefühl und Klang ist ,Frozen Charlotte" ein intensiver Rock-'n'-Roll-Kraftakt, bei dem die Blues-Wurzeln nie weit entfernt sind _ all das passt perfekt zu langjährigen Fans und lässt gleichzeitig die Tür für Neulinge weit offen.

Formed in late 1991, Undertakers are among the longest-running and most uncompromising bands of the Italian extreme underground. This album marks the most mature chapter in the band's history. It is where everything finally locks into place: grindcore violence, hardcore urgency, death metal weight, and sharp black metal edges fused into a modern sound that never betrays its old-school DNA. No nostalgia trip, no trend-chasing-just experience, control, and intent. The record is built on contrast: precision versus chaos, speed versus crushing mid-tempos, modern production versus a raw, uncompromising attitude. Every track serves a purpose, every riff hits with direction. This is a band that knows exactly who it is and has nothing left to prove.

Formed in late 1991, Undertakers are among the longest-running and most uncompromising bands of the Italian extreme underground. This album marks the most mature chapter in the band's history. It is where everything finally locks into place: grindcore violence, hardcore urgency, death metal weight, and sharp black metal edges fused into a modern sound that never betrays its old-school DNA. No nostalgia trip, no trend-chasing-just experience, control, and intent. The record is built on contrast: precision versus chaos, speed versus crushing mid-tempos, modern production versus a raw, uncompromising attitude. Every track serves a purpose, every riff hits with direction. This is a band that knows exactly who it is and has nothing left to prove.

Delroy Wilson’s rich vocal tones always added magic to any song put his way. The ‘Cool Operator’ as he was affectionately named, after he worked on a tune with the legendary Jamican producer Bunny Lee.

A match made in heaven that you will hear on the album where he was put against some of the finest rhythms made in what would be a high point in Reggae’s history.

Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd’s Studio One label. His first release at the tender age of 13 was the Lee Perry produced ‘Joe Liges’. This Ska enhanced tune gave the young singer his first hit
and the follow up single ‘Spit in the Sky’ that also flew out the record store doors.

After a brief stop in 1969, Delroy began working for producer Sonia Pottinger’s Tip Top label which gave him more hits including ‘It Hurts’ and ‘Put Yourself in My Place’.

The 1970’s saw Delroy Wilson’s arrival at Bunny ‘Striker’ Lee’s door and what would turn into a winning formula, scoringhit after hit.
It is from this great period in Delroy’s career that we have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.

A great dub set mixed at the one and only King Tubby’s studio … We hope you enjoy the set …

"Frozen Charlotte" - das siebte Studioalbum von Jack White zeigt den Rock and Roll Hall of Famer in Bestform; unterstützt von einer unglaublichen Band (Patrick Keeler am Schlagzeug, Dominic Davis am Bass, Bobby Emmett am Keyboard), die nach einer Tournee mit allseits gefeierten Auftritten gerade erst richtig in Fahrt gekommen ist. Anstatt sich auf ihren Lorbeeren auszuruhen, machten sie sich direkt im Studio an die Arbeit und nahmen das auf, was schließlich zu ,Frozen Charlotte" wurde. Aufgenommen in Whites Third Man Studio in Nashville, zeigt dieses Album, dass Jack die raue, rohe und frenetische Energie aus seinem gefeierten 2024er-Album "No Name" beibehält. Mit 13 Tracks von unterschiedlichem Gefühl und Klang ist "Frozen Charlotte" ein intensiver Rock-'n'-Roll-Kraftakt, bei dem die Blues-Wurzeln nie weit entfernt sind - perfekt für langjährige Fans und gleichzeitig eine weit offene Tür für Neulinge.

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

This is underground house music made in Detroit with real weight, moody, stylish and absolutely loaded with character. A bold and ultra-desirable vinyl-only drop that nails the spirit of Detroit-rooted dance music while keeping its own identity razor sharp. Massive record, massive presence, no compromise.

