After more than 20 releases as Not a Headliner, José consolidates his real-name identity with his second release
Four tracks, 28 minutes. José's first record under his own name.
Femenino Singular is José's first record under his own name, following more than 20 releases as not a headliner and an earlier take on the project with not a headliner presents José.
That same gesture moves with the record itself: side A happens at night, side B in the morning, and what the titles hint at shifts with that transition. Built with real instruments - bass, guitar, percussion, synths - reaching for a swing that breaks away from a machine's quantized grid, somewhere between house and techno.
‘A Great Day in Newcastle’ is musical documentation of the North East working class experience.
Through a storytelling approach with the aid of new member, genius poet, Cooper Robson, the record details dark topics like substance abuse, crime and toxic masculinity through this Geordie Jazz Noir soundscape, whilst still feeling light hearted and playful, fully embodying the classic Northern optimism.
With the introduction of Cooper’s poetry combined with Stan’s developing composition skills, King’s genius orchestration and groove composition and Ferg’s classic melodic sound, the record shows the growth of the bands sound wholeheartedly, returning to their roots of rock, supported by producer and friend Geordie Greep.
Alongside longstanding members Sandro Shar (keys) and George Johnson (tenor sax), the band reaches new highs of intensity throughout the 45 minute epic.'
Komatssu se ha encargado de cocinar el primer lanzamiento de su sello Dramalax: cinco cortes con sonidos que recorren desde el electro afilado y potente hasta los breaks ácidos, pasando por sonidos que recuerdan al electroclash más pistero.
Paradoxia abre la referencia con un primer corte implacable, construido sobre kicks profundos y una cadencia mecánica que recuerda al pulso constante de una fábrica en funcionamiento. Un mundo robótico donde todo encaja como parte de una inmensa cadena de montaje.
Nanobot trae un ritmo electro bien marcado, una sensación de avance constante a través de un túnel donde atmósferas cálidas nos acompañan liberando la tensión, un tema perfecto para cambiar el color del set.
Recovering Faith, una herramienta perfecta para el club. Arpegios envolventes, sintetizadores de sabor noventero y una energía marcadamente eléctrica construyen una atmósfera perfecta para sumergirse en la pista de baile.
Alligator viene después, con un pulso firme marcado por una percusión potente, donde lásers y hits vocales se entrelazan con un bajo eléctrico y punzante, creando un ritmo macarra y pistero. Un track con mucho carácter.
Etainen le pone el lazo a este primer lanzamiento. Aquí, el sonido sintético y robótico del electro que hemos visto en ‘Nanobot’ y ‘Alligator’ se da la mano con un break de batería clásico, generando atmósferas tensas y ácidas. Un track divertido y pistero, perfecto para crear momentos de tensión en tus sets.
En conclusión, Komatssu presenta con esta referencia una declaración sonora de lo que Dramalax quiere traer a vuestras maletas: sonidos potentes y versátiles para los aficionados al electro y los breaks con sabor clásico, sin perder de vista el sonido de hoy.
Plush shag carpeting, jazz flutes, analogue synths, funk grooves, exotica, and sultry, Italian-style vocalising: Erotica 70 is the new album from Larry Manteca, known for their inventive, tongue-in-cheek reimaginings of classic Italian soundtrack aesthetics.
This time around, the Milanese collective sets its sights on the distinct sonic landscape of 1970s commedia sexy—a film genre that, for better or worse, defined an era and fed richly into the cinematic education of Larry Manteca’s members.
Through this lens, Erotica 70 also becomes a way of celebrating Piero Umiliani in his centenary year—a composer whose name is closely linked to the erotic comedies of the time.
The nod to Umiliani is baked right into the details, starting with the choice of vintage gear like the Eminent synth and the Wurlitzer electric piano. These instruments deliver that particular blend of jazz, groove, electronics, and sensual charm that made the golden age of Italian film music so unique.
Standout track “Lando” is a joyful, playful homage to actor Lando Buzzanca, who starred in numerous films scored by Umiliani, including the iconic 1973 comedy La schiava io ce l’ho e tu no (My Darling Slave).
Larry Manteca is spearheaded by multi-instrumentalists Alessandro Paiola and Riccardo Danieli, flanked by the cinematic flute of Carlo Pelsa, the swinging drums of Andrea Quattrini, and the magnetic vocals of Valentina Castelli and Alessandra Maria Manzoni.
Recorded across various studios in Northern Italy, Erotica 70 is the imaginary soundtrack to an Italy that no longer exists, recreating its atmosphere while rendering it in full, vivid colour. It’s a record whose music seems to come straight out of a provincial cinema, a smoky late-night club, or a long-lost 70s film. But while it looks back to a bygone era, it does so only to bring it straight into the present, making the past sound surprisingly fresh and contemporary.
DJ Support: Glenn Underground, Leo Mas, Sean Johnston / ALFOS, Massimiliano Pagliara / Panorama Bar, Al Mackenzie / Field of Dreams, Shane Johnson / Fish Go Deep, Flash Atkins / Paper Recordings, Pete Gooding, Mark Broadbent, Max Essa and plenty more.
2026 has been a particularly busy year for Visions of Light, the Balearic/ambient/dub trio founded by Freebooter Records’ Simon Sheldon alongside Muzka and Dan Dub Lounge. Following the Dedications EP – their warmly received collection of Balearic dub reinterpretations of White Isle-friendly club classics – the trio return with ‘Mycelium Bloom’, the follow-up to their 2025 debut LP The Mandela Vortex. Mycelium Bloom sees Visions of Light expand their signature sound, blending downtempo dub grooves and sunbaked Balearic soundscapes with hallucinatory electronics and psychedelic touches. Layered guitars, deep bass, immersive textures and dreamlike melodies run throughout an album designed for both sunset listening and deeper late-night excursions.
Opener Split The Scene sets the tone with acidic electronics circling languid beats, heavy bass and spacious pads, while All The Best Thing taps into the spirit of early ’90s chill-out rooms, adding desert blues influences to its hazy, enveloping atmosphere. Holding Jupiter pushes further into psychedelic territory, built around low-tempo rhythmic drift, effects-laden guitars and expansive chords. Elsewhere, the trio reconnect with their rootsier dub foundations. B Town delivers a warm, summery skank, while Radiant Flux shifts towards Balearic dub dancefloor territory. Perfect You, featuring words written and performed by Richard Dormer alongside flute from Luis Vilca, is a gorgeous sunset-ready highlight, while Let Go closes in on pure Balearic bliss through gentle melodies and slow-burning atmosphere.
In The Dark Again continues to stand for timeless electronic music at its finest. Release No. 14 is yet another testament to that.
The journey begins with the stunning anthem «Tomb of Ligeia» by Scottish artist Sebastian Swarm.
Next up is synth master Heinrich Dressel, delivering the beautifully melancholic and effortlessly cool «Elka Snow Cat.»
Electro hero Konerytmi rounds off Side A with a deep and bleepy cut.
The flip side opens with the massive, brooding «Ruined Horizons» by Be Dellow, a project by Violet Poison, whom the label fans will also know as Bakunin Commando.
Another familiar face brings the record to a close: Igors Vorobjovs, whose unmistakable sci-fi electro never fails to captivate.
The track titles on Post Dub Cities – the new album by Adriano Zanni, photographer, sound artist, and field recordist – evoke the aftermath, that moment when a place continues to exist and live on, but no longer serves anyone. The human element has vanished, whether it happened overnight or through a slow abandonment that lasted for years. The perspective shifts: buildings, homes and palaces reveal a dimension of reality all their own, in which even the ruins give shape to this landscape that endures, transforming into pure presence.
This, after all, is our fate. The fate of us human beings, of our civilisation, of every civilisation: to pass away, to be forgotten, to erect monuments whose significance no one will remember once we are gone.
The opening track Crisopoli transforms the sonic dimension of a city into an echo chamber: a dark, urban dub built from delays and resonances, holding the imprint of what is no longer there — like a bassline that keeps vibrating even after its source has gone silent. What we see is not the presence, but its reverb.
Available from September 11, second excerpt Warosha gives us a minimalist, enveloping, solemn beat, like the symbols on a map that no one can read anymore. Warosha was the district of luxury hotels overlooking the sea in the city of Famagusta. After the island of Cyprus was invaded by the Turkish army, the entire area, emptied of its inhabitants, who had fled south, was fenced off and surrounded by barbed wire. No one has been allowed to enter it since 1974. Now, on these unspoilt beaches, sea turtles have found the perfect place to breed.
Fordlândia, on the other hand, is the symbol of Henry Ford’s failed dream of conquest. An industrial settlement built deep within the Amazon rainforest, several hours’ boat journey from the nearest towns, to gain access to natural rubber for the tyres of his mass-produced cars in Michigan. An extremely costly project, it quickly became a ruinous pipe dream: a town that has been uninhabited for almost a century and has since been reclaimed by nature.
For a long time now, Adriano Zanni has been exploring, through music and photography, the landscape that unfolds before our eyes, as attentive yet silent observers. As if we were absent, a civilisation that has long since vanished: human presence has dissolved, preparing to fade into oblivion. The precise depiction of places through field recordings, and the black-and-white imagery, give rise to apparitions, hallucinations, and memories. The less present we are, the more we seek meaning. We resist abandonment and the indifference of time.
In the ten tracks (plus three bonus tracks) of Post Dub Cities the echoes and reverberations of dub grant us access to an unknown future, as yet untold – in which we are nothing more than a vague memory. The deep sound guides us through a landscape that is familiar yet unknown, unrecognisable. The cold, distant, industrial rhythm resonates within us as if we were the last, all too aware, inhabitant of a now-deserted village.
Every place – be it an abandoned mining settlement on an island in Svalbard, or a ghost town in Pennsylvania evacuated following an underground fire that has been burning for sixty years at a depth of one hundred metres – leaves questions unanswered, shrouds itself in mystery, and makes us wonder, ceaselessly: what happened here?
In the end, we realise that we don’t really care that much about knowing the details of the disappearance. We can guess them, we’ve seen it happen a thousand times before. Just like in the photos accompanying the album, portraits of ghostly, deserted cities: Belgrade, like Venice, Dublin, Sarajevo, Lisbon, Kraków, Sofia, Naples, Hanoi, Lampedusa, Tehran. Unexpectedly, pleasantly emptied of people, and of their obsessions, struggles, illusions.
Then, suddenly, the crowd returns. Busy, feverish, hardworking. The record ends, the spell is broken. We feel a sense of longing for a future that has not yet come to pass, for a place we were only able to observe because we were not there.
On its latest album »Music For Air«, the Berlin-based interdisciplinary duo Gamut Inc explores new possibilities of the computer-controlled pipe organ — from hypervirtuoso excess to nuanced automation and rhythms beyond the fixed grid. Composed and recorded during a two-week residency in Toulouse, the pieces move between harmony and noise, conjuring a euphorically intoxicating maelstrom of overlapping, accelerating sound.
Gamut Inc’s work with the computer-controlled organ actually began in 2009 with a commission from ON – Neue Musik Köln for the Kunst-Station Sankt Peter — at a time when few congregations were ready to open their instruments to this kind of work. When the duo of Marion Wörle and Maciej Śledziecki officially founded the ensemble in 2013 as an interdisciplinary project, they first developed their own music machines with instrument builder Gerhard Kern, returning to the organ in 2018 when more churches and venues had opened their doors … and Gamut Inc carried their practice across Europe and beyond, developing AGGREGATE (first a concert series and then an annual festival) into a platform dedicated to organ music of the 21st century.
Sharpening a critique of mechanisation, digitality, and the human in between, the project is conceived around the construction of pre-modern instruments and the control of these instruments by contemporary technologies, resulting in an aesthetic that bridges the very old and the very new. Recent works include the human-machine trilogy »Over The Edge Club« (2021), »Rossum’s Universal Robots« (2022), and »Zeroth Law« (2023, performed at Deutsche Oper Berlin with the RIAS Chamber Choir and the Logos Robot Orchestra), and »Black Square« (2025), a wind-dynamic modular organ built by Tony Decap, inaugurated at CTM Festival and broadcast on Deutschlandfunk Kultur and SWR Kultur. Their organ installation AGGREGAT#10, commissioned by Sónar Festival, was acquired for the permanent collection of Palau Güell Barcelona in 2022.
Gamut Inc’s latest album »Music For Air« was composed and recorded during a two-week residency in Toulouse on the wind-dynamic organ »L’Explorateur«, with individually computer-controlled wind pressure per pipe. The seven pieces move between harmony and noise, conjuring a euphorically intoxicating maelstrom of overlapping, accelerating sound and again exploring new possibilities of the computer-controlled pipe organ — from hypervirtuoso excess to nuanced automation and rhythms beyond the fixed grid. Sensual and ecstatic.
Those albums that never age, that never cease to surprise with their innovative freshness_listen after listen_defying the years that go by. Released in 2016, Heimat's debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman. To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl. What a beautiful object this is, celebrating_alongside Armelle and Olivier Demeaux_ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives. Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape. A fine achievement indeed!
The fifteenth release of Barro comes with an exclusive: behind the Transylvanian mask of Orlok 101 lies Nöle himself, the boss of the label.
Remember that he used this vampiric AKA to kick off Barro—his The End Of The Beginning being the first release, published in late 2018. That same year, his techno-industrial sound—packed with references from the famous work of Bram Stoker and nightmare atmospheres—helped launch another label: Soil, the Valencia-based imprint, with a project that included a suitably fitting remix of The Horrorist. The following year, he released an EP with five original tracks, titled Runaway, while also “spreading blood” on Antikhrist Visions Vol I alongside his Industrias Mekanikas comrades.
His dark influence has been felt across Barro’s catalogue, whether through his own tracks or remixes—sinking his teeth into artists like The Hacker (under his real name, Amato) or Nebula Circuit. In 2025, Orlok made his debut on Aspecto Humano with a powerful EP, equally gritty and dark. In Barro, we’ve recently had Nöle—the most techno side of Imanol Pagola—with the EPs Electro Bloody Music and Demencial Chico Aceleradom, two great showcases of his ability to keep us dancing nonstop, following the popular Mendekua, released by Xtraperlo.
For Barro 15, the two sides of the producer and DJ come together on this EP, titled Sex With a Cop—four tracks released on vinyl and digitally, plus an alternate version of the final composition as a bonus track.
Nöle's knowledge of the dancefloor and Orlok 101's ability to create atmospheres that will give you goosebumps come together on this EP to create an explosive mix.
Sex With a Cop starts with Hilerri, a techno EBM track where Orlok provides repetitive, screeching sounds and a ghostly melody, while Nöle adds incisive synths and a catchy, addictive vocal sample that warns you of the danger of the material you’re listening to. Orlok then takes over with his industrial and metallic sonorities on the next track, Amets Fabrika, although Nöle’s influence still comes through with his powerful bass and addictive synth lines. A stifled scream and a production packed with a thousand details create an unsettling atmosphere that will surprise you on the dancefloor.
The flip side begins with No Voy A Quedar Con Nadie, a track closer to Nöle’s technooid world. Even with its unsettling opening, it doesn’t take long to turn into a danceable bomb, with that dark touch typical of the Navarro producer.
Surprisingly, he saves the best for last: Harina de Huesos Humanos is one of the most interesting tracks created by Imanol Pagoda, and we can hear it in two versions, one as a bonus track. Thanks to complex production full of details and sounds that come and go, a punchy, hard as granite kick drum, and a carefully crafted industrial atmosphere, it all ends up being the perfect union between the two sonic worlds. A spectacular finale for the label’s fifteenth release.
Emerging from New York's subterranean trenches, Content Blocks reflect the infrastructure of their environs through dark, prophetic future-punk songcraft. They present their true first full-length effort in Hard Out, a collection of cybernetic experimental punk through the bleak lens of ourtechnology-drenched existence. The attitude conveys the frustration of contemporary living, sonically reflective of the cold materiality and unsympathetic architecture prevalent in today's New York.
A new producer-led project from musician and composer Nitzan Dana, Islands on Tape arrives with Dust Conspiracy, a cinematic and deeply textured three-track EP balancing vintage exotica, library music, psychedelic groove and modern beat culture.
Previously known for his work with psychedelic post-rock outfit Meuban, Dana created Islands on Tape as a separate artistic identity, a space to explore instrumental composition and studio experimentation through a more personal lens. Across the EP, he draws on a wide palette of influences, from Sven Wunder and Maston to exotica pioneer Les Baxter, alongside the sample-driven worlds of Madlib and MF DOOM. The result is a record that feels loose and organic in spirit while remaining intricately arranged and carefully constructed throughout.
Recorded across just three sessions with a close circle of collaborators, Dust Conspiracy draws together live drums, flute, percussion, surf guitars, Farfisa organs and atmospheric textures into a sound equally indebted to 1960s soundtrack music, dusty hip-hop production and classic exotica records.
Opening track “Dust Conspiracy” began with a bassline inspired by late-night listening sessions and crate-dug hip-hop production. Initially built around sampled drums, the piece evolved into a fully live recording featuring drummer Lotan Yaish (El Khat, Şatellites) and percussionist Ron Avidan. Swirling organs, creeping rhythms and heavy cymbal work give the track the feel of a lost 1970s espionage soundtrack, smoky, hypnotic and cinematic.
Blending cinematic soul, psychedelic groove, exotica and rhythm-heavy instrumental production, Dust Conspiracy introduces Islands on Tape as a richly detailed new studio project, equally suited to late-night headphone listening, imagined film sequences and dusty, atmospheric dancefloors.
Marlon von der Band Scherben sagt folgendes zur Platte: marode aus Düsseldorf legen drei Jahre nach ihrem Debüt mit ihrem zweiten Studioalbum ordentlich nach. Das elf Songs starke Album "Strukturen", verpackt in ein stimmiges Schwarz-Weiß-Cover, arbeitet sich mit einer Mischung aus Resignation, Frust und kämpferischem Optimismus am Irrsinn der postkapitalistischen Gesellschaft ab, ohne dabei in Phrasendrescherei zu verfallen. Persönlich hab ich mich besonders über die schallende Erkenntnis "Ich bin zu dumm für Turbostaat" aus dem Lied "Angekommen" gefreut. Musikalisch bleiben marode sich treu: Tempowechsel, gute Breaks und der harmonierende Wechselgesang sorgen dafür, dass keine Langeweile aufkommt. Insgesamt ist das zweite Album noch einmal runder und fetter als das erste. Wer musikalisch irgendwo zwischen Razzia und Dackelblut zu Hause ist, wird hieran sicherlich Freude haben. Schönes Ding!
With Parallel Commutator, released via Turkish imprint Oroator, CZN presents two extended compositions, each unfolding over fifteen minutes. The project brings together percussionist and sculptor Joao Pais Filipe, composer and drummer Valentina Magaletti, and producer Leon Marks in a practice where percussion is approached as both instrument and material.
Porch Light's debut album, Hush. Pressed on Classic Standard Black vinyl with a 12” Record Jacket and Printed Inner Sleeve, limited to just 1,000 copies.
Erdgeschoss (The ground floor) makes no distinction between old and new. And certainly not between old and young.
On the new record, two generations of KöPi uninhibitedly indulge in a brand of dirty minimal purism between Schranz and Glanz (glamour) between bouncing and banging.
Romance for everyone, you revelers.
Purity and dirt - from 133 1/3 bpm upwards, things really take off, and another door opens and closes again. Because. Bass drum on, bass drum off.
Kölsch meets Pils.
Trance meets Kraut - Haspel Haze goes loud.
So what. Your backpack is about to burst open.
Erdgeschoss unterscheidet nicht zwischen alt und neu. Und schon gar nicht zwischen alt und jung.
Auf der neuen Scheibe frönen zwei Generationen KöPi hemmungslos dem Dirty-Minimal-Purismus zwischen Schranz und Glanz - zwischen hämmern und pimpern.
Romantik für alle ihr Jecken.
Reinheit und Dreck - ab 133 1/3 bpm plus geht die Post ab und eine andere Tür auf und wieder zu. Denn. Bassdrum an Bassdrum aus .
Artlab continues the celebration of its 10th anniversary with the highly anticipated second installment of its commemorative vinyl series. Building on the momentum of the inaugural release, this follow-up collection further cements the cultural center’s status as a beacon for cutting-edge sound, bringing together a refined selection of artists who perfectly embody the club’s forward-thinking electronic spirit.
The journey begins on the A-Side with the legendary Voigtmann, who steps up to deliver "Casual," an electro-tinged, hypnotic bomer designed to lock the dancefloor into a steady, driving trance. Following this peak-time intensity, Mateo Dufour—undoubtedly a man of the moment—takes the reins with "Space Child." Infused with classy, mysterious house vibes, the track offers a sophisticated sonic texture that bridges the gap between deep atmosphere and rhythmic precision.
Turning the record over, Franco Cinelli commands the B1 slot with "Ecos Perdidos." A master of his craft, Cinelli presents a dub-infused, hypnotic number that explores deep, resonant soundscapes, perfectly showcasing the label’s commitment to underground innovation. To close out this second anniversary chapter, Revivis brings us "L.T.F.U." A classy, driving production that captures an infectious energy, making it an essential anthem for the summer season and beyond.
With this second installment, Artlab reaffirms its dedication to its multidisciplinary roots, providing a diverse yet cohesive listening experience that continues to define the next decade of its artistic journey.
For the last decade and change, Lazarusman has steadily worked his way towards becoming a seminal voice in electronic music. In that time, he has left no genre untouched, bringing his brand of metaphysical, pun-heavy, imagery-driven, uplifting poetry to audiences across the globe.
These exploits have earned him a 2021 Grammy nomination and countless chart-topping records with some of the most remarkable producers in the industry.
His debut album, Skin, is an exploration of identity. Lazarusman questions his place in the world, reflecting on growing up in a now-free South Africa. The album touches on colourism, racism, faith, love and the existential crisis of existing in a divided world.
The album is also a celebration of the many genres that inspire his poetry from deep, tech and Afro house to breakbeats and jazz. But it is equally a celebration of the word, and the power it carries.
“A man is only as good as his word.”This quote epitomises Lazarusman’s honest approach to an album that reflects the last 15 years of his career. With productions from FKA Mash, Stimming, Dwson, Boogie Vice, Zitow Mowa, Axone and Johannes Brecht, Lazarusman presents a kaleidoscope of sounds.
DJ support by Keinemusik, Stimming, Acid Pauli, Xinobi, Stavroz, Xique Xique, Paco Osuna, and many more.
Rubadub is proud to present this uncovered early-90s transmission from Heinrich Mueller (Drexciya / Arpanet / Dopplereffekt etc.) under his Intellitronic alias.The lead track “Pixel” has only ever appeared on the Magic Tracks (Deep Detroit Volume Two) CD compiled by Juan Atkins in 1993, whilst the rest remained unreleased, until now. Four tracks of stripped-back machine funk referencing pre-millennium printing technology.
Silsila Dubs is a brand new label emanating from the backrooms and dancehalls of West London. Deeply inspired and rooted in the long standing traditions and dialogues of sound system culture, the label's output will echo the myriad musical foundations laid at various local historic venues including Southall Community Center and the Tudor Rose respectively.
Energized by the sounds of Jah Shaka, Aba-Shanti-I (Falasha Recordings), The Disciples, Manasseh, Conscious Sounds and more, the Silsila Dubs sonic aesthetic is that of classic 1990s sounds and recording techniques, lovