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Swiss label Mormorio Records returns with its sixth release.
MOR006 is delivered by Zürich-based artist Aline, presenting two original tracks that move between subtle grooves, reduced textures and a warm, driving flow.
On remix duties, Paul K and Lorik each bring their own perspective to the record, stretching the originals into deeper territories while keeping the essence intact. The result is a balanced release that works as well on intimate dancefloors as it does in late-night sessions.

MOR006 continues the label’s focus on understated, carefully crafted club music, rooted in the Swiss underground scene.

Phil Berg is back on the label, with his highly anticipated return. Four tracks that
continue to pave the way he laid in 2023 with his Raid EP.

Titled Iso, the EP is a study in reduction and discipline. Phil builds each track around a single guiding tension, rhythmic loops that breathe and shift injecting different emotions as each sound passes.

Phil Berg first appeared on SK11 in late 2023 with Raid, one of his biggest and most accomplished releases to date, an EP that made an immediate impression across techno fans worldwide. Iso's four productions here, each with their own identity, each showcasing the same commitment to craft and precision that defined his introduction to the label.

The EP is a statement of intent for Phil in 2026 and one of SK11's strongest releases of the year.

Please Note: This format is 3×12' Vinyl in a gatefold sleeve with the full 11 track CD inside. Dub Police are proud to announce the release of their first artist album courtesy of Birmingham-based producer Emalkay, who is set to release his hotly anticipated debut LP 'Eclipse' this Spring. First making a name for himself with early releases on his own Morphic Sounds imprint, Emalkay has continued to push the boundaries of underground bass music ever since, delivering a slew of huge releases on the way. Having been an integral part of the Dub Police stable ever since his 'Explicit / Heroics' 12' for the label in 2009, Emalkay has gone from strength to strength with a series of heavyweight tracks that includes the phenomenal 'When I Look At You' and recent smash 'Crusader'.Comprised of 11 tracks, 'Eclipse' is a bold and powerful album encapsulating perfectly everything that makes Emalkay such a prodigious talent, effortlessly showcasing the depth and diversity of his sound while always remaining true to his inimitable style. As addictive as it is hard-hitting, the album doesn't just provide a collection of dancefloor tracks, but a confident and coherent artistic statement.A brilliantly confident and varied debut album, 'Eclipse' is set to cement Emalkay's place as one of the biggest and most exciting producers working in bass music today.

a Emalkay - Flesh & Bone
b Emalkay - Metropolis
c Emalkay - Keep Goin On
d Emalkay - True Romance
e Emalkay - Space Hopper
f Emalkay - When I Look At You

Bleaching Agent and Miles J Paralysis are two artists who operate steadily in their own lane. They collide on this release to deliver two contrasting originals, each handed to the other to be reimagined.

Both based alongside us in West Yorkshire, we are thrilled to present this shared vision in the form of the first Dream Space 12”.

Bleaching Agent’s Hollis captures the spirit of the bleeps & bass forged in the industrial north of years gone by, elevated with lush harmonies and slick vocal work. One that’s fit for late-night floors and hazy summer evenings alike.

Miles J Paralysis takes Hollis into a different space, chopping the melody into an infectious and hypnotic flow. All melded together with his signature dub-tinged, grooving percussive work.

On side two, Miles drags us into deep territory with Inhibited Orgy. Further exploring the otherworldly sound of his Paralysis moniker, that many of you will now be familiar with after a breakout year.

Bleaching Agent closes off the record with his own take, stoking the energy levels to create a stomping, anthemic chugger that is sure to ignite any dance floor.

Limited to 150 copies.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

After an exceptional and well-received collaborative EP with Tina Ramamurthy on Amotik 014 earlier in 2024, Amotik picks up where he left off and delivers four sublime solo works for Amotik 015. His self-titled imprint, running since 2015, has been a steady home base for his own productions, quickly becoming an essential catalogue in modern techno. Here, once again, he delivers a full pack of pure techno jams. Whether its the swinging percussion hooks in Assi, the hypnotic groove of Unnasi, or the banging kick drums of Ikyasi, this is yet another essential release for every techno enthusiast.

