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ALERT: BIG 90s ITALIAN RAVE COMP - a lot of very in demand tunes on here.

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Franco Falsini and the Interactive Test Universe

There are musicians who follow their time.

And then there are those who seem to move along a different trajectory—like navigators crossing sonic eras without ever truly belonging to any one of them. The story of Franco Falsini belongs to the latter. It is a story that begins long before raves, before techno, before the word “electronic” had even become a recognizable musical genre. A story that moves across continents, technologies, and sonic visions, eventually arriving at a small creative laboratory born in Italy in the early 1990s: Interactive Test. This compilation is a fragment of that universe. But as often happens with the hidden histories of music, understanding it requires going back. Far back.

The Beginning: Machines, Tape and Space

In the late 1960s Franco Falsini leaves Italy and moves to the United States. It is not merely a geographical journey—it is also a journey into a new idea of music. At the time, synthesizers are only just emerging from research laboratories. Multitrack tape recorders allow musicians to build entire sonic worlds on their own. Technology is still far from standardized: every studio is almost an experimental workshop. In Virginia, Falsini builds one of his own. Among cables, oscillators, electric guitars and reels of magnetic tape, a kind of music begins to take shape that resembles nothing else being made at the time. It is not simply rock, and it is not yet truly electronic. It moves somewhere in the space between the two. Out of these explorations emerges Sensations' Fix, the project through which Falsini releases a series of albums during the 1970s. Records that seem to come from a parallel dimension: cosmic landscapes, electronically treated guitars, synthesizers drifting like satellites. Many years later those albums would be rediscovered as visionary works. But at the time they were simply the result of relentless curiosity. A curiosity that would never fade.

The City That Never Sleeps

In the 1980s Falsini’s trajectory leads him to New York. The city is a sonic organism in constant transformation. In its clubs and recording studios something entirely new is beginning to take shape: music built from drum machines, sequencers, and samplers, created for the body before the living room. It is the dawn of modern dance culture. Falsini works as a sound engineer, producer and experimenter. From close range he observes electronic music transforming into a global language. Machines become more accessible, computers begin entering studios, and rhythm takes on an increasingly central role. Yet even in this phase Falsini does not simply follow what is happening. He absorbs. Observes. Reimagines. When he eventually returns to Italy, he brings back not only technical experience but also a clear vision: the conviction that electronic music is an open space, a territory still waiting to be explored.

Tuscany, Early 1990s

At the beginning of the 1990s something is happening in Italy as well. In clubs, abandoned industrial warehouses and clandestine parties, a new scene is beginning to form. It is rave culture: a spontaneous movement bringing together DJs, producers and listeners in a collective experience driven by rhythm, technology, and creative freedom. It is within this context that Franco Falsini, together with his brother Riccardo, creates Interactive Test.

The name almost sounds like a scientific experiment. In many ways, it is. Interactive Test does not emerge as a traditional record label. It begins as a laboratory—a place where ideas, sounds and musical identities can be tested and explored. Around the Falsini studio in Tuscany a small constellation of artists and DJs begins to gather, helping to shape the sound of Italy’s emerging electronic scene. Among them are Andrea Giuditta, Francesco Farfa, Gabry Fasano, Roby Mastelloni, Roby J and many others. Each brings a different musical sensibility. But they all share the same intuition: electronic music is not a genre. It is a language.

The Laboratory of Identities

One of the most fascinating aspects of the Interactive Test universe is its constant play with identity. Franco Falsini releases music under several different names: Open Space, Youth Wave, Agent Fylfoyt, Man Myth Magic. These are not simply pseudonyms.

They are different sonic perspectives, as if each project were a window opening onto a parallel musical universe. Open Space, for example, explores more atmospheric and visionary territories. Youth Wave moves between electronic groove and club-oriented rhythms. Other projects experiment with digital psychedelia or hypnotic techno textures. Interactive Test becomes something more than a label. it becomes an ecosystem.

Domestic Machines, Infinite Worlds

Looking back today at the technology used in those productions, one might almost smile. Many tracks were created on Amiga computers, MIDI sequencers and analog synthesizers wired together in home studios—tools that appear modest when compared to today’s digital possibilities.

Yet precisely these limitations became a creative force. Every sound had to be built, shaped and reinvented. Sequences developed slowly, almost like living organisms. The tracks did not always follow traditional dance music structures; often they felt like genuine sonic journeys. Music built from space.

A Hidden Constellation

Many of the records released by Interactive Test in the 1990s remained for years almost invisible objects, circulating quietly among DJs, collectors, and devoted listeners. Yet it is precisely this underground existence that helped preserve them. Listening again today, one perceives something rare: the feeling of music that does not fully belong to its own time. Music suspended between different eras. Perhaps because it comes from a vision that both precedes and transcends trends.

Continuing the Journey

Looking at Franco Falsini’s entire path—from the electronic psychedelia of Sensations’ Fix to the rave culture of the 1990s—a surprisingly coherent line emerges.

A line defined by exploration.

Each project, each pseudonym, each record appears as a new route within the same great sonic voyage.

Interactive Test was one of its stations.

A laboratory.
A community.
A creative platform.

This compilation gathers some of its traces.

Not as a simple archive of the past, but as a map of a musical territory that continues to expand even today.

Like all true sonic explorations.

Music For Stalagmites is a slow-form, immersive album, marking the accumulation of over 20 years of experimentation from the Middlesbrough based artist.

The album explores the duality of both primal and futuristic worlds, drawing inspiration from nature, technology and evolution to create a body of work that transcends beyond any timeline that has come before us. Forging vivid and otherworldly subterranean environments that transport the listener to an alternate haven. Music for Stalagmites embodies the sound of animism, a concept where all forms of nature hold a spiritual essence.

The first track is a hardware masterpiece of a kind ! Don't miss that classic way...
Then comes a cool Tekno banger, again very analogic.
The other side is more some kind of meeting between Win and Jaquarius, Win for the structures and the global ambiances and Jaquarius for the way of using and growing the acid gimmics...

In-demand AfroColombia Remix Vol. 1 finally repressed!
A collection of Afro-Colombian classics (Champeta, Son de Sexteto, Currulao) revisited by talented producers from the global club scene.
Ten years ago, a sound was born that bridged roots and reinvention. Today, Galletas Calientes Records is proud to announce the official reissue of AfroColombia Remix Vol. 1 on vinyl, in collaboration with legendary Colombian label Palenque Records.
Originally released a decade ago, this project brought together visionary producers and timeless Afro-Colombian rhythms, creating a dialogue between tradition and the global electronic underground. Now, remastered and pressed on wax again, the record returns with renewed depth—warmer, richer, and ready to be experienced the way it was always meant to be heard.
This limited vinyl edition celebrates the legacy of the original release while honouring the artists, communities, and sounds that inspired it. Whether you’ve been with us since day one or are discovering it for the first time, this reissue is an invitation to reconnect with a pivotal moment in Afro-Colombian musical fusion.

We had a few Ellis Dee releases in the pipeline and thought it would be a nice nod of respect to the master don if we created a special sleeve that showed a snapshot of his history in the scene. Designed by Beagle (NARC) we asked Roy to share with us a bunch of his photos spanning all the way back to the start of the 90's. The sleeve is a specially made 7mm spine, full colour affair and we have only created 200 of them, so this will be a very limited and a future collectors piece.

暗く湿った夏の夜、小さなボートはあてもなくさまよう。不穏さと美しさが同居するこの海は自分自身のようでもあり遠く離れたどこかのようでもあった。

Shinichi Koboyashi’s music as Bot1500 has such a beautiful signature to it. Using the layers and language of ambient IDM, artfully arranged pads & chords and crisp vectored breaks, he’s been creating a beautiful and highly individual sound.

The Black Sea, His first album since 2022’s Surreal on AD93’s sister label Lith Dolina, spaces things out more and focuses inward with a palette of minimalism and increased emotional resonance. It’s been a focus for Shinichi across his self-published studio work in the last few years.

The album’s tracks feel increasingly rooted in the principles and logic of dub. Utilising more space, more silence, and more focus on the simplicity and elegance of the composition folded into radiant arrangements of melody, snare, shade and echo.

The sea is both an inner landscape and a geographic image that hangs over the record’s mood. A dark humid summer night, like that on Japanese coasts. A small boat sails aimlessly. An eerie tone, but with a glimpse of beauty. The water is melancholic, enveloping, and endless.

Each track is written at 140bpm save for last track “White Flocks” at 120, for the image of heading south to close out.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing exactement the note he had to play.

- The very first Live album by The Liminanas
- 1 Hour concert performed & recorded on October 24th , 2025 in Paris at Centre Pompidou during the Because Beaubourg Event .
- Album artwork by Smith who did the visuals of the live performance.

ProleteR returns with a warm and playful blend of swing and nu jazz.
The first single, “Things of the Past,” introduces the album with a smooth fusion of neo-soul and sampling, enhanced by subtle swing elements. “Do It” (focus track) leans into a more vibrant electro-swing energy, featuring Lyre le Temps, a major figure in the global electro-swing scene.
The worldwide tour kicks off in the US this May and August, before heading to Europe in September (20 shows) alongside Blockhead and Arms & Sleepers.

Mauro Pawlowski's 'Unspectacular Times' is the sound of an artist completely at ease with himself, and with the world, in all its ordinary, unglamorous beauty. Ten songs rooted in everyday observation and emotion, produced by Scorpio Twins (Stephane Misseghers and Bruno Coussée) with a full 24-carat 80s gloss: lush synths and basslines.

Where everything around us seems to demand maximum volume and instant outrage, Pawlowski turns that logic quietly inside out. These are songs about love that sneaks up on you, desire that builds in an art gallery, and a Nobel Prize winner falling off his bike and giving a thumbs up. Small moments, but in Pawlowski's hands, that's where everything worth paying attention to actually lives.

Guest appearances from Brianne Dunne (Daryl Hall & John Oates) and Pol Coussée, a Belgian saxophonist who found his way from London to Toronto and has played alongside Barry White and Isaac Hayes.

Following the 70s-tinged 'Eternal Sunday Drive', his second album on Unday Records 'Unspectacular Times' is Pawlowski's most pop focused to date. His most recent chapter in a career that has taken him from Evil Superstars to dEUS, through theater, dance, film and more alter egos than most artists have albums.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Strut Records presents a brand new reissue of the 1975 Brian Auger’s Oblivion Express original album Reinforcements. A gem from the later years of the Oblivion Express band, Reinforcements sees Auger evolve from his early ‘70s jazz-rock fusions towards smoother jazz funk sophistication, continuing his journey from the previous year’s Straight Ahead.
With two former Oblivion Express drummers joining Average White Band, there are obvious comparisons to draw as several tracks lean into groove-driven arrangements and polished mid-’70s production.Never one to follow a predictable path, Auger crafts a steadfast, stylish album that captures the evolving sound of the era, offering a rich snapshot of mid-’70s British soul and jazz-funk.

A fan favourite, the album also marks the return of vocalist Alex Ligertwood (later of Santana), whose soulful delivery is a highlight of many Oblivion Express recordings.
He is joined by Jack Mills (guitar), Lennox Langton (percussion), Dave Dowle (drums), and new addition Clive Chaman (bass, flute) – a family affair with their various kids joining for the cover shoot, the full cast adorned in an array of fine mid-‘70s tank tops.

Album highlights include the heavy funk instrumental jam ‘Brain Damage,’ a dynamic, keyboard-driven showcase of Auger’s virtuosity alongside the burning latin jazz workout ‘Something Out of Nothing’ and soaring closer ‘Future Pilot’ taking us from our present day troubles to “thread the skies to a new location.”
‘Big Yin’ is a heartfelt tribute to former drummer Robbie McIntosh following his untimely death. As with all Auger albums, the energy is nothing but positive and soulful – his back cover quote states “May the love you bring to this world be reflected upon you.”
This new Strut reissue of Reinforcements is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered from the original tapes by United Archiving’s Bill Smith, it is presented as a high-quality single LP replica edition.

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

“All I can do is make my art from an honest place with an honest intention.” Earth-o-Naut.

Earth-o-Naut is a songwriter, drummer, musician and producer. He was born in Liverpool and raised in one of its satellite towns, Skelmersdale. He was raised by his mum and uncles on music from every genre, falling in love, amazement and awe with the groove and the craft of songwriting. Nothing has changed to this day. Songwriting has also always been a constant. That quest to create something original and use the songwriting process as some form of catharsis. Learning guitar and piano was the next logical step, to help with the creation of new ideas into new songs. A lot of time was spent playing drumming gigs and then taking his own songs on the road, solo with just an acoustic guitar, learning the ropes and serving his apprenticeship. Great songwriters The Beatles, Curtis Mayfield, Bill Withers, Neil Finn and many others inspire Earth-o-Naut to this day.

Earth-o-naut has worked hard for many years on his studio chops and is the writer, arranger, recording engineer, mix engineer and producer on all of his own material, and he also works with other artists as a producer. Earth-o-Naut's debut album, 'This Is Nowhere. This Is Everywhere.' will be released on Agogo Records in June 2026. The debut album features UK drumming legend, Steve White and also the vocals of Amalia Estradas and Suzanne Maddock. 2026 will also see Earth-o-Naut take his songs on the road and play some live shows.st singular, emotive, and genre-defying releases of its era.

Sam Cooke, inventor and true King of Soul, recorded Mr. Soul in 1963, the same year as Night Beat, and seems to be its more adult counterpart, with soulful ballads taking up most of the album. A laidback tempo and rich arrangements lay the foundation for Sam's somewhat melancholy voice floats, creating an uplifting spirit that can mend anyone's broken heart.

With standards such as "Willow Weep For Me", "I Wish You Love", and "For Sentimental Reasons", Cooke shows a quiet emotive side of himself without losing his keen sense of melody, using the strength of his voice without overpowering the listener. Had Sam Cooke lived longer, we might have had more music of this rare quality. As it stands, we must make do with the treasures he left behind.

Mr. Soul is available as a limited edition of 1000 individually numbered copies on orange vinyl.

KPop Demon Hunters, a Netflix film from Sony Pictures Animation, follows K-Pop superstars HUNTR/X - when they aren't selling out stadiums, they use their secret identities as badass demon hunters to protect their fans from an ever-present supernatural threat. Together, they must face their biggest enemy yet – an irresistible rival boy band of demons in disguise. This special, one-year anniversary version of the soundtrack features four additional tracks, never before released on vinyl / CD.

This solo percussion work was recorded in 1980 and released in 1981 by Masahiko Togashi, one of Japan’s leading percussionists and drummers. After becoming partially paralyzed, he created this recording of a world of sound using drums, bells, gongs, and a wide variety of percussion instruments, together with his own original playing methods and techniques.

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

o black heavyweight LPs
o 39 tracks from the expansion to Monster Hunter: World
o Rigid board outer box
o Printed inner sleeves

The fearsome co-op team of Laced and Capcom have hunted down more rousing music from the Monster Hunter series.

Monster Hunter World: Iceborne was a significant expansion to the hit action role-playing game, introducing players to the icy environs of Hoarfrost Reach and pitting them against intimidating foes including Velkhana and Zinogre.

The sound team for Iceborne comprised Akihiko Narita, Akiyuki Morimoto, Zhenlan Kang, Yuko Komiyama (comymusic), and Tadayoshi Makino (SpinSolfa Co., Ltd.). In true series fashion, the composers used rip-roaring orchestral and percussive instrumentation to alternately rouse and soothe players; from the propulsive "Spark of Blue - Zinogre" to the homely, Celtic folk-inspired "Theme of Seliana".

This vinyl set features artwork by Capcom highlighting the game's key monsters, with tracks pressed to heavyweight vinyl.

All music has been specially mastered for vinyl by Joe Caithness.

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

2026 REPRESS

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

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

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

2026 Repress

Tasty Recordings return with another set of straight up, party starting firepower. Five delectable edits cooked up in the kitchen of a handpicked selection of producers, that know a thing or two about splicing the spice into your life.

The Debut LP released by Cardinal Fuzz (UK) & Feeding Tube Records (USA). Presented in a hand stamped metallic copper ink (front and back) print on a black card sleeve with insert. Recorded during downtime but sounding anything but casual, Celestial Power emerged when Dead Sea Apes’ Brett Savage and Chris Hardman linked synaptic overload with Cardinal Fuzz’s own Dave Cambridge to form a three-headed amplifier cult. Heavy, raw, and deeply resonant, this is music that embraces volume, repetition, and the beauty of imperfection. What they’ve summoned is a sprawling liturgy of overdriven guitar mantras: brutal, blown-out, and gloriously repetitive. Imagine the Velvet Underground locked in a warehouse mainlining the kosmische pulse of some forgotten Krautrock commune while Bardo Pond’s ash-coated spirit hovers overhead, scattering embers into a storm of PSF-style amplifier abuse. Not so much songs as tectonic events. Not riffs, but rituals. This thing doesn’t purr it howls. You hear the room breathing. You hear amplifiers gasping as they’re pushed past mercy, past design, into some ecstatic mechanical breakdown. Every repetition drills deeper, pushing beyond the horizon line until time itself starts peeling back in sheets. And that’s the point. This is repetition as revelation. Volume as transcendence. Human hands wrestling raw electricity into shape, then losing control of it entirely. On “Mandate Of Heaven,” the circle widens with the arrival of Nik Rayne (The Myrrors), adding another dimension to the ritual, a desert prophet stepping into the feedback storm, pushing the album’s gravitational pull even further into the void. No compromise. No softening. No edges filed off. Just pure voltage, scorched earth repetition, and the kind of heavy psychedelic communion that feels less like listening and more like surviving. Step inside. Bring ear protection. Or don’t. 4 Tracks - 42 Minutes.

Mutant, in partnership with Netflix, are proud to present the premiere physical media release of the soundtrack to the 2025 animated feature adaptation of Roald Dahl's THE TWITS - featuring original songs and Demos by David Byrne, and an original score by Oli Julian.

Featuring vocal performances by David Byrne, Hayley Williams, Natalie Portman, Margo Martindale and Euan Morton (and more) the songs of THE TWITS are exactly what you'd expect from the singular song-writing style of David Byrne - simultaneously unlike anything you've ever heard and yet undeniably catchy. Oli Julian's score is no slouch either - the score to THE TWITS is riddled with fun and bouncy melodies, with quirky instrumentation - bold, playful and vibrant and nearly impossible to categorize into a single genre.

This limited edition physical media release contains TWO exclusive demo recordings by David Byrne, not available anywhere else! With original artwork by Sonny and Biddy - self-proclaimed Twits themselves - this album is a love letter to fans of the book, the film, the music of David Byrne, or the muggle-wump in all of us.

Pressed on 140gm ECO vinyl

DIFF008 Distributed by One Eye Witness.
All tracks Written & produced by Autokinetic in Minneapolis, Minnesota, USA.
Mastered by Tangible Air.
Designed by Felix Lücke.
Stickered cover.

An inspired link up between UK and continental producers - yeah, in your face, Brexiteers - as Brit talent and Crayon boss Mark Ambrose joins forces with Spanish duo Serious Cut aka Raul Zapata and Ivan Martinez, across four irresistible cuts. 'Remedy' nods its head subtly to the Diana Ross (and then Associates) classic 'Love Hangover' while enchanted, spacious and spacey grooves do their thing, while the cherry on top of 'Deep Track' proves to be some neat sci-fi spoken word, not to mention the kind of soft, jazzy chords that Global Communication's house productions used to revel in. Flip it over for the more electroid 'Talk Box' and the unashamedly Windy City-referencing 'Auto Level. Four sides of a classic sound, three great producers, two sides of top vinyl and one must buy bit of vinyl.

Japan-born, London-based composer-producer Hiro Ama releases his new EP Booster Pack, out now via PRAH Recordings. Where his previous record Music For Peace & Harmony explored spacious, meditative soundscapes, Booster Pack is an energetic, groove-driven statement, a deliberate move toward music designed to get the body moving while retaining the textural detail that defines his work.

Opening track “Booster” sets the tone: a percussive, rhythm-first piece that builds into propulsive, rave-leaning momentum. It was the seed that shaped the rest of the EP, establishing a new direction rooted in groove, movement and physicality.

On the EP, Hiro explains that “After releasing ‘Music for Peace and Harmony’ I wanted to create something completely opposite. Something dancy, something intense. A total 180-degree flip. The album was all about stillness, subtlety, and emotional resonance. This time I wanted to lean fully into energy, fast paced songs, and groove. Create something that I never created and something that could shake you awake rather than calm you down.

“Instead of beginning with piano or harmonic ideas which is usually my starting point. I focused purely on beats and rhythms in the beginning. I didn't add any chords or melodies until I felt happy with the drums and groove layers. It was a new approach for me and it pushed me to think about music more physically and less emotionally.”

The EP features earlier single “Lava”, a rave-inspired, rhythmically intense track built from pulsing bass and a siren-like synth, designed to create tension, energy and movement while keeping the groove at the forefront.

Across the rest of the Booster Pack EP, Hiro leans into percussion, deceptive rhythmic patterns and taut bass to create forward drive; each track begins with groove before melodic elements arrive, resulting in a record that trades reflective stillness for kinetic urgency while maintaining his compositional precision.

