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Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album “Through Time”.

Since their last full-length LP, “Low Distance” (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland’s piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin’s deep atmospheric worlds. There’s a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe.

The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, “Further”, a hypnotising piece submerged in layers of strings and drones.

The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment.

Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.

Outstanding Dub! Subset returns to Primary Colours with Gathering The Threads, a record that feels reflective rather than declarative. Following recent work with Echo Inspectors on “Youthman” and the measured pulse of “Impedance” from the Antipodean Dubs compilation, this release settles into its own pace. There is no sense of urgency here, only continuation. Across four originals and a remix from Pugilist, the collection leans into low frequency weight and spatial awareness. The grooves are patient. The arrangements are economical. Each element is given room to sit in the mix without excess.

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.

More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.

More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.

This is hypnotic music in the purest sense: elegant, fluid, and deeply immersive, built on patience, precision, and a rare understanding of tension. Rather than forcing impact, the EP unfolds with quiet authority, drawing the listener deeper with every cycle and every subtle shift. Romanian producer Barac has long been regarded as one of the key figures in the country’s minimal and microhouse continuum, known for his hypnotic, deeply detailed sound and for shaping a distinctive artistic identity around rhythm, space, and subtle emotional tension. What makes this release so special is its balance of restraint and depth. The grooves are understated but powerful, the atmospheres weightless yet emotionally charged, and the overall flow simply brilliant. It is exactly the kind of record that shows why Barac remains such an important name in contemporary minimal and deep club music: few artists can create this level of hypnosis with such finesse. Look at the cross is a genius release, sophisticated, timeless, and absolutely captivating from start to finish.

Nach der Veröffentlichung von „We Still Shine“ im letzten Jahr – Tony Christies erstem neuen Album seit 13 Jahren – bringt das Jahr 2025 eine brandneue Sammlung von Neuaufnahmen seiner größten Hits! Das neue Album wurde vollständig in Nashville in einem der weltweit besten Aufnahmestudios, den Blackbird Studios, aufgenommen und enthält brandneue, reduzierte Country-Versionen seiner größten Hits, darunter „(Is This The Way To) Amarillo“, „I Did What I Did For Maria“, „Avenues and Alleyways“ und viele mehr. Unter dem Titel „A New Life“ und mit einem brandneuen Cover-Design mit großartigen Illustrationen von Gillian Martin wird dieses Album Tonys von seinen Fans geliebtes Repertoire sicherlich zu neuem Leben erwecken.

A new SWAY vinyl is coming your way, packed with some of our very best material. Kicking things off is Hertz & Wehbba - Ink, the Beatport No. 1 that's still riding high in the charts. Then the legendary Ken Ishii brings the heat. Next up, Hertz & Ramon Tapia deliver another high-energy collaboration. And finally, the Richie Hawtin favourite Kristian Heikkila & CDTRAX - Work, a track that's been in more or less every set over the past six months. Support also comes from Dave Clarke, Ben Sims, Kaiserdisco, UMEK, Christian Smith, Pan-Pot and Perc, just to name a few. SWAY vinyl FTW!

This relatively new Stockholm duo have been making waves with their latest vinyl output. This EP conveys their love for the disco house sounds of Chicago, spearheaded by the likes of DJ Sneak. ‘Spoon Bait’ leads the way using an almost dreamlike vocal hook over a deep bass led groove with dub effects to boot. ‘Tuborg Translate’ picks up the tempo, chopping up a Philly style hook, underpinned by crisp beats and otherworldly space effects. Title track ‘Silja Line Superstar’ keeps the peak-time action going utilising warm emotive strings and brass whilst ‘Kenneth Knaster’ bounces along on a sublime disco ride bringing the EP to a close.