Laputa, a title taken from the fantastical floating island of Gulliver's Travels is aptly named as 'The album that never landed' for, apart from a limited touchdown in Japan, Laputa was never released. This mystical world is a summation of Yokota's journey so far, a complex and at times challenging work but immeasurably rewarding. Beguiling and bewitching in equal measure.

Over fifteen undulating sonic fugue states, he guides listeners round a liminal world, made up of familiar materials but formed in a way defying all laws of perspective and physics. Background murmurings give way to almost uncomfortably foregrounded chattering, and one perceived soundstage segues into another impossible tableau of sonic apparitions, some recognisable in form, but all boldly decontextualised and arranged in expertly cluttered amalgams.

Laputa's obscurity was a prime reason Lo Recordings decided on the Skintone retrospective. Falling as it did between The Boy and the Tree on The Leaf Label and our own debut of Symbol. It was something of an audio crime that the album had never been properly explored and discovered. Lo Recordings hope Laputa can now ascend to its rightful place... hovering above us.

Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.

From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.

Peace World Records returns with Hidden Atmospheres, the debut release produced by Max F and mixed by Space Ghost. Drawing from classic deep house and esoteric club sounds of the '90s and early 2000s, this seven-track collection channels these influences into fresh territory while preserving the digital grit and dreamlike essence of the era.

The release strikes a delicate balance between the meditative and the kinetic. On the A Side, tracks “Soul Control” and “Zone 6” highlight subtle yet hard-hitting percussion grooves and deep basslines that anchor the mix beneath ethereal pads and sweeps. Each track builds through hypnotic, evolving arrangements that reward close listening. On the B side, “Dream Channel” and “Earth Effects" both feature airy, spectral synth progressions that interweave with ephemeral yet decisive melodies, demonstrating a refined insight of space and dynamics. To round things off, Space Ghost took a crack at an energetic club remix of “Dream Channel. ” Carried by a classic 909 house rhythm and a bubbly bassline, the remix offers a fun, uplifting take on the original, complete with organ stabs and MIDI sax!

As a whole, Hidden Atmospheres delivers something new for fans of 90s and 2000s era house music. Think Ronin, Hanna, Chris Brann, Wamdue Kids—artists whose work holds its own in the club while remaining equally suited for intimate late-night listening. Throughout the record, tracks drift seamlessly between shimmering dancefloor functionality and liminal, introspective ambience, inviting repeat listens that reveal new details and "hidden atmospheres" with eachpass.

Hidden Atmospheres lands on Peace World Records April 9th, 2026.







g B3. Dream Channel Space Ghost Club Remix

The history of house and disco music is full of gospel soul singers creating anthemic bangers for the dance floor. Annie and the Caldwells, a family band from West Point, Mississippi, are the latest to join their ranks.

============================

This collection — featuring remixes from musclecars, Kornél Kovács, Alexis Taylor (of Hot Chip), and disco icons Nicky Siano and Justin Strauss — follows the release of the Caldwells’ wildly acclaimed debut Can’t Lose My (Soul) Luaka Bop, Spring 2025. Hailed as “a masterpiece” by The Guardian (★★★★★), and one of the best albums of the year by The Times, MOJO, UNCUT, and The Economist, Can’t Lose My (Soul) found fans all over the world — like Sir Elton John, who called their album “A great, great record that I insist you go out and buy.”

“I was blown away when I first heard the original version of ‘Wrong’,” says Kornel Kovács, whose remix of “Wrong” appears on this white label. “Deborah’s voice floored me, as well as the background singers. One of the greatest vocal performances I’ve heard, let alone worked with. The result is a club-ready take that’s become a highlight in my recent DJ sets.”

Producers Brandon Weems and Craig Handfield (of musclecars) had a similar experience when they heard the family for the first time: “We quickly fell in love with the groovy bassline and the choir vocals,” said Craig. “We thought it’d be fitting to put our own spin on it, while paying homage to those jive brothers from Tulsa. The uplifting keys paired with the punch of the drums, rounded out with that organ…this one is sure to bring a joyful noise!”