Futurismo are proud to present DEVO’s NITROUS NIGHTMARE, Halloween Live ‘75. Never before released, or heard in it’s entirety, this legendary live performance is presented here in it’s full chaotic glory on limited edition 2xLP and 2xCD. The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility. On Halloween 1975, Devo took the stage at the WHK Auditorium in Cleveland, in a supporting capacity for jazz legend Sun Ra, to perform for a raucous crowd dressed in the finest of Halloween cliché. Already riding high on Nitrous Oxide and booze supplied by the sponsoring radio station, this unaware horde was expecting to see a slick cover band churning out renditions of Bad Company hits, only to be subjected to an act of subversive performance art that would send the growingly aggravated crowd into eventual meltdown. Physical threats ensued, but Devo played on. Acting as a live companion release to Futurismo’s much lauded Art Devo, the tracklist featured here showcases the origins of de-evolution theory in a live setting. These songs would become some of their most famous material, with this recording believed to be the very first time ‘Jocko Homo’ was performed in front of a live audience; the full 12 minute version documented here is sure to please fans, even if it displeased the urban hippies and horror masked onlookers that evening. Whilst Devo may have felt they were trapped inside a negative energy vortex during that era, it is clear in retrospect that the band was using this energy to carve out the genesis of a sonic and visual art that has truly stood the test of time. The music performed that evening would mutate culture for decades to come, long after the denizens of the auditorium packed away their cheap vampire costumes and returned to their day jobs. Spanning 2xLP’s of unreleased live material, most of which has never been heard before, this wondrous performance draws purely from that integral early history. Mixed and mastered directly from recordings kept in the bands personal vaults, this live collection showcases why Devo was, and still is, one of the most important bands in American history. De-evolution is real. The art of DEVO is real. Here is the evidence. This 2xLP is housed in a gloss laminated wide spined sleeve. It has a tracklist that has been sourced directly from the archives, and contains colour inner sleeves and a fold-out containing archival imagery and liner notes by Gerald V Casale.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

Few producers age into deep house with this level of ease. From Switzerland, Shaka's latest EP feels authentic and lived-in rather than retro while drawing on 90s jazz-inflected house without leaning on pastiche. The opener main vocal mix drifts in on flutes, soft keys and Eve's voice, setting a loose, late-night mood that favours feel over flash. The instrumental flute version pares things back, letting swing and detail breathe. Flip it and 'As If Eternity Belonged To Us', featuring Cate Acupar, locks into a warmer, early-2000s pulse, while 'Life Is Brighter With You' cools the room with sax, piano and patient restraint. Dancefloor-ready but also nice and reflective.

Soul Direction presents the second instalment of unissued tracks from the writer and composer behind the music of 70s group Legacy.
These two tracks came from two master tapes, and after further conversations with Eddie, he shared: “The lead vocals on Love Is Hard to Find were Delbert Nelson (who also
performed some backing vocals for The Funk Brothers) and me, Eddie Watkins Jr.” Eddie is also the lead vocalist on “Did You Notice” (I Used to Love You.)

Incest Songs is the final chapter of the Murder Ballads trilogy, and its most fully realized expression. Where Drift and Passages explored the post-isolationist frame through voice and single instrument, this third volume dispenses with that approach entirely, opening instead onto a more labyrinthine sonic architecture - one built from overlapping, saturating, blurring voices, all of them Martyn Bates'. The decision feels both inevitable and quietly inspired. Bates' vocalizations unfold as layered calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resolving into a mesmeric conversation of musical inferences and correspondences. There is a mellifluous, dream-like quality to the whole - infused with that characteristic stillness that slow, hypnotic unfolding of gossamer subtlety - yet never quite losing a certain drugged, disquieting beauty beneath its surface.

Incest Songs pushes the post-isolationist form further out than either of its predecessors, innovating and extemporising with a dazzling assurance. And yet, remarkably, this remains a territory still almost entirely unexplored by other artists - the sole province, it seems, of M.J. Harris and Martyn Bates.

As Bates himself reflects: "I feel, in personal terms listening to it, I think it's easy to detect that the whole thing has been a truly exhilarating experience for the both of us, realising and developing this strange, sublime creature of ours and now I guess it's up to others to take up the challenge, to build on what we've done and I think that there are still SO MANY fantastic possibilities "

Kreng transports us through the swirling darkness and into the unknown with “Wormhole”, his first album in over a decade.

What does a trip towards another world sound like? We’re about to find out. The master of tension, melancholy, and the deranged is back after a long period working in the worlds of theatre and cinema. Last seen on Miasmah with the grief stricken The Summoner, Kreng now returns with Wormhole, following closer in the footsteps of the cult classics L’Autopsie Phénoménale de Dieu and Grimoire.

Starting with “You Are Here”, the listener travels through a vacuum of spacious minimalism and edge-of-your-seat tension. Within the journey, we are pulled and lured towards a mystic inner core and beyond, encountering drifting fragments of old-world nostalgia on the way: echoes of empty jazz bars sit alongside hellish, Hieronymus Bosch-like scenarios.

Surrendering to the album reveals a surprisingly reflective beauty beneath its darkness; it's a true home-listening gem that unfolds like a Lovecraftian cosmic horror-mystery in the way only Kreng could deliver. Forget everything you know and enter the secret door…

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

The Coyote-affiliated Magic Wand wafts its mercurial charm over a series of mega-useful and equally effective edits here. Robot 84 kicks off with a slow, cyborg-infused and digitally finished dub of a Prince classic and Ali Renault brings sugary synth charm to 'Indovina Key'. Bratley himself then steps up with the whacked out piano house of 'PNO', a slow jam with oversized impact. 'Song To The Hills' gets a Secret Soul Society mix that's infused with subtle psychedelic charm and fresh disco chug.4 new heavyweight reworks from Secret Soul Society, Robot 84, Ali Renault and Craig Bratley.

Making his first appearance on Flat White Records, NYC’s Malik Hendricks arrives with Stretching, a four-track EP that leans comfortably into the grey space between Deep House and Techno. Across three original cuts, Hendricks delivers warm, hypnotic, and quietly confident sounds that are unmistakably his own.

Rounding out the release is a remix from London-based, Spain-born producer Beringei. Known for his broken-beat excursions, Beringei with a 4x4 workout that still carries his unmistakable percussive touch, proving that even when stepping outside his usual lane, his identity remains firmly intact.

With previous releases on respected imprints like Eglo, Darker Than Wax, and Phuture Shock Muzik, Hendricks arrives in trusted company, thus making it an easy call to hand him the reins for our 15th release.

Born in the ’80s and raised in the ’90s, Malik Hendricks is a product of transatlantic club culture, drawing inspiration from Detroit’s futurism, New York’s grit, and the UK’s rhythmic experimentation. A DJ for over a decade, he approaches music with an almost academic curiosity, seeing the dancefloor as a shared space for cultural exchange.

Recently, his work has caught the attention of heavyweights like Eli Escobar, Byron the Aquarius, James Bangura, and Roy Vision, all stepping in to remix his material. With Stretching, Hendricks continues to prove that subtlety, craft, and groove still go a very long way.

Early DJ Support from: Shy One, LDLDN, Louise Chen, Dam Swindle, LTJ Bukem, Christophe Salin, Franck Roger, Jazzanova, Mr Redley, Last Nubian, Glenn Davis, Seven Davis Jr, Stonie Blue, Stu Clark (WOLF), Adriatique, Marco Weibel, Mr Ties, Tereza, Cottam, Joyce Muniz + MORE

Justin K Broadrick (GODFLESH) and Mick Harris (Napalm Death) drop militant, hard techno on split LP.

New album doubles the track count (and runtime) of the duo's last collab.

Stalwart Birmingham, UK innovators Justin K Broadrick and Mick Harris have connected again as JK FLESH and MONRELLA to deliver the warehouse-destroying hard techno LP SHOUTING THE ODDS, five years after their last EP, SEE RED.

Featuring four tracks from each artist, SHOUTING THE ODDS invokes both the feeling of listening to late night pirate radio and sweating in a darkened warehouse as the rafters shake, complete with the perfect amount of analog wow and flutter. Brimming with gnarled, unrelenting kicks hovering between 130–140bpm, the split format deftly showcases both artist's individual strengths, while displaying undeniable commonality.

Broadrick's side leans traditional hard techno, filled with mesmerizing, minimal synth arpeggios and contrasting toplines, all aligned and maligned by shrewd transitions. Harris' section presents more experimental and house influences, using bright, distorted synth hits and a touch of forlorn melody. The tracks take on a life of their own through expert use of filters and just the right amount of delay, stutter, and glitch.

Never before has an album filled with such shining, shimmering synths been so black and threatening. JK FLESH and MONRELLA have hard techno down to a science.

“No-nonsense old school flavoured techno bangers. We're flying the flag for outsider techno." - Justin K Broadrick