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Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer Gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, it intricately combines analogue elements with digital grooves to stunning effect.

Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Dubadelic and more.

15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for.”

As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.

Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.

Brazilian talent Classmatic is next up on Hot Creations with the two-track Toma Dale. Having already set dancefloors alight at the hands of label heads Jamie Jones and Lee Foss, the eagerly anticipated release drops this April.

Toma Dale achieves exactly what Classmatic set out to do. The track opens proceedings with enticing congas that instantly transport you to Latin America. Punchy drum pads pounce in and combine with the percussion to create a highly energetic base, as finely cut Spanish vocals are embedded to fuse everything together. Bape pays homage to the Hot Creations sound. Warm, soft, bouncy kick drums lead the track, joined by subtle acid sounds that tantalise the ears. The breakdown is perfectly placed with the addition of mesmerising vocals that fade in and out before the punchy, bass-heavy drums are hauled back in.

Classmatic has built up a lot of traction over recent years, catching the eyes and ears of major heavyweights in the field, releasing under such labels as Solid Grooves and Hottrax and in 2021 he remixed Cloonees’ major hit, When The Sun Goes Down. Receiving support from artists such as Seth Troxler, Michael Bibi, Pete Tong and Loco Dice to name a few, it comes as no surprise when we say there is a bright future ahead for the talented artist.

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

Special Request continues his impeccable run of form with a typically fervent entry into the DJ-Kicks mix series. His adventurous 25 track mix takes in personal favourites, new school classics and of course a selection of his own brand new and exclusive edits, dubs and reworks next to some overlooked gems. Leeds based Paul Woolford dares to go where few others do. He can do face-melting underground bangers, peak time piano anthems, ambient cinematics or chart climbing crossover hits. What unites his work as Special Request across labels like Houndstooth and R&S, though, is precision engineering, but never at the expense of real, raw emotion and visceral impact. He is an artist who very much pours his heart into everything he does, and has been on such a prolific run in recent years that it has been impossible to keep abreast of all his many projects. Even in this mix, he hints at yet more new sides and sounds. As always with Special Request, this is an emotional, full spirited ride through the musical mind of one of the most accomplished artists of the day.

PLEASE NOTE THAT THIS RELEASE WILL BE DISTRIBUTED IN THE 'US BY FAT BEATS' & 'BENELUX BY V2 RECORDS'. PLEASE EXCLUDE ALL PARTNERS IN THOSE TERRITORIES. NO SALES TO JAPAN

Kraak & Smaak's 6th studio album - 'Pleasure Centre' is the culmination of two years hard work since their critically acclaimed 'Juicy Fruit' LP and their first Kraak & Smaak LP released on their own label – Boogie Angst. As expected it's a glorious record packed with future classics, flitting between funky dancefloor focused jams and more relaxed downtempo affairs.

The album has a definite US West Coast vibe to it and sees them fuse classic 70's and 80's yacht rock, dream pop, and indie influences in with their signature electronic funk sound. And this result is no mere accident or emulation… Working on the demos in their own studio before travelling to LA for a month last year to meet and work with featured artists, they stayed in Echo Park and recorded in local studios and sometimes even in the homes or backyards garages of their collaborators.

Hand- picking the best of the local talent: dance diva - Gavin Turek, indie upstarts - The Palms and dream pop dealer – Satchmode all contribute their talents to the cause.

The Dutchmen have earned a deserved reputation in particular for the A&R side of the industry, with both the discovery and collaboration of new rising acts high on their agenda. Previous successes include working with Parcels, Alxndr London (championed by Annie Mac) Eric Biddines (6Music playlisted) and Cleopold (signed to Nick Murphy fka Chet Faker's own label). And they continue to uncover hidden gems outside of LA on this record too...

Moon Boots collaborator – Nic Hanson, Jalapeno Records' gospel/soul powerhouse - Izo FitzRoy and soul man Wolfgang Valbrun (Ephemerals/Kungs), New Zealand's imugi이무기and previous collaborator and soul songstress - Sanguita are accompanied by regular members of the Kraak & Smaak live band - IVAR and Berenice Van Leer across 15 fantastic new tracks.

'Pleasure Centre' is everything you'd want in an album and everything we've come to expect from these dance stalwarts – innovative, relevant, and modern tracks with great production and exciting guest features that are guaranteed to fire up your own pleasure centre!

Barcelona-based Rob Clouth returns to Leisure System with the Deep Field 12', a stomping showcase of his focused sound design and knack for memorable melodies with additional remixes from Kowton and Vessels.
Deep Field is Clouth's Leisure System follow-up to the Clockwork Atom EP, which was named one of the top EPs of 2014 by Bleep and introduced his electronic wizard by to a wider audience following prior releases as Vaetxh and under his own name. Debuted on Max Cooper's Boiler Room and appearing again on his Essential Mix, 'Deep Field' is tactile and threatening, with disorienting glitches weaved into the 4/4 structure. The belching low-end brings to mind a talkative machine that's been muzzled, eager to burst from its restraints.Livity Sound boss Kowton inverts the original into a gelatinous mass, adding jackhammering drums to the cloudy atmosphere and creating a spacious and stuttering lesson in tension and release. Fresh off the release of their LP Dilate, Leeds band Vessels put their own euphoric electronic magic to work with a housier take, drawing out Clouth's propulsive percussion with an added dose of lush melodicism that
should make it a new favorite for house DJs looking for a spirited twist on the typical. Deep Field is the third in Leisure System's new GRIDLOCK series, melding the freaky and functional
for modern dance floors.

GREEN VELVET MAKES HIS CIRCUS RECORDINGS DEBUT WITH BIGGER THAN PRINCE, HIS MOST TALKED ABOUT TRACK IN YEARS...