Annie Caldwell and her family have since performed in more than twenty countries on four continents, and recently made a star turn on the UK's preeminent music program Later... with Jools Holland. They’re hitting the road again in 2026. Watch this space.





c Wrong You Dropped a Bomb - Extended Wooden Dance Floor Mix (A Nicky Siano Production) 6:48

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

- 2026 repress -

Planet Rhythm proudly kicks off its brand new ORIGINALS series with a heavyweight reissue of classic DJ Misjah cuts - essential gems that shaped the hard-edged techno sound of the mid-90s. Remastered with care and pressed on high-quality vinyl, these tracks capture the raw energy and relentless groove that made DJ Misjah a household name in underground techno circles. An unmissable chance for collectors and fans of authentic underground techno to own a piece of techno history, fully restored and ready to devastate dancefloors once again.

After two co-headlining tours over the past decade, (the) Melvins are continuing their long tradition with us of teaming up with another band on an album. Next up – Napalm Death! This isn’t just some split release with the bands each getting a side. Savage Imperial Death March is a full collaboration with both Melvins & Napalm Death playing together on all the tracks.


This release originally came out on super-limited CD and vinyl via AmRep in 2025 (tour and AmRep store only). This will be an extended version with 2 extra songs, brand new artwork from Mackie Osborne, new vinyl variants, and will be the official release for the first time at record stores, DSPs and more.


Napalm Death are credited as pioneers of the grindcore genre by incorporating elements of crust punk and death metal. Even after exerting an indelible influence on the entire world of heavy music for nearly 40 years, there is still no band on Earth that sounds like Napalm Death. Not just pioneers, but an enduring benchmark for invention and fearlessness in heavy and experimental music of all kinds, the Birmingham legends are still hurtling forward at full pelt.


The Melvins are one of modern music’s most influential bands. Having formed in 1983, the group — founded by vocalist/guitarist Buzz Osborne, with drummer Dale Crover joining a year later — has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all their own. Over their 40-plus-year career, they’ve released more than 30 original albums, numerous live records, and far too many to count singles and rarities.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

HAVEN co-founder Keepsakes is finally back on his own imprint with 5 fresh originals filled to the brim with warped alien sound design, driving and grooving drum rhythms, and acerbic track titles fresh out of a twisted after-hours chat. Following on from releases in recent years on KAOS/OAKS, Turbo Recordings, Perc Trax, and Boys Noize Records, this latest EP maintains his signature toughness alongside his fun and quirky sound choices while taking his sound further in to jacking and groovy territory.

The EP launches with 'Vocoding Your Nan Out Of Existence' on the A1 - full of growling and tortured alien vocoder melodic experimentation combined with driving funky drum work and organic atmospherics, this slab of freaky techno weight is aimed directly at the most debauched of dance-floors. 'Get To Know It In The Flesh' follows up on the A2 with rolling, grooving rhythms and dramatic string stabs alongside outlandish synth melodies, looping vocals and eerie creatures lurking in the background.

On the flip 'Ready2BeginWot?' gets things jacking with swinging rhythmic funk and and ear-worm repeating vocal line in a fast house-inspired slammer. 'Hollow And Suited' follows on the B2 with its tribal driving drum work and mutating resonated vocals sitting alongside debased synth melodics for the most haunted club creatures. Finally, 'Corvid House' closes out the record with its swung and grooving drum loops, bird call sound effects, vocal hooks and euphoric pad bliss to finish off another plate of dance-floor degeneracy.

Marking twenty years since South African producer and DJ Esa Williams left Cape Town, Dala What We Must is a deeply personal and expansive debut LP, an exploration of movement, memory, and sound shaped by two decades of creative evolution.

Co-created with collaborator and multi-instrumentalist Robin G. Breeze, the album deftly combines field recordings, layered instrumentation, and emotionally resonant compositions into a nuanced, globally influenced body of work. It also stands as Esa’s most collaborative release to date, featuring contributions from musicians across London, Oaxaca, Nairobi, and Cape Town, each adding their own creative energy to a project built on openness, trust, and shared experience.