“Bluegold steps into the world as a ground for trance-inducing rhythm and collective movement. Rooted in techno but never bound to it, the sound leans toward the psychedelic: loops, atmospheres, and ritual percussion that blur perception and guide the floor into altered states.
The A side comes from Mruda, written during a day of turmoil where conflict and chaos spilled directly into sound. Machines were left to chance, generating unstable pulses that mirror the volatility of the moment.

Archypness takes the B side as a counterweight, drawing the energy inward. His productions move with a meditative focus, weaving rich textures and layered rhythms into journeys that feel timeless yet deeply grounded.”

Limited edition, handstamped.

Chicken Shack are a British blues rock band founded in 1965 by Stan Webb, Andy Silvester, and Alan Morley, who were later joined by Fleetwood Mac’s Christine McVie, then still known as Christine Perfect. They signed to the legendary British blues label Blue Horizon in 1967.

O.K. Ken? is the band's second studio album from 1969 and reached #9 in the UK Albums Chart. The record was Perfect's last album as a member of Chicken Shack; she would join Fleetwood Mac a year later in July 1970. Her tune "Get Like You Used to Be" from the album became a staple of Fleetwood Mac's live act until 1975.

O.K. Ken? is available with the original UK cover, as a limited edition of 1000 individually numbered copies on red vinyl.

8 years after their last LP Kites, Submotion Orchestra return with their long awaited sixth studio album, the remarkable Passed Me By. A deeply personal journey into memory, creativity, and the passing of time, it shows the band continuing to push their signature electronic sound forward, and the result is some of the boldest and most emotional territory of their storied career. 

The album sees the band dive further into the synth-led, minimalist electronic textures and driving beats explored on the 'Five Points' EP, creating hypnotic analogue patterns alongside the post-dub spaciousness and celestial effects of their earliest work. With Ruby Wood's always-emotional vocals soaring over the top, the tracks effortlessly glide through genre and mood, resulting in the widest range of expression and emotion found in a Submotion album yet. 

On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.

Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.

On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.

Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.

40 Thieves have been part of the Leng family since 2011 during which time they have released many quality singles and EPs as well as their sole full-length album, 2014’s epic The Sky Is Yours. Even so, double A-side ‘Love Is’/’Let Me Show You’ still marks their first release on Leng for almost three years.

In keeping with their signature sound, ‘Love Is’ is trippy, hallucinatory and gently mind-altering, with psychedelic guitar sounds, echoing percussion, and a heady lead vocal courtesy of crew member and Alona, all of which rides a chunky dub disco bassline and chugging mid-tempo beats. Richard Sen, a DJ and producer known for his love of dubbed-out sonics and pulsating grooves, delivers a typically spaced-out and otherworldly rework. Rooting his revision to the dancefloor via an undulating electronic bassline that throbs away restlessly throughout, Sen stretches out the track and emphasises its more trippy elements before introducing dreamier chords and heady vocals with a brilliant interpretation.

On ‘Let Me Show You’, 40 Thieves step things up to deep house tempo while remaining firmly rooted in 21st century San Francisco nu-disco with rich, dubby bass guitar, tactile piano chords, futurist synths and knowing nods to Patrick Cowley productions of the late 1970s and early ‘80s. The track is presented in two forms: the superb ‘Vocal Mix’, where Alona’s vocal rises above the groove and intoxicating electronics, and a genuinely radical and out-there dancefloor focused ‘Dub’. Pushing the track’s wilder and more out-there elements to the max via stripped-back arrangements and a smorgasbord of effects, 40 Thieves re-wire the cut as a heads-down psychedelic disco chugger topped off with wonderfully loved-up chords.

Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über Stems der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

Auf insgesamt 100 Stück limitiert. Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

Synopsis: Tsuna, a shy teenager, learns he is destined to become the next mafia boss. Guided by Reborn, a hitman in baby form, he faces countless enemies to protect his friends. Blending humor, action, and personal growth, Hitman Reborn! delivers a unique and thrilling adventure. This album draws on the musical style of quirky Italian mafia films, and includes the main openings and endings from the series.