In March 2026, Morrissey released his 14th studio album, Make-up Is A Lie. One of the highlights from that album, which was recorded with producer Joe Chiccarelli, is the richly melodic 'Notre-Dame'. On this deluxe 12" we get said single plus an unreleased orchestrated version of it, with luxurious strings recorded - appropriately enough - in Paris. To top it off, there's 'Hello Hell' and 'Happy New Tears', bonus tracks from the new album that are available on vinyl for the first time. It's encouraging to see Morrissey hitting this kind of form and keeping the heat on his latest album.

Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!

When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.

A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.

A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.

Bone colored vinyl. RUNNIN'SCARED is more than just a musical outlet-it's a way for two longtime friends to share their love for hardcore, stay creative, and keep doing what they've always loved: writing songs together. Though the name may be new, the faces are familiar. Ricky (drums) and Martin (taking care of everything else) first played together back in 1997 in the short-lived band Damage I.D.-and their paths have crossed ever since. Among others, they've been part of bands like Solid Ground, Animal Instinct, Cataract, Liferide, MINE, and Safe State

2025 Repress

As one of the most Sought after artists of the recent years, there is no doubt that "Alarico" is on the front line of the new generational techno movement.

After recent releases in labels such as Klockworks, Token and Mutual Rytm, The Milan Based producer taking the gloves off and Debuting his first solo EP on his Co owned label "Primal instinct" alongside Chlar.

The anticipated 5 tracker release "Carnal Fever", is an impeccable showcase of Alarico's ability to push his musical aesthetics even further and keep developing his signatured modern minimalistic textures into new levels.

Crave Tapes is thrilled to announce the first vinyl release on the label which will be the second album from Frankfurt's underground post-punk/dark wave band Babes of Enola Grey, Krieg und Wohlstand.
Krieg und Wohlstand sees Babes of Enola Grey follow the path of their 2021 debut, Anfang vom Ende, and take a step further into the realm of melancholic and disillusioned soundscapes. While keeping a certain retro character to the songs, Deborah Vision, Salvador Islero and Fabian van Castorp focus on quite contemporary themes, which some might call the most German obsessions:
War and prosperity.
But this is not the only reference to the band's heritage. Sometimes more, sometimes less, there are musical allusions to various German influences and contributions to (modern) music and music history. While Doppelt Frei is a nod to EBM and bands like DAF or the early Die Krupps and Wie auf Schienen as well as Die Heuschrecken pay homage to German düster punk bands like Fliehende Stürme or EA80, Panik and the title track Krieg und Wohlstand refer to the romantic German art song tradition of the 19th century (not to mention the obvious hint at a certain successful German Schlager in Die Kugeln und das Herz).
This makes Krieg und Wohlstand not only a worthy epigone of the band's debut, but also takes the album and the artistic approach to another level.
Commenting on the chosen format (12" vinyl), the band members said: "It was clear to us that we wanted to release this album on vinyl. When you look atGerman history, war and prosperity have to be seen as two sides of the same medal, or in this case of a record".

Crave Tapes is thrilled to announce the first vinyl release on the label which will be the second album from Frankfurt's underground post-punk/dark wave band Babes of Enola Grey, Krieg und Wohlstand.
Krieg und Wohlstand sees Babes of Enola Grey follow the path of their 2021 debut, Anfang vom Ende, and take a step further into the realm of melancholic and disillusioned soundscapes. While keeping a certain retro character to the songs, Deborah Vision, Salvador Islero and Fabian van Castorp focus on quite contemporary themes, which some might call the most German obsessions:
War and prosperity.
But this is not the only reference to the band's heritage. Sometimes more, sometimes less, there are musical allusions to various German influences and contributions to (modern) music and music history. While Doppelt Frei is a nod to EBM and bands like DAF or the early Die Krupps and Wie auf Schienen as well as Die Heuschrecken pay homage to German düster punk bands like Fliehende Stürme or EA80, Panik and the title track Krieg und Wohlstand refer to the romantic German art song tradition of the 19th century (not to mention the obvious hint at a certain successful German Schlager in Die Kugeln und das Herz).
This makes Krieg und Wohlstand not only a worthy epigone of the band's debut, but also takes the album and the artistic approach to another level.
Commenting on the chosen format (12" vinyl), the band members said: "It was clear to us that we wanted to release this album on vinyl. When you look atGerman history, war and prosperity have to be seen as two sides of the same medal, or in this case of a record".