The album draws inspiration from Esa’s recent ventures into documentary scoring and soundtracking, with projects like Cursed (Audible) and The Invisible Hand teaching him to listen differently, to honour space, to serve the story. That sensibility permeates the album, resulting in music that breathes, lingers, and listens as much as it speaks.

The title, Dala What We Must, is a South African call to action: a reminder to do what’s necessary, even in uncertainty. Finalised in the months leading up to Esa’s transition into fatherhood, the record carries a sense of grounding, care, and quiet transformation.

Dala What We Must is a sonic reflection of journey and community, a deeply collaborative project rooted in connection and guided by intention.

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

Numbered 150 copies on green vinyl.

The duo Sławek Pezda & Witek Ryć is a project by Krakow-based musicians, a hybrid of ambient, noise, experimental music, jazz, trance, electronica, and ethnic music. The two musicians' musical paths were united by the practice of meditation, which also significantly translates into their musical language and the need to share the peace that flows to the listener through sound.

In their recordings and live performances, the musicians utilize tenor saxophone, modular synthesizers, electronics, drums, flutes, drum pads, Tibetan bowls, gongs, and a wide array of percussion instruments. They have played together in improvised concerts, relaxation concerts, chamber sessions, and even spiritual jazz.

"Kardamon" is the result of one of the live sessions, where the rhythm, based on a simple pulse flowing from a frame drum, accompanied by Ankle Bells (Indian janissary bells played with the foot), is enriched by Sławek's tenor saxophone. In addition to the aforementioned instruments, a synthesizer and a Roland HPD 20 drum machine were also used, accompanied by various percussion instruments (shaker, chimes, bells, etc.), as well as a fragment of Witek's own field recordings from the Polesie National Park.

The remix on the B-side was created by DJ PLASH, who gave the duo's original sounds a completely new dimension. Plash (Marcin Przeplasko) is arguably one of the most sought-after DJs playing for b-girls and b-boys worldwide, a feat culminating in his official performance behind the turntables at the last Summer Olympics. PLASH is Witek's neighbor from Krakow's Nowa Huta district.

The front cover artwork is a painting by Witek Ryć, and the entire album was assembled and framed by Animisiewasz. Mastering was handled by Eprom. The single is limited to 150 copies and is being released by Funky Mamas and Papas Recordings, a label specializing in seven-inch singles since 2008.

Mitchum Yacoub flips Fela Kuti's legendary "Water No Get Enemy" into a full-force cumbia frenzy featuring a scalding 4-piece horn section. As a drummer who toured with Seun Kuti and Egypt 80, Yacoub has a healthy understanding of this Afrobeat classic yet makes it entirely his own. This is followed by "Zaire", inspired by the legendary festival Zaire '74,which rides on the James Brown side of afrobeat with the low-end dialed up— sure to resonate with every bone in your dancing body.

Two more Glide In Your Stride Winners brought to you by London Underground Label Jazz Room!

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Reframed is Vitess’ third album, released on his own label Retro Futura, and marks a new turning point in his artistic journey. Unlike his previous albums — the first fully exploring the Retro aesthetic, the second embodying the Futura — Reframed brings these two worlds together within a single, coherent yet eclectic body of work. The album opens with sounds inspired by 90s progressive music and gradually moves toward more futuristic textures. This album format gives Vitess complete freedom: the freedom to build a full, living musical experience, introducing for the first time a strong instrumental dimension — most notably through the use of live drums — and allowing each track to interact with others, transform, or mirror one another, while maintaining a clear narrative thread that guides the listener throughout.

The title Reframed directly reflects this approach. The album is built around tracks conceived as Recto / Verso, offering a form of double listening experience. On the one hand, electronic, club-oriented and progressive versions, designed for energy and dancefloor movement; on the other hand, more introspective, pop and instrumental counterparts, created for listening and storytelling. Starting from the same musical foundation — a vocal sample, a percussion element, or a melody — Vitess develops two distinct interpretations of the same track, generating contrasting yet deeply connected sonic worlds. This method, central to his creative process, highlights his ability to explore a single detail in depth and let a micro-element lead him toward radically different sonic dimensions, while ensuring coherence and a strong identity across the album.