BIGGER THAN PRINCE WAS BORN OUT OF A CONVERSATION BETWEEN LABEL BOSS YOUSEF AND GREEN VELVET WHEN BOTH PLAYED THE INDONESIAN LEG OF THE ANNUAL CIRCUS TOUR. THE IDEA OF THE CHICAGO LEGEND CONTRIBUTING A BRAND NEW TRACK FOR THE CIRCUS X // PART 1 COMPILATION WAS FLOATED AND SOON HE WAS JOINING NINE OTHER FRIENDS OF CIRCUS WHO WERE ALL TO FEATURE IN CELEBRATION OF TEN YEARS OF EVENTS.

'BIGGER THAN PRINCE' IS A CLASSIC GREEN VELVET VOCAL NUMBER AND SHARPER AND FRESHER THAN ANYTHING WE'VE HEARD THIS SUMMER. QUIRKY AND DRIVING, ITS SET TO BE ONE OF THE TRACKS OF THE SEASON.

TO BACK THE ORIGINAL, YOUSEF HAS DRAFTED IN MORE FRIENDS OF CIRCUS ON REMIX DUTIES, HOT SINCE 82 AND THE MARTINEZ BROTHERS...



DJ FEEDBACK



STEVE MAC - "LOVE THIS RECORD AND THE REMIXES... GREAT RELEASE!!"

TOTALLY ENORMOUS EXTINCT DINOSAURS - "I LOVE THIS RECORD!!! I'LL PLAY THE ORIGINAL!"

MATTHIAS TANZMANN - "BOTH REMIXES REALLY ARE GREAT!! PERFECT FOR ME!"

LEE BURRIDGE - "IT WAS ALWAYS GOING TO BE THE ORIGINAL FOR THIS GREEN VELVET FAN!"

SINDEN - "ORIGINAL WINNING FOR ME!!!! CLASSIC GREENB VELVET... I LOVE IT!"

ZOMBIE DISCO SQUAD - "WOW! I DON'T THINK I NEED TO SAY MORE. THAT COVERS MY ENJOYMENT MARTINEZ BROS. MAYBE MY FAV."

TIEFSCHWARZ (ALI) - "A GREAT GREAT RELEASE FROM GREEN VELVET. SUPPORT!"

AXEL BOMAN - "THIS IS SUCH A COOL TRACK... LOVE THE ORIGINAL FROM GREEN VELVET!"



DANNY HOWELLS - "MEGA PACKAGE... SUPERB ORIGINAL AND STUNNING REMIXES TOO... ALL GOOD!"

DEETRON - "REALLY LIKE THE ORIGINAL AND THE MARTINEZ BROTHERS REMIX AS WELL. I'LL BE PLAYING."

UNER - "THE MARTINEZ BROTHERS REMIX IS SUPERB!! <3"

DRUMS OF DEATH - "I LOVE THIS WHOLE PACKAGE... WILL PROBABLY PLAY THEM ALL ACTUALLY! "

SOUL CLAP - "PURE FUNK, STRAIGHT UP NASTY!! "

MOXIE - "BIG BIG TUNE!!"

RALPH LAWSON - "THE MARTINEZ BROTHERS REMIX IS BEST OF THE PACKAGE FOR ME. GONNA TRY IT OUT AND LET YOU KNOW."

ALEX WOLFENDEN - "CLASSIC GREEN VELVET TRACK WITH GREAT REMIXS! MARTINEZ BROS' THE ONE FOR ME, FULL SUPPORT."

ANNIE NIGHTINGALE - (BBC RADIO 1) - "HOT SINCE 82 SOUNDS QUITE HOT IN 2013!"

LARSE - (KLUBBING, WDR 1LIVE, GERMANY) - "I LIKE THE MARTINEZ BROTHERS REMIX. WELL DONE GUYS!"

WAIFS & STRAYS (AMOS) - "ALL TRACKS ARE KILLER! THE MARTINEZ BROS REMIX IS AMAZING...FULL SUPPORT."

LUKE SOLOMON - "I HATE TO SAY IT AS I AM SUCH A HUGE GV FAN...BUT MB'S MIX KIND OF TIPS IT FOR ME. SORRY CAJ."

&ME - "I DON'T LIKE IT, I LOVE IT!!!!!!!!!!!!!!!"

GERD - GREEN VELVET = BIGGER THAN PRINCE! LOVIN' THE LINNDRUM WINK... GREAT REMIXES TOO!"



ZDAR - "LOVE THIS TUNE!!! CURTIS IS THE BEST AND ALWAYS BE... VERY GOOD MARTINEZ BROS. MIX TOO! LOVE!"

DJ HELL - "AND ANOTHER BIG TUNE FROM THE NEW PRINCE OF DANCE MUSIC! THIS IS GREAT!"

TOM FINDLAY (GROOVE ARMADA) - "GREAT EP!! MASSIVE, SUPER FRESH! GREAT CHOICE OF REMIXES TOO, BOTH SMASH IT!"

SHADOW CHILD - "YES! THE HOT SINCE 82 REMIX SOUNDS DOPE!!! "

SKREAM - "SICK RECORD!! MARTINEZ BROTHERS REMIX IS MY FAV ON FIRST LISTEN."

JORIS VOORN - "WAHAAHA CLASSIC GREEN VELVET ATTITUDE! GREAT STUFF GUYS!!"

ALIX ALVAREZ - "GREAT PACKAGE. GREAT MIXES, ESP FROM MY GUYS TMB, BEING MY FAVORITE. GONNA TRY IT OUT THIS WEEKEND."

TAYO - "THE COOLEST MOFO OUT THERE. CLASSIC GREEN VELVET. SLEAZY "CONTROVERSY" STYLE BUSINESS. LOVE."

CATZ N DOGZ (VOITEK) - "FUCK!! YES PLEASE!!! THIS IS FANTASTIC... MARTINEZ BROS. MIX MY FAV TO PLAY ON FIRST LISTEN."

IAN POOLEY - "THE HOT SINCE 82 MIX IS WICKED!! I'LL BE PLAYING THIS OUT FOR SURE!"

JD TWITCH (OPTIMO) - "I REALLY LIKE THE ORIGINAL OF THIS!! SUPPORTING."

MARC ROMBOY - "GREAT SELECTION OF VERSIONS AND GREAT TO HAVE A NEW GREEN VELVET IN THE BOX! HS82 IS MY PICK TO PLAY OUT THOUGH!!!"

DIESEL (X-PRESS 2) - "THE ORIGINAL AND THE HOT SINCE 82 MIXES AT ARE THE BEST FOR ME. WE'LL BE PLAYING THESE!!"

COPYRIGHT (DEFECTED RADIO) - "HARD TO CHOOSE A FAV. WHAT A PACKAGE...LOVE THE BEATS ON THE MARTINEZ BROS MIX...KILLER!"

Featuring Defected's very first UK No.1 chart single; the Ibiza classic 'Another Chance' from Roger Sanchez, Dennis Ferrer's anthemic mix of Fish Go Deep's 'The Cure & The Cause', Blaze & Barbara Tucker's huge 'Most Precious Love' and Kings of Tomorrow's 'Fall For You'. Those vocal hits sit perfectly alongside underground cuts from Maya Jane Coles who takes on MK's '4 You', Osunlade's 'Envision', Mr V's NYC classic 'Jus Dance' and the Karizma & DJ Spen's '4 The Love'. For the first time in its 27- year history , Defected compiles its greatest hits, underground anthems and bonafide house music classics into a 5 volume triple vinyl collectors series.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Hallelujah Trial is Tom Roberts (Cranebuilders, Beatowls) and John Canning Yates (Ella Guru): two Liverpool songwriters who knew each other for twenty years before they ever played a note together. Roberts brought a folder of songs to Yates' front room. Yates answered with piano. A weekly ritual of tea and talk became a repertoire, the repertoire became a debut performance at the final La Violette Società, and a few weeks later the songs became an album, recorded in May 2026 in the Gustav Adolf Church, the Scandinavian seamen's church on the edge of Liverpool's Baltic Triangle.

The sound is spacious, stripped back and gloriously melodic: voice, guitar and piano, songs in a room, storytelling that recalls Bill Callahan, Lee Hazlewood and the late Johnny Cash records. Yates' Ella Guru drew a Peel session and 'the best debut album since Marquee Moon' from the Independent on Sunday. Roberts' Cranebuilders recorded two Peel sessions of their own. The pedigree is genuine. The songs are better.

Recorded, mixed and produced by John Canning Yates. Mastered by Jason Mitchell (PJ Harvey, Aldous Harding). Sleeve by Pascal Blua, after a rose from William Turner's herbal of 1568. The closing 'Reprise' carries a hallelujah chorus of friends and family, recorded live in the ch

ADULT. kooperiert nicht. Seit über 25 Jahren verkörpert die dystopische Detroit-Synth-Punk-Institution, gegründet von Nicola Kuperus und Adam Lee Miller, unbeirrbare Frustration, Misstrauen und Beklemmung. Man könnte erwarten, dass sich die Kanten mit der Zeit abschleifen, doch ADULT. hat kein Interesse am Komfort eines Vermächtnisses. Noch nie klang die Musik des Duos so unmittelbar, so dringlich und so unverhohlen wütend wie auf dem abschließenden, kompromisslosen Kissing Luck Goodbye.Mit aufgerüstetem Equipment und einer neuen Klangbibliothek gebaut, ist das Material erdrückend dynamisch, lauter - und zugleich klarer. Kuperus' dominante Darbietung rückt im Mix stärker in den Vordergrund und skizziert ein Arsenal aus lebhaften, ätzenden Rufen, Sprechchören und Gedankensplittern. Lachen - ob in den Texten oder als besessene Präsenz - fungiert als Leitmotiv und verweist auf die bedrohliche Absurdität der modernen Zeit.,THE CHAOS IS WHAT THEY WANT", singt sie in ,R U 4 $ALE" - zugleich eine Absichtserklärung: einer brennenden Welt aus Gier und Unordnung mit trotzigem, meisterhaft zusammengebautem Chaos zu begegnen. ,Du hast in dieser Höllenlandschaft, in der wir gerade leben, zwei Möglichkeiten: kämpfen oder depressiv sein", sagt Miller. ,Beides ist okay. Aber, na ja, die Entscheidung war einfach."ADULT. ist bekannt für hochriskante Katharsis auf der Bühne und griff kürzlich auf seinen Backkatalog an Bassgitarren-Songs aus den 2000ern zurück, wobei sie die vorausschauende Anxiety Always-Ära erneut nachzeichneten - teils aus Notwendigkeit angesichts der heutigen politischen und technologischen Angsttemperatur. Die Reaktion war sofort spürbar: ,Wir waren in Paris, und die Kids sind von der Bühne gesprungen. Und ich dachte nur: Das ist großartig. Das ist irgendwie die Energie, in die ich wieder zurückwill", sagt Kuperus.Diese Erkenntnis fiel mit einer Reihe von Rückschlägen zusammen - Kuperus' Anfällen von chronischem Schwindel, dem Verlust ihres engen Freundes und Kollaborateurs Douglas McCarthy von Nitzer Ebb, dem das Album gewidmet ist - alles unter dem drohenden Regime noch einmal erheblich verschärft. ,Wir dachten nur: Alles zerbricht. Wir zerbrechen. Wir sind kaputt." Dieses Gefühl hielt jedoch nicht an, denn letztlich waren sie viel zu sehr von Wut aufgeladen, um stillzuhalten. Die Stimmung vor Kissing Luck Goodbye waren vier Mittelfinger, die kerzengerade nach oben zeigten.Anstatt sich zurückzuziehen, konzentrierten sie sich auf den Prozess und überarbeiteten ihr Setup - inklusive der ersten neuen Mikrofone seit 20 Jahren. Hält man das Album an irgendeiner Stelle an, zählt man wahrscheinlich ein Dutzend Dinge, die gleichzeitig passieren, in seltsamer, schwindelerregender und dissonanter Harmonie. ,No One Is Coming" attackiert Untätigkeit angesichts des Faschismus - ,NO ONE IS COMING TO YOUR RESCUE". ,None of It's Fun" feuert mit atemloser Dringlichkeit, rasenden Glissandi und pointierten Zeilen wie: ,OH I AM TEARING MY GUTS OUT / LOOK AT ME_ DO YOU THINK THAT THIS IS AMUSING?"Eine geradlinige Basslinie und Kickdrum prallen im Abschlusstrack ,Destroyers" auf pulsierende Mantras, werden dann vollständig gesättigt und kakophonisch. Ihre jüngeren Ichs hätten den Song vielleicht sich selbst zerstören lassen, doch hier gelang es ihnen, die Lautstärke durch alle Extreme hindurch zu stabilisieren und Raum für ein eindringliches, abschließendes A-cappella zu schaffen: WE PAY THE PRICE FOR THOSE IN POWER EXPLOITING YOU EXPLOITING ME CONSUMING YOU CONSUMING ME SICK SICK SICK SICKENING IT IS US THAT ARE DEVOURED BY EVERYTHING I WILL EAT YOUR HATE