In Loving Memory of Thomas Thierry, aka Kartell

InnerFaces is the project Kartell was working on for summer 2025, just before he left us.


A return to his electronic and club roots, shaped by the more recent direction of Daybreak and Everything Is Here.



After completing the most defining work of his career with his first album, he felt the need to return to a more intuitive kind of music: guided by momentum, groove, and immediate emotion. This new chapter deeply excited him. He still had so much to explore, so much to share.



InnerFaces is also an introspective project. A look back toward childhood, spontaneity, and lightness. This sense of nostalgia has always run through his music, like an invitation to reconnect with who we truly are, deep down.

We chose to preserve the original demos to ensure that Kartell’s artistic vision remained untouched. With the exception of Katu’s contribution to their collaborative track Augustine’s Rave, it was important to keep the raw energy that shaped these compositions.



With his family’s blessing, we decided to make this project public so that Kartell’s music can continue to live on. InnerFaces remains true to his vision: free, vibrant, driven by groove and luminous melodies.
InnerFaces is a celebration of life, of Kartell, of you who supported him throughout his career.

Under the moniker Trace Mountains, Dave Benton writes music that asks large questions in quietly profound ways. On the project’s earliest release, the 2014 compilation Buttery Sprouts & Other Songs, these thoughts appeared as lo-fi scraps of wit andtenderness. But by the time A Partner to Lean On, Trace Mountains’ debut full-length, arrived in 2018, Benton’s perceptive indie rock had matured into more existential meditations about identity, existence, and finding sense in an increasingly chaotic world.
In the two years since A Partner to Lean On, Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, Lost in the Country, reflects Benton’s need toreconnect with his inner world.

Prompted by an urge to access a more authentic voice, Lost in the Country finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning “Absurdity,” which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener “Rock & Roll” transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of the War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.
Despite its frequently bucolic setting, Lost in the Country’s underlying current is an urgent commitment to Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on “Cooper’s Dream.”This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure has been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”

Chunkers 010 – Running Hot – Hot Tracks Vol 1. EP

For the tenth release on Chunkers, Running Hot brings the heat. Hot Tracks Vol. 1 channels a range of peak-time energies from day to night across four insatiable house tracks: all killer, no filler. Those already familiar will know that Running Hot has practically developed his own subgenre at this stage: a classic, finely honed sound that draws from every corner of the house music archive while remaining contemporary, fresh, and 100% playable. This release is no different.

‘Feel The Rhythm’ is a peak-time tribal affair, irresistibly percussive with a sickening New York feel. This is the kind of track that turns a dancefloor feral when dropped at the right moment, its vocal pizazz and hammering toms providing just the right amount of tension and release to flip a room upside down.

Veering into warehouse territory, ‘Trip’ is a stripped-back stomper that nods to the anthemic sound of London club Trade in the ’90s. Expertly tuned stabs, vocals, and shifting percussion keep the energy locked in from start to finish without ever becoming too much.
On the B-side, ‘Bumpin’ brings the sunshine and once again demonstrates that if something isn’t broken, there’s no need to fix it. Running Hot’s winning formula is employed to its fullest here: a well-rounded house groove layered with vibrant chords, lush strings, and smouldering vocal hooks that evoke golden beaches and open fields, perfect for daytime dancefloor moments.

Rounding off the EP in classy fashion, ‘Amor’ fuses UK hard house tropes with lush synths, a boisterous bassline, earworm vocals, and unrelenting grooves, creating a track that feels equally at home at a daytime do or deep into late-night territory.

Hot Tracks Vol. 1, Running Hot and Chunkers: a pairing that does not miss.

Bosconi Records returns with Tangled Waves Vol. 2, the second chapter of the series—this time expanding the concept into a four-artist VA, diving deep into progressive house and neo-trance territories while keeping that unmistakable timeless, old-school spirit alive.
Like shifting currents moving in parallel, Tangled Waves Vol. 2 brings together different voices, each following their own path while converging in the same flow—crafted for longevity, built for the dancefloor.

The EP opens with Fly High by DJ Glc, founder of Digging Deeper records and already known to the label through his contribution to the Home Cooked Beats compilation. Here he delivers an epic italo-infused progressive cut, driven by a classic rolling bassline and lifted by a futuristic arpeggio that bridges past and present. Hypnotic, warm, and undeniably effective—pure late-night material.
Next up is Strange Gift by rising artist Little Sea, founder of Sea Horse Records. A high-energy progressive groover with a clear nod to ‘90s classics, the track blends a punchy forward-moving bassline with bright melodic flashes and a sensual female vocal in the breakdown—making it a proper peaktime weapon with emotional depth.
On the flip side, Matteo Guarnieri (aka Rare Happiness) makes his Bosconi debut following a standout release on Kulture Galerie. His track Roller Disco Truck merges old and new with ease—leaning into a tech house framework with a distinct groove, textured stabs, and a subtle arpeggio that adds a psychedelic edge. A playful yet driving cut with strong character.
Closing the EP is Stargazing by Andrea Mera, also debuting on the label. A soft, mesmerizing progressive journey, the track unfolds with lush pads, a fluid atmosphere, and a gently evolving energy. With its warm 303 touches and emotional depth, it feels like a timeless closing moment—introspective, romantic, and built for those final hours on the floor.
With Tangled Waves Vol. 2, Bosconi introduces a new wave of artists while staying true to its roots—delivering four carefully crafted cuts that balance nostalgia and forward motion. Another essential addition for the bag, made to last.

Ovatow made quite a stir when he first started dropping deep dubs on his mysterious MySpace page (the main social media at the time). The tracks on the little crappy audio player got hunted down by a flock of DJ's and label heads. From behind a curtain of anonymity he soon started releasing his material on various labels, becoming cult classics in the dub-techno world. It was 2007 when X-dub first appeared on the Dutch imprint SD Records, followed up by his classic release on Frantic Flowers and a string of other projects while keeping his identity secret to everyone. Years later, the rumors proved true... the artist behind these mysterious projects was non other than the Frantic Flowers / Frustrated Funk label head himself. Just testing the waters around him, receiving release offers from close friends and colleagues while he kept his anonymity up. A fun little joke for himself, though the tracks are still relevant and sought after classics today. Both X-dub versions re-appear now, for the first time after almost 20 years, fully retouched and remastered, together with an unknown unreleased jam called Autistic Navigational Spectrum. This is the first in a series of Ovatow work, revived for the heads that appreciate the foggy deep of the Undacurrnt.

Sasha & Franky Wah reunite for second collaborative single, 'Get On My Level'.

The club-ready cut blends marries inviting darkness with meticulous synth craft.

Seasoned electronic favourite Sasha and contemporary trailblazer Franky Wah have shown great creative chemistry in both the studio and the DJ booth: their fi rst hook-up was on Last Night On Earth back in 2020 when they dropped the huge four-track 'Haunted EP.' Since then, they’ve reunited for multiple b2b sets across the globe - from Sydney to Ibiza. Now they have once more combined their respective nous into a new track destined to become an Ibiza anthem this summer.

'Get On My Level' is primed and ready to shake up the dance fl oor. It's powered by a warped, dark bassline that throbs underneath subtle percussion. Plenty of open space lets a moody atmosphere draw you in, while skeletal drums and percussion keep things moving before a big drop, and wispy synths inject future energy as a grainy, ominous voice lurks in the shadows. Dub and instrumental versions are also included to cover all bases.

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

Anthea’s PILLZ imprint returns with its ninth release, welcoming Argentinian producer Dani Labb for the ‘It’s Tayme’ EP. Across four tracks, Labb combines detailed sound design with rave-ready energy, moving between modern electro textures and flashes of 80s club nostalgia while keeping a strong focus on the dance floor.

From the smoky, late-night drive of the title track to the playful lift of ‘Te Gane’, the deeper groove of ‘Cosmoclub’ and the hazy broken rhythms of ‘Cuchillo’, the EP delivers versatile club material with character and momentum throughout.

Warehouse Find!

Time to welcome Soul 223 to the label with his debut Delusions EP entitled Fear Of Stopping. Something of a complete legend in our eyes and ears, Steve Pickton has been releasing top drawer tuneage for over two decades both as Stasis on influential labels such as B12 and Peacefrog and more recently as Soul 223 on equally well regarded imprints like Delsin, Soul Jazz and Neroli. Always one to shy away from any limelight or self promotion it's true to say that this underrated British producer remains something of an anomaly, staying true to his underground roots where faceless, shadowy and obscure reigns supreme over the latest over-exposed cover star. This ethos naturally carries through into his music where you will always find both expansive beauty and unrefined rawness in equal measures ensuring his tracks always sound fresh rather than over produced or contrived.

Fear Of Stopping opens the EP with a low-slung disco groove providing the backbone for intermittent pad washes and reversing stabs. The focus here is firmly on the drums and simple conga riff with thankfully very little else to deter you from this sublime slice of abstract dance music.

Next up we have a remix from another ridiculously talented producer who chooses quality over quantity, having only ever had one release under his own name, albeit for one of the most respected labels in the world; Rush Hour. Maxi Mill came to our attention having released one of the tracks of 2011 namely To The Next. On this, his first ever solo remix he brings a brilliant bump to the EP with a raw, warehousey and bass-heavy workout. Just the right amount of strings and pads keep the deep vibe intact but the filtering bass and jacking drums definitely take this one to the floor.

Flipping over we have Walberswick in it's Hoist Covert Mix incarnation. Almost thirteen minutes of spaced out, deep Detroit house music awaits you, ready to lure you in and cocoon you with it's warm and hypnotizing machine funk. Lovely to hear the old Stasis influence working it's way into this one sounding both decidedly old-school and completely futuristic and otherworldly as only the best tracks ever do.

Closing the EP we have Birdbrook Rain dropping the BPM's for a beautifully sparse track that brings with it an almost desolate and disconnected feeling, echoing synths providing a naive melody while a dusty pad shifts simply beneath. A little slice of magic concluding a fresh and interesting EP, we hope you agree.

Simple production is the goal, no overcomplication. A sharp kick, added vocal, just a few strong elements that really stand out. Ason Teva keeps it direct and honest. The result is a powerful track that makes me rethink everything I knew about production.

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

Strom UA delivers a remix with deep basslines and hypnotic sounds that create a strong atmosphere from the start. The track develops slowly, adding small, subtle new elements along the way which are not recognised at first but at the end they come together and form a full story.
To me it feels like traveling in a tunnel where the light slowly disappears. It creates a cold and mysterious feel which then keeps you interested and encourages you to progress further.
It doesn’t demand attention, it absorbs it.

2026 Repress

Traversing wormholes and flexing versatility, Nicola Cruz gets back on his club-ready biz.

No proper introductions needed here. Sometimes you just have to sit back and appreciate someone at the top of their game. The third portal thing, done masterfully. Hats off.

Time-honoured templates that provide the foundations for his hybrid mutations. Three mescaline-strength techno incursions backed up with a vivid projection of fractal electro.

Big on murk. Properly steeped in introspection, expanding consciousness and horizons. The vision quest endures for the duration.

New levels of insectoid detail and lysergic flourish revealed with every close listen, but he’s always keeping it robust. Giving it chest with some serious dancefloor dramatics until the final unfurling.

Steve Bug and Pornbugs team up on Behind The Glass / On The Swing with remixes from Mihai Popoviciu and Markus Homm.

Unsung House hero, Steve Bug has been there and done it all. Arguably Germany’s most important pioneer, his label Poker Flat has been an epoch-defining imprint. Celebrating 20 years of Bondage Pornbugs are mixing in different circles with recent releases for Selador and Acker Dub, showcasing their crossover appeal with a new generation of DJs.

Opening with ‘On The Swing’ we are delighted by classic deep vibes with a modern twist. Grooevsome and warm, this will get the floor going anywhere in the world. On remix duties, Mihai Popoviciu drops his trademark style, smoothing out the bumps for a deeper ride.

Next up, ‘Behind The Glass’ takes a similar path. Soulful warmth exudes from the speakers as the bumpy bass and echoing keys mark time. Reaching a crescendo with muted acid undertones in the second half keeps attention high and the dancefloor full and happy. For his remix, Markus Homm takes it deeper with shades of Detroit. Liquid cool for the later floors.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Born from a shared obsession with the raw energy of the mid- sixties, the trio has meticulously crafted a sound that feels like a lost recording session from the StarClub era. Their music is a high-octane blend of sophisticated British Beat and the fuzz-fueled attitude of U.S. Garage bands. By fusing the melodic precision of the early sixties' "Hamburg Sound" with a sharp, guitar-driven edge, THE KEES create something both nostalgic and electrifyingly fresh. It is a sound that will instantly resonate with fans of THE MERGERS or THE KAISERS, striking that perfect balance between authentic vintage vibes and modern punch.

R&B outsider Zsela joins forces with inc. no world's Daniel Aged and film composer Taul Katz on '4 Dreams', a billowing ambient-neoclassical hallucination that'll tickle fans of Mary Lattimore, Malibu, Nala Sinephro, Gigi Masin. If you only know Zsela thanks to her dramatic 2024 debut album 'Big For You', the mostly beatless, fully reflective '4 Dreams' might come as a surprise. But look a little further back in her catalogue and things will fall into place; remember 'Angels Pharmacy' and Remembrance' from Actress's 'Karma & Desire'? That was Zsela on vocals, so she's got priors. '4 Dreams' started life as the soundtrack to 'Seven Heavenly Senses', an art exhibition from last year at Paris's Hôtel de la Marine, but has since taken on a life of its own. Zsela's breaths are stretched and sculpted into warm, washing biomechanical pads on the opening dream, left to weather tinny arpeggiated FM synths and muggy bass drones. So far, so predictable. But Zsela muddles proceedings with her confident delivery, layering her voice into jazzy, R&B inflected key changes that keep you guessing. Imagine an astral plane answer to Dawn Richard's ambient-inflected pop and you'll have some idea of where this is headed.

Then 'Dream 2' takes an unexpected diversion, the vocals replaced by swirling harp flourishes and the kind of floating synth stabs that draw a core logic from classic Ambient - Harold Budd, Laraaji et al - then adding extra colors just where necessary. And on 'Dream 3', faint, almost folk-y strings enter the frame, calling out from beyond the horizon, almost blotted out by a synth part that's in the thrall of Gigi Masin's legendary 'Clouds' - the track that ended up being repurposed by Björk on 'It's In Our Hands'. Zsela, Katz and Aged keep that momentum for the final track, too, letting cinematic strings echo around subtle synths and vanishing rhythms, hitting those hypnagogic, tranquil notes that so much contemporary ambient music seems to avoid. 'Cause at its heart, '4 Dreams' is deeper than that, a record that's entrenched in jazz, soul and classical minimalism rather than throwaway numbing music, of the contemporary variety.

Magnolia Blue Records have an amazing soulful debut album from Acantha Lang who has been building a loyal fanbase over the past few years. Acantha, having just toured with Roachford will be playing London, Paris & European festivals this summer.

Bill Withers was a modest, gentle, and yet towering musical figure responsible for some of the most important, universally known soul hits ever written. It’s no wonder that “Just the Two of Us” and “Ain’t No Sunshine” won him two Grammy awards and undoubtedly played a huge role in getting him inducted into both the Songwriters and Rock and Roll Hall of Fame.

Live at Carnegie Hall is Withers' only live album, recorded on October 6, 1973 but not released until April 21, 1973. The fact that Bill got to play his heartfelt and honest soul at one of the most prestigious venues for both classical and pop music speaks volumes: his first two records Just As I Am and Still Bill were really that influential.

Bill Withers' Live At Carnegie Hall was recorded more than 50 years ago on a rainy Friday evening, but it is still regarded as one of the best live performances in the history of Soul music. Withers appears on stage with an ensemble of only the best session musicians the 1970s had to offer: Melvin Dunlap, Ray Jackson, James Gadson, Benorce Blackmon, and Bobbye Hall, at the time one of the few female session percussionists. They all had worked together on Still Bill and had the knack for expanding Bill's intimate songs to fit a hall of that size and stature. And as far as the recording goes, no corners were cut; it really feels like you're up there with them.

The set features evergreens such as "Ain't No Sunshine", "Lean On Me", "Grandma's Hands", but also tunes that are only available as part of this live set, such as "World Keeps Going Around" and "I Can't Write Left-Handed".

Bill Withers Live at Carnegie Hall is available as a limited edition of 5000 individually numbered copies on magenta vinyl, and includes printed inner sleeves and a 4-page booklet featuring liner notes on Bill Withers written by Ahmir “Questlove” Thompson and reflections by Aloe Blacc.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

Chad R. Matheny veröffentlicht seit 1998 exzentrische, textlich dichte Underground-Popmusik, oft unter dem Namen Emperor X. Nach seinem Studium der Physik, Philosophie und Musikkomposition legte Matheny eine Pause von der akademischen Arbeit ein und verbrachte einen Großteil der letzten zwei Jahrzehnte damit, die Welt mit Bussen und Hochgeschwindigkeitszügen zu durchqueren, um an Orten Musik zu machen, die von einem kleinen, aber vollbesetzten Konzertsaal in Portugal über eine leere Messehalle im Norden des Libanon bis hin zu buchstäblich unterirdischen Metal-Bars in der ganzen Ukraine reichten. Er tourt oft allein mit Gitarre und Synthesizer, teilt sich aber manchmal die Bühne mit Weggefährten wie Ratboys, The Hotelier, The World is a Beautiful Place and I Am No Longer Afraid to Die, Foxing, AJJ, The Front Bottoms und Xiu Xiu. Er produzierte das neue Brian-Sella-Album ,Well I Mean", war Co-Produzent des Sub-Pop-Albums ,Bits" der Jangle-Punk-Legenden Oxford Collapse zusammen mit Eric Topalski von Don Caballero und Storm & Stress und komponierte Videoundermusik für gemeinnützige Organisationen wie Planned Parenthood und SEIU. In den Jahren 2011 und 2012 wurde Mathenys Ambient-Werk ,Keeling Curve" in einer Multimedia-Installation des Fotografen Joel Sternfeld verwendet, die im Rahmen einer Retrospektive im Museum Folkwang zu sehen war.

Capturing the full scope of the Straw Hat Crew’s journey into the Grand Line, this collection brings together the massive, high energy score by award winning composers Sonya Belousova and Giona Ostinelli. From the shores of Loguetown to the snowy peaks of Drum Island, every moment of the voyage is brought to life through soaring orchestral arrangements and unforgettable pirate anthems.

2LP Audiophile Black Vinyl: Two 12 inch records pressed on high quality black vinyl for a classic look and superior sound fidelity, delivering every orchestral swell with crystal clear precision.

Double CD Set: Two discs featuring the complete original score and songs, presented in a premium compact format.

Premium Packaging: A double gatefold jacket for the vinyl edition and a three fold digipack for the CD, both showcasing vibrant cinematic artwork of Luffy and the Straw Hat Crew.

Complete Soundtrack: Over 40 tracks spanning the entire second season, including character themes, emotional moments and epic battle motifs.

Whether at home or on your own journey, this release is the perfect way to keep the spirit of adventure alive, immersing you fully in the world of One Piece.

Netflix’s epic high seas pirate adventure, ONE PIECE, returns for Season 2, unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line, a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world’s greatest treasure, they will encounter bizarre islands and a host of formidable new enemies

Strut Records proudly presents a new reissue of the original Afrobeat classic Low Profile (Not For The Blacks), recorded and composed by Afrika 70 saxophonist and bandleader Lekan Animashaun and produced by Fela Kuti. After years touring the world as Fela’s baritone saxophonist, Animashaun stepped forward to lead the legendary Egypt 80 band following Tony Allen’s departure, remaining the group’s musical director until Fela’s death in 1997. He continued on subsequent tours with Seun Kuti until 2016. Lekan began recording his only solo project, Low Profile, in 1977. The album was composed and recorded across sessions at home in Nigeria and on tour with Fela, who both produced the recordings and added keyboards to the album’s title track. ‘Low Profile (Not For The Blacks)’ referenced a government campaign during the country’s 1970s oil boom: “It was inspired by a speech by Olusegun Obasanjo, Nigeria’s military Head of State, when he urged black people to keep a low profile about their wealth and not to behave in a vulgar, arrogant way,” explains Lekan. “I argued that low profile is not just for the blacks, as everyone is human, regardless of race.” On the flip side, the simmering Afrobeat anthem ‘Se Rere’ (which translates as ‘Do Right’) delivers Animashaun’s message of living with integrity: do right, and you will reap what you sow.

The song later became the band’s opening number during Fela’s live performances both in Nigeria and internationally throughout the 1980s and ’90s. Despite recording beginning almost two decades earlier, Low Profile did not receive an official release until 1995, when it finally surfaced on Fela’s Kalakuta label. One of only a handful of albums led by core members of Kuti’s band, Low Profile captures a pivotal moment in Afrobeat history. Over time, the original has become a rare and highly sought-after record, and this new reissue places the spotlight back on a modest but influential Nigerian legend. Strut’s reissue features the complete original artwork, is fully remastered by The Carvery, and includes brand new liner notes by Lekan Animashaun himself.

180gm marble vinyl.
Baratro was born when Fede (Council of Rats) and Dave (Unsane) met at a show in legendary Milan squat Cox18 and started to trade riffs and song ideas. After a while they decided to shape these experiments into a proper band and got Luca (Marnero) behind the drumkit to complete the line up.
After a few months of practice and a couple of shows in Italy, the band recorded their very first six songs in the empty concert hall of Cox18, which were later released as the “Terms and conditions” EP via Sangue Dischi records (July 2021).
Given the worldwide shutdown of live performances through 2020/2021 the band focused on writing new music, and in August 2021 they started tracking down their first full length effort, “The Sweet Smell of Unrest”, which was released February 2024 via Improved Sequence.
In 2024 Baratro joined forces with cellist Matteo Bennici to experiment as a quartet, both for composition and live. With this new formation and new found chemistry, the band simply let the dynamics and trust in each other shape the outcome of the music.This new creative process led, about a year later, to the recording sessions of their second full-length “No comply”, to be released by Supernatural Cat.

BARATRO are:
Dave Curran – bass, vocals Federico Hartridge – guitar, vocals Luca Antonozzi – drums Matteo Bennici – cello