For Reframed, Vitess also collaborates for the first time with other artists: Stupid Flash, ATOEM, and Lucile, selected for their ability to enrich his universe and push it toward new aesthetics. These collaborations recreate a sense of collective energy reminiscent of his early days playing in bands, while remaining true to the essence of the Vitess project: a primarily solitary approach rooted in exploration, experimentation, and embracing the unexpected paths each idea can take.

Karkossyn returns to the shadows with Undergrowth, a harrowing descent into the Bristolian void that pushes dark drum and bass into its most predatory forms. The EP opens with a cold, eerie prologue. A warning that constructs a menacing world before the listener is dragged into the sonic abyss.

Drawing from dnb, trip-hop, and jungle, the soundscapes are characterized by a visceral dread birthed from the dampest corners of the South West. These tracks are built on distorted bass, gritty drums, and raw percussion, layered with atmospheric drones that heighten the feeling of suspense throughout.

Adding to the murk, Bristol’s own Pessimist provides a remix that results in a skeletal, rhythmic haunting. It is a definitive statement of UK dread, solidifying Karkossyn’s place as an uncompromising architect of industrial-tinged carnage.

Marking a milestone for the imprint, this serves as Erosion’s first physical release.

Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.

Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.

Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.

As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.

Side A – The Head Side

Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.

Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.

Side B

Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.

Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.

Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.

Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.

Another quality release from Tone Dropout Records.

London Based Deadbeat is a techno label founded in 2000 as an outlet for the more eclectic, risk taking and aggressive elements of the genre. Dedicated to unveiling forward thinking new talent, championing cult underground producers and celebrating established global acts the label has created a loyal fan base and now after more than two decades presents its first vinyl release, a massive six track EP that covers a lot of creative ground and features three artists well known for pushing boundaries while delivering face melting, dancefloor destroying beats.

Sane ( Don't Recordings / Fun In The Murky ) is a Uk based producer and techno DJ who has featured multiple times on the 'Best electronic music on bandcamp' pages. Described there by music journalist Joe Muggs as 'Filthy, dirty, vile and brilliant. His techno will tear the top off your head and make soup with the contents. It screeches, it blurts, it whistles, and it roars. Above all, it crashes and clangs like a dancing mech warrior, crushing all before it. What more do you need to know?'

TSR ( Analog Records / Hörspielmusik ) are a highly regarded creative force of Swedish musical mentalists, a crazed, technologically berserk band of electronic wizards who relentlessly conjure up the most brilliant, silliest, toughest, most dance bootable funky techno on this train of existence. Known for high-energy, raw, and sometimes humorous tracks they have released to high acclaim on many notable labels and played all over the world.

DJ Ze MigL ( Djax-Up-Beats / Minimalistix ) is first and foremost a DJ, but also a producer & a Dude! Creating crazy, funky and sometimes brutal techno mayhem. Residentially from Portugal, he’s been the one of most prolific Portuguese techno producer/ DJ during the last 25 years. Producing and Spinning his own special brand of honkin’ techno, not changing a single cowbell. Never too serious or dark, always with proper party ON!

The record additionally features full sleeve artwork by Ed Twist ( of the influential 'Ugly Funk' label ) and is pressed on yellow vinyl.

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

Timm Sure & Richard Hampson should need no introduction.

Their output is prolific - with their own releases under the COYOTE moniker, as well as their work with other artists on their record label IS IT BALEARIC?

As huge fans of their work and label, we were flattered when they rang and expressed an interest in working with us. The product of this glorious new friendship is a truly exciting and unique sonic experience — one that is comprised of 7 proper tracks laced seamlessly together with African spoken word.

The word Nyabinghi (or Nyabingi) refers to a legendary woman of the Bahororo tribe of Uganda, whose name means "mother of abundance" or "the one who possesses many things" in the Mpororo language.

The 12 tracks of NYABINGHI ebb and flow between prose and melody, putting you into an almost trance like state - the sum of the parts at once meditative yet funky, evocative and spiritual, yet perfect to get people's feet moving at sunset.

Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

Fresh off heavy-hitting releases on SlothBoogie and Refuge, Glasgow's very own Tiptoes finally makes his way to Footjob. Renowned for his uncompromising MPC-driven workflow, the Scotsman delivers a four-track EP that stays true to his reputation: raw, sample-heavy house bangers built for pure dancefloor energy. With Shuffle Service, Tiptoes serves up a masterclass in groove. Whether it's dusty breaks or filter-heavy workouts, every cut is engineered to keep the feet moving.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

Complimenting his singular debut LP, 2025’s ‘Light Months Will Fly Over Us’, singer-songwriter and producer Addy Weitzman sees his thoughtful artrock and new wave aesthetic expanded by The Time & Space Machine for a limited three-track 12".

The long-running alias of British DJ, archivist and acid pioneer Richard Norris, this trio of remixes from The Time & Space Machine’s central processing unit finds Norris in a jubilant raving mode, his trademark psychedelia contributing to Slacker at its best and baggiest. The initial mix captures Weitzman’s songwriting in full, including his portentous vocal hook – “No man is a prophet in his own land” – a proverb first found in the gospels, blessed with the innovative Norris’s application of hypnotic groove, fat low-end and a ton of percussion.

The B-side sees Norris stripping things back in two directions: the Shango Dub draws focus on the higher vibrations found in the track’s beautifully intertwined percussive and synth elements, while the Riddim Mix reduces the frequencies further still, with a phased, slightly fried drum workout primed to spin heads as the night gets deeper and darker.

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

2026 Repress

After releasing on a variety of labels for a few decades FFF presents the "Control Tower EP" the first release on his own "3AM Eternal" label. This 3 track EP brings a mixture of styles from within the hardcore & jungle universe. The titel track "Control Tower" is a mix of dub infused amen jungle, clash vocals and rare grooves. Followed by "Cut Bwoy" hectic, stomping, moshpit ready, hardcore & dubby. The final tune Obedience goes a bit deeper, a synth heavy, moody amen roller but still with plenty of choppage.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

This record contains six tracks by Freephilipp and Robin — two Bremen-based musicians who meet where the void of digital subculture and experimental electronic music opens up. Freephilipp contributes four glitch-driven pieces that move between IDM-tinged ambient, electro, atmospheric broken beats and junglish fragments. Random Chords Memory is one of the reasons this release needed to be carried out into the nexus: it stands on its own, just like the rest of the EP, yet it may be the signature track of Freephilipp’s nocturnal enthusiasm — mixing between night shifts and sharing production skills with the people around him. Robin (zckr rec / ph17) completes the EP on the flipside. Tau-37 and Omega5, named after two star systems, invite you onto a dub-soaked, drifting flight. The Basic Channel- esque impact of Tau-37 rounds out the journey in combination with Omega5, whose drone-laden soundscape slowly opens and dissolves. This music was never meant to be produced for an audience. It is a document of what it sounds like when you say goodbye to the outer world and begin building landscapes in another.

After the well-received Kreme de la Kreme EP, D3 Classic Edition returns with another essential vinyl release. This time, they present four rare and highly sought-after tracks from the talented Toyin Agbetu—all newly re-mastered from the original DAT tapes. Showcasing some of his finest work as The Dark Knights, this collection is a treasure trove for fans of deep, soulful grooves and classic, old-school rhythms. Featured are four must-have tracks: I Do Believe, Party Time, Piece of Time, and U Gotta Slow Down—the latter released under Agbetu’s other alias, Nemesis, and making its debut on vinyl.

But there’s more: the release also includes a brilliant reinterpretation of Piece of Mind by London producer K15, who adds his signature spacious, broken-beat style to the original, breathing new life into a classic track. For vinyl collectors and true aficionados, this is an absolute must- own.