Halloween 7" single with two non-album tracks for DJ's and collectors

Radio airplay by DJ's and radio shows throughout Europe & US

Single promoted by a two-week tour with shows in Germany, France and Spain

Rare collaboration featuring Monty Neysmith, composer and founding member from Symarip, one of the best-selling bands in the history of Trojan Records

Artwork by Malwina from Old School Design (Cock SParrer, The Dronws, Seven Letters, Booze & Glory)

Produced by Boss Capone (Stranger Cole, Lee Perry, Keith Rowe, George Dekker)

THE EPIC RETURN TO MARS FROM RICK WAKEMAN A NEW PROGRESSIVE ROCK SUITE INSPIRED BY BOTH PAST & THE LATEST DISCOVERIES ON THE RED PLANET FEATURING LEE POMEROY, DAVE COLQUHOUN, ADAM FALKNER & MOLLIE MARRIOTT - RELEASED ON CD/BLU-RAY EDITION - INCLUDES CD OF THE STUDIO ALBUM + BLU-RAY DISC FEATURING DOLBY ATMOS, 5-1 SURROUND SOUND & HI-RES STEREO MIXES & THE MAKING OF THE 'RETURN TO THE RED PLANET' DOCUMENTARY + 20-PAGE PRINTED BOOKLET / CD EDITION / 2LP VINYL. Following his acclaimed 2020 album 'The Red Planet', Rick Wakeman makes a triumphant & inevitable return to Mars with 'Return To The Red Planet', a sweeping new progressive work that fuses science, imagination & musical virtuosity into one of the most ambitious recordings of his career

Ever since his 2015 debut EP, Nocturne, Alfa Mist has effortlessly moved between jazz, hip-hop and classical music and built unique sonic worlds. Across six critically acclaimed albums, the east Londoner has eroded genre boundaries with an expansive vision. On his last album Roulette, the prolific producer, songwriter, pianist and MC went one step further by creating his own sci-fi universe. 2025’s Roulette was a series of short stories, set in an imagined near-future where reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?”

As is traditional for Alfa Mist, he also explored the depth of the songs during a live-recorded session. This time the artist ventured to Peter Gabriel’s Real World Studios - a location known both for its unusual architecture and its forward-thinking approach to music. Originally broadcast on Youtube only, it seemed a waste to not officially release the session. “When time's running out and you know you can't redo anything, there's an acceptance everyone has and it actually makes you relax a bit. It’s like recreating our live set in the studio.”

With Kaya Thomas-Dyke on Bass, Jamie Houghton on Drums, Jamie Leeming on Guitar, Johnny Woodham (aka JSPHYNX) on Flugel and Trumpet, and Samuel Rapley on Sax and Bass Clarinet.

For over 25 years, David Madson (aka Odd Nosdam) has been stationed away from the light of the mainstream, diligently working the nightshift. Every so often, we awake to find another of his bleary and beautiful missives slung into the waking world – albums whose assemblages of sampled grooves, atmospheres and voices are unified by a hallucinatory sense of melody, like disparate visions strung together through ribbons of sleep-talk. From his earliest days as a member of the seminal group cLOUDDEAD, through his remixes for artists such as Boards of Canada and Black Moth Super Rainbow, Nosdam has been reporting back from his rounds upon the perimeters of culture and consciousness, forging a musical language all of his own.

On Patrol is the second Odd Nosdam LP to be released on The Notwist’s imprint Alien Transistor – following on from the 2019 album Mirrors – and continues a collaborative history that begun with a 2008 remix of The Notwist song, “Sleep”. It’s a love letter to the vinyl format, produced with the aim of optimizing for a single LP. This objective permeated every aspect of the album’s production, from the duration of each side through to the vinyl mastering (Jessica Thompson) and lacquer-cutting (Dubplates & Mastering, Berlin). As we've come to expect, the album is built almost entirely from found sounds, many of which were taken from obscure and second-hand vinyl gathered during Nosdam’s ceaseless crate-digging escapades. Other sources include field recordings made in 2022 at the Catalonia summer home of artist Salvador Dalí, which are baked into the swirling sci-fi glide of “Here to Know (Adéu Mix)”, and a sumptuous clunking bass line courtesy of Organi’s Mike Walti, which runs like an infinite highway through the fuzzy, sunbaked sprawl of “Deepsimple”.

Odd Nosdam’s work has always swept the entire atmospheric spectrum, from rhythmic vigour to levitational beauty. On Patrol is perhaps his finest assimilation of these extremes. “Sgt. Pepsi” is the perfect case in point: a formidable slow groove capsizes into vinyl crackle after a mere minute, before the song resurrects itself through sweeping strings and vocal harmonies, sliding against each other like the overlain romantic denouements to a dozen Hollywood films from the 1940s. Elsewhere, “Get You In (Belong Mix)” drapes shoegaze guitar over a trundling funk backbeat, straddling the physical world and the outer realms, while hushed voices point toward the song's implied themes of cultural cliques, critical consensus and the plight of the eternal outsider: “Sure, I can get you in... these people are my friends, I’m one of them - I belong.”

This is music that both endures and disappears. Odd Nosdam has always wielded a strange relationship with time, scrambling association with any specific era, weaving together numerous tempos simultaneously. There is no master clock. Each track could happily hold up as an infinite loop, yet Nosdam clearly favours the potency of the gone-too-soon, applying the fadeout just as hypnosis starts to crest. Indeed, the songs are both the product of meticulous long-term construction and spontaneity. While the foundations of On Patrol have come together over several years, the recording process involved channeling vibes through a vintage Roland Space Echo and bouncing song fragments back and forth from hard disk to cassette 8-track, gifting a phased permanence to creative decisions made on the fly – a hat-tip to the production processes of Nosdam's longtime hero, Lee ‘Scratch’ Perry. Like a recurring dream, On Patrol appeals to both the plains of momentary ephemera and the long-established backchannels of the unconscious, equal parts revelation and deja vu.

Text by Jack Chuter
Artwork by Ian Ferguson

It’s time for Ahad’s biggest move yet: his first full-length album, P*KI. Powerful, deeply personal and unapologetic, the album is rooted in the dancefloor and in Ahad’s belief that club culture is a space where he can “exist completely authentically.” By reclaiming a word he has personally been confronted with, Ahad transforms P*KI (pronounced Pee-Star-Kay-Eye) into a statement of joy, pride, celebration and self-love. The album’s singles capture that spirit: ‘Put That Banger On Next’, featuring London MC Capo Lee, brings a high-voltage grime energy; ‘Make Space’ is a euphoric tribute to the diverse communities who find solace in London nightlife; while ‘Left / Right’, made with Dismantle and Jam-akabi, delivers a dark, futuristic breaks sound built for warehouse dancefloors. Across the record, Ahad’s signature UK club sound is pushed further, with tracks drawing on everything from gqom and drum’n’bass to South Asian classical instruments, Punjabi folk and devotional music such as qawwali.

Leroy "Heptone" Sibbles
Garden Of Life (Horns cut)

This raw, deep roots grail by Heptones and Studio One legend Leroy Sibbles has been near impossible to find, until now.
Most reggae fans will be familiar with the Heptones’ Lee Perry sessions including their outstanding “Garden Of Life” from 1979.

Few but the most grizzled collector knew that Sibbles had recorded a deep roots cut in Toronto several years earlier in 1975 while living in Canada.
Urgent, soulful and raucous with its killer horns section and bubbling organ, this version of Garden Of Life is actually Leroy’s favourite.
The dub version transports us right into the converted garage/studio in 1975 as snatches of conversation between musicians are immortalized on wax.

One of 3 official releases showcasing Sid Lovejoy's Toronto productions including the long out of print “Rebel” by Rothadam and the roots missile “King Kong Man” by Sid Lovejoy.

At its heart, this is truly a classic love story...

Musician, songwriter, and entertainer George Butts has always worked in the spirit of independence and love.

Beginning his musical journey on the East Coast, George spent his formative years playing in bands before eventually making his way to Southern California, ready to step out and pursue his own musical vision.

It was here that music and fate would meet, leading him to something equally important: Kathie, the woman who would become his lifelong partner- personally, professionally, and creatively.

Together, they embraced that same independent spirit and began building something of their own. In the mid-1980s, they established K-Star Productions, a label that became the home for George’s music and marked the beginning of a new chapter in their lives.

In 1986, that journey produced “I Love You So Much,” a song title that feels especially fitting once you learn the story behind it. Written as a dedication to their newly formed relationship, the song carries a sense of warmth that somehow feels familiar to us all. Built around the distinctive sound of a Linn drum machine, layered with lush synths and George’s unmistakable horn melodies, the record radiates heartfelt affirmations of love, capturing not only the spirit of independent ’80s Modern Soul, but the energy of two young hearts coming together and dancing in rhythm.

The record would soon become a dancefloor favorite among local DJs and clubgoers alike. But what began in Southern California would carry George much farther than they could have imagined. The success of the music helped establish him as a respected musician and entertainer, leading to performances and residencies throughout the 1980s and ’90s, from lounges along California’s golden coast to stages as far away as Japan.

Nearly four decades later, these recordings have been lovingly remastered from the original source material by Ron Leeper, the original recording engineer, allowing the warmth and spirit of the music to shine once again.

But this is more than the reissue of a rare independent record.
These classic songs evoke feelings of love and unity, filled with warm melodies, soulful grooves, and an undeniable sense of joy, all brought to life through the partnership of George and Kathie.

Together, they created their own label, followed their dreams, and lived life on their own terms- proving just how far a shared vision can take you.

Today, the music carries that same spirit: heartfelt, uplifting, and alive with the optimism of two people creating something they truly believed in. What they started with K-Star Productions helped launch a musical legacy that would take them around the world and back, a journey that continues today with George still performing live.

2026 Repress

Yorkshire's underground has always run deep and this double pack from one of the region's finest new labels, Hearlucinate, makes the case well. For this double album, Leeds mainstay Tristan da Cunha has done a careful excavation of Scott Featherstone's DAT archive featuring music recorded under his Triform alias entirely on analogue hardware. The results are simultaneously timeless and urgently present, and the kind of machine jams that only reveal their full power in dark, hazy rooms. 'Harmony' has a dark and sleazy soul, there's muscular drum weight to 'What Is This', 'Basic House Rocker' has an anxiety-riddled sound that's alive with twitchy acid electronics and 'Chimes' marries vast, swinging kicks with Detroit soul. Wonderful.

With Elvis Presley wishes you a "Blue Christmas", the Drifters wishing you a "White Christmas", a "Christmas Prayer" by Billy Fury, a "Christmas Present" from Solomon Burke, "Rockin' Around The Christmas Tree" with Brenda Lee, "Twistin' Bells" by Santo & Johnny, and the "Jingle Bell Rock" with Chubby Checker & Bobby Rydell. The Cadillacs sings "Rudolph The Red- Nosed Reindeer" and Chuck Berry "Runs With Rudolph", Frankie Valli & The 4 Seasons "Saw Mommy Kissing Santa Claus", Johnny Cash with his "Little Drummer Boy" and finally David Seville and the Chipmunks with "The Chipmunk Song".

Es war ein Coup, als Gründer und Bassist Lee Payne vor drei Jahren ankündigte, dass Harry „The Tyrant“ Conklin, der nach Griechenland gezogen war, seiner Band Cloven Hoof beitreten würde. Der ehemalige Jag-Panzer-Frontmann war der perfekte Nachfolger für Russ North, der für die Fans bis dahin als der ultimative Cloven-Hoof-Sänger galt – leider weilt er nicht mehr unter uns. Daher waren die Reaktionen auf das erste Album der Band mit Harry Conklin am Mikrofon herausragend. »Heathen Cross« wurde 2024 bei High Roller Records veröffentlicht.
Nun folgt Cloven Hoofs zehntes Studioalbum mit dem Titel »Never A Prophet In Your Own Land«. Wieder einmal ist die Gesangsleistung vom „Tyrant“ absolute Weltklasse. Lee Payne grinst: „Das Lob gebührt einzig und allein Harry. Wir können uns glücklich schätzen, einen so brillanten Sänger und Frontmann in der Band zu haben.“
Kontinuität ist für jede Band wichtig, und Cloven Hoof hatten in der Vergangenheit mehr als einen Besetzungswechsel zu verzeichnen. Diesmal nicht, wie der Bassist nicht ohne Stolz erklärt: „Wir haben dieselbe feste Besetzung wie auf »Heathen Cross«, das kann ich mit Freude sagen. Am Gesang der einzig wahre Harry Conklin und an den Gitarren Luke Hatton sowie Chris Coss. Dazu Ash Baker am Schlagzeug. Luke, Chris und Ash sind nun seit über zehn Jahren bei Cloven Hoof; sie kennen ihre Rollen in- und auswendig. Ich selbst bin seit 1979 in der Band, also sollte ich inzwischen eine Vorstellung davon haben, was ich mache (lacht).“
„»Never A Prophet In Your Own Land« ist keine direkte Fortsetzung von »Heathen Cross«“, fährt Payne fort. „»Heathen Cross« hatte seine eigene schwere und düstere Atmosphäre. »Never A Prophet In Your Own Land« ähnelt eher »A Sultan‘s Ransom«, doch diese Ähnlichkeit war weder konstruiert noch geplant. Es ist einfach so gekommen.“

he Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing and falsetto voice makes that just the case.
The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the
Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the
Rocksteady era, when he formed the vocal group 'Tartans', taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut 'Dance All Night' (1967) and 'Coming On Strong' (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album 'Heart Of The Congos' at Perry's just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians.This is the Dub set to the vocal album released on the Kingston
Sounds label called 'The Congos Feast'(KS008).With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion...

Family Christmas ist der perfekte Soundtrack für festliche Stunden mit Familie und Freunden.
Mit unvergänglichen Weihnachtsaufnahmen von Ella Fitzgerald, Nat King Cole, Elvis Presley, The Andrews Sisters und vielen weiteren Legenden versprüht diese Sammlung nostalgischen Weihnachtszauber.
Ein liebevoll zusammengestellter Klassiker voller Wärme, Harmonie und unvergesslicher Festtagsstimmung. Erhältlich auf Vinyl - transparent orange!

Ten Numero-minted, dance floor ready dive bombers from disco's all-to-brief heyday, previously swept under rug by the whitewashed glitz and glam of the era. Chugging grooves, bubbling synths, soaring strings, and sonorous voices are guaranteed to light up your night, on living room rugs and dance floors alike.

Semiratruth ist ständig in Bewegung. Der in Brooklyn lebende, in Chicago geborene Elektronik-Künstler reist von Bühne zu Bühne und pendelt zwischen unterschiedlichen Underground-Musikszenen - von den USA über Guatemala bis in die Niederlande -, Synthesizer und Sampler im Gepäck, als wären sie ein Teleportationsgerät. Auf der Bühne lenkt er intuitiv die Energie im Raum und scheint den kollektiven Herzschlag des Publikums mit einem universellen Metronom zu synchronisieren. Mit einem Tisch voller Elektronik-Geräte klopft er ganz beiläufig klangliche Portale in eine andere Welt auf. Semiras sich ständig wandelndes Umfeld und ihr eigener gelebter Schwung sind auf ihrer neuen LP ,S!M" zu hören, die am 25. September über das vielseitige Chicagoer Label Sooper Records erscheint. ,S!M" schafft eine einzigartige Balance: Der kompositorische Minimalismus von Acid, Juke und Baile Funk schlängelt sich in industrielle Klanglandschaften, um dann durch experimentelle und melodische Improvisationen ins Licht gerückt zu werden, die an Cosmic Synth und Spiritual Jazz der 1970er Jahre erinnern. Das Selbstbewusstsein, mit dem Semiratruth diese klangliche Dualität nutzt, spiegelt sich in den Themen ihres schwindelerregenden instrumentalen Multiversums mit 20 Tracks wider. Disharmonische Stimmen von Gedanken und Gefühlen, Sehnsucht und Hingabe, Hinterfragen und Träumen - all das findet Harmonie in Semiras Welt, in der unterschiedliche Realitäten gleichzeitig existieren. Jeder Track ist ein Universum, das sich in einem Existentialismus ergeht, der zu gleichen Teilen aus Freude und Schmerz besteht - eine Aufforderung, den Kosmos mit Kopfhörern zu ergründen oder ihn auf der Tanzfläche auszuleben. Semiratruths bisheriges Werk und vergangene Live-Auftritte haben dem Künstler einen Ruf für seine lyrische Gewandtheit eingebracht, doch ihre Leidenschaft für instrumentale Arrangements ist in all ihren bisherigen selbstproduzierten Werken zu hören. Auf ,S!M" richtet Semira den Fokus ganz einfach auf die Sounddesign-Aspekte ihrer Kunst. Tracks wie ,Atitlán", benannt nach Guatemalas großem See, zeigen Semiratruths disziplinierte kompositorische Stärke. In seiner Mikrotonalität sehr intim, breitet sich ein sich langsam wandelndes Synth-Pad aus, während Spritzer maschineller Töne die Mehrdeutigkeiten des Lebens zwischen den Noten melodisch zum Leben erwecken. Diese Zurückhaltung steht in krassem Kontrast zu Tracks wie ,Blood Moon Eclipse" und ,we gotta GO!", in denen dröhnende Kick-Drums den Hörer in den Rhythmus des Stadtlebens katapultieren. In jedem Moment könnte Semiratruth überall sein. Wo auch immer Semira nicht ist, füllt ihr Geheimnis die Leere. Ihr Schatten-Ich stürzt sich in ein pulsierendes Publikum von NYC-Fans, während sie die Lautsprecher mit einem Fingertipp zum Beben bringen. Im selben Moment wird ihre Geschichte zum Mythos in den Chicagoer DIY-Szenen, aus denen sie hervorgegangen sind. Genau in derselben Sekunde schwärmen Farm-Core-Songwriter hinter der Bühne eines Folk-Festivals von ihrer neu entdeckten musikalischen Obsession und rufen aus: ,Semira ist die WAHRHEIT!" Wie Semira es ausdrückt: ,All diese S!Mulationen und Zeitachsen finden S!Multan statt. Je tiefer du eintauchst, desto seltsamer wird es."

Forgotten electronic treasures by composer Ton de Leeuw rediscovered: first release in the Dutch Oscillation Series

Dutch Oscillation Series (DOS) proudly announces the release of a box set featuring the complete electronic works of Ton de Leeuw (1926–1996). This publication marks the first instalment in a new series that brings the history of Dutch electronic music to life for a broad audience. The official presentation will take place on Saturday, 12 September, during the Gaudeamus Festival for contemporary music in Utrecht.

Unique discoveries from the archive. For far too long, twentieth-century Dutch electronic music has remained hidden away in dim archives, only occasionally accessible under optimal conditions. Many compositions have not been heard for decades, perhaps after being presented to an audience only once. For this project, the original tapes were carefully traced in basements and archives, including the mysterious work Chronos, which was rediscovered in the collection of the Netherlands Music Institute (NMI). Even close collaborators of De Leeuw were unaware of the existence of Chronos. Another highlight of this release is the radiophonic oratorio Job (1956), which was awarded the Prix Italia radio prize by broadcaster Rai.

The recordings were digitised by experts at the Institute of Sonology and the Instituut voor Beeld en Geluid (Netherlands Institute for Sound and Vision). The music was then meticulously restored and mastered in the studio of Jos Smolders (EARLabs), in accordance with modern standards, while strictly adhering to the composer’s original artistic intentions.

The edition includes eight works composed between 1956 and 1982. The collection is released as a deluxe LP and CD box set and is also available via streaming and as high-resolution downloads. For an optimal listening experience, originally four-channel works such as Elektronische Studie (Electronic Study) and Antiphonie (Antiphony) are available as special Dolby Atmos downloads, allowing listeners to experience at home the unique spatial sound world envisioned by Ton de Leeuw.

About Ton de LeeuwTon de Leeuw was one of the most influential Dutch composers of the twentieth century. A thinker with a distinctly cosmopolitan outlook, he immersed himself deeply in musical cultures from India, Japan, and Indonesia, among others. His work consistently sought to bridge Eastern and Western musical traditions and concepts.

In addition, De Leeuw enjoyed a distinguished academic career. He served for many years as senior lecturer and director at the Amsterdam Conservatory and was affiliated as a senior research fellow with the University of Amsterdam. His book Muziek van de twintigste eeuw (Music of the Twentieth Century) remains a standard reference work.

This is the first full-length release from South Korea"s beloved pansori psych-pop band available worldwide. The release follows an extremely successful and eventful year for LEENALCHI. They had their first-ever North American tour, opening for Japanese Breakfast at Stern Grove, sessions at KCRW and (rumor has it) KEXP, and in the fall, they"ll be on the East Coast, including opening for Geese at Forest Hills on the very same date this record comes out. LEENALCHI is led by the great composer Jang Young-Gyu, who has undoubtedly scored all your favorite Korean horror movies, including The Wailing, Train To Busan, and the Good, The Bad, The Weird. Sugungga sounds like animals talking to each other over tripped-out bass lines. It gets its name from the old Korean folk tale about a clever and loyal turtle who tries to lure a rabbit underwater and into the lair of a Dragon King who has come down with an illness that can only be cured by the rabbit"s liver. What is the fate of the rabbit? This fall, you will find out.

The third in a series of releases from the Digi Dub archives, Like it Here is a tribute to the poet laureate of Special Brew, the late Iffor Clarkson-Denbigh, who sadly departed us in 2021 to drink in the great park in the stars.

The infectious and futuristic late 90s vocal space dub of the A side finds Iffor waxing lyrically about both the nature of impermanence and the sentient ocean of Solaris over an irresistible bassline and low winding groove. The flip side features a suitably chugging version of the rail riding classic Loveborough Junction and a percussive early 90s acid dub of Heart like a Lion, the original of which dropped on the South East of the Thames collection. None of the tracks are traditional style dubs, but happily exist in the gaps between genres.


Iffor was a well-known multi-instrumentalist and vocalist on the South East London underground scene who lived life to the max without an off switch. He and label owner Lee Berwick truly had a laugh in the studio, producing Purple Boy (the classic ode to drinking in the park), the suitably named Clevor but Stupid album and many other uncategorisable musical wanderings.

“The hope is that Iffor, the dark son of Clenby, is cackling as he cracks another can while looking down on us from the great park in the stars.” Lee Digidub Berwick

Blossoms return with their 6th studio album, ‘Songs From The Wedding Cake’. Featuring singles 'Meet Me In Love' and 'Joke About Divorce', the Wedding Cake, nickname for Stockport’s Town Hall where band member Tom Ogden got married, spans 10 tracks and follows up the 2024 number 1 album 'Gary'. The album, produced by Shawn Lee, was recorded entirely to tape & is due for release 2nd October 2026.

Dead Poet Society haben mit ihrem aufsehenerregenden Debütalbum „-!-“ (ausgesprochen „The Exclamation Album“) aus dem Jahr 2021 und ihrem ebenso gefeierten zweiten Album „FISSION“ aus dem Jahr 2024 – beide erschienen bei Spinefarm – die Aufmerksamkeit der Rockwelt auf sich gezogen (und gehalten). Die Band verzeichnet weltweit insgesamt 200 Millionen Streams, mehrere Top-10-Radio-Singles und Platzierungen in wichtigen Playlists und trat bereits auf großen Festivals rund um den Globus auf, darunter „Welcome to Rockville“, „Sonic Temple“, „Graspop“, „Reading and Leeds“ und „2000Trees“. Dead Poet Society tourten bereits mit Alt-Rock-Größen wie Badflower, Biffy Clyro und Highly Suspect sowie weiteren Künstlern. Die Band hat sich endgültig als intensiver Live-Act etabliert, den man nicht verpassen sollte, und erhielt Lob von Medien wie der „New York Post“, „Riff“, „Rock Sound“, „American Songwriter“, „New Noise“ und „Guitar World“. Mit ihrem unverwechselbaren Sound beschreiten sie ihren ganz eigenen Weg – und genau so gefällt es ihnen.

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

Leeds six piece, Adult DVD, announced their signing to Fat Possum this year, with standalone single ‘Real Tree Lee’, which landed the band on the BBC 6 Music A-List along with ‘Ones To Watch’ attention from the likes of The Rolling Stone, The Line Of Best Fit and more. On September 25th they release their much anticipated debut, self-titled album. Recorded and produced by the band at hometown The Nave Studios, the new album fuses Adult DVD’s love of hook laden indie, with pulsing groove, 90's acid house influence and an undeniable humour in their songwriting. Known for their electric live show, including their recent sold out London residency plus debut USA and Japan tours, Adult DVD is a festival favourite; hailed ‘Best Of SXSW’ (Rolling Stone), 'Best Of The Great Escape' (The Sunday Times, DIY and Dork). The band are continuously on the road with routing booked through to 2027, across UK/EU/US/JP.

Es war ein Coup, als Gründer und Bassist Lee Payne vor drei Jahren ankündigte, dass Harry „The Tyrant“ Conklin, der nach Griechenland gezogen war, seiner Band Cloven Hoof beitreten würde. Der ehemalige Jag-Panzer-Frontmann war der perfekte Nachfolger für Russ North, der für die Fans bis dahin als der ultimative Cloven-Hoof-Sänger galt – leider weilt er nicht mehr unter uns. Daher waren die Reaktionen auf das erste Album der Band mit Harry Conklin am Mikrofon herausragend. »Heathen Cross« wurde 2024 bei High Roller Records veröffentlicht.
Nun folgt Cloven Hoofs zehntes Studioalbum mit dem Titel »Never A Prophet In Your Own Land«. Wieder einmal ist die Gesangsleistung vom „Tyrant“ absolute Weltklasse. Lee Payne grinst: „Das Lob gebührt einzig und allein Harry. Wir können uns glücklich schätzen, einen so brillanten Sänger und Frontmann in der Band zu haben.“
Kontinuität ist für jede Band wichtig, und Cloven Hoof hatten in der Vergangenheit mehr als einen Besetzungswechsel zu verzeichnen. Diesmal nicht, wie der Bassist nicht ohne Stolz erklärt: „Wir haben dieselbe feste Besetzung wie auf »Heathen Cross«, das kann ich mit Freude sagen. Am Gesang der einzig wahre Harry Conklin und an den Gitarren Luke Hatton sowie Chris Coss. Dazu Ash Baker am Schlagzeug. Luke, Chris und Ash sind nun seit über zehn Jahren bei Cloven Hoof; sie kennen ihre Rollen in- und auswendig. Ich selbst bin seit 1979 in der Band, also sollte ich inzwischen eine Vorstellung davon haben, was ich mache (lacht).“
„»Never A Prophet In Your Own Land« ist keine direkte Fortsetzung von »Heathen Cross«“, fährt Payne fort. „»Heathen Cross« hatte seine eigene schwere und düstere Atmosphäre. »Never A Prophet In Your Own Land« ähnelt eher »A Sultan‘s Ransom«, doch diese Ähnlichkeit war weder konstruiert noch geplant. Es ist einfach so gekommen.“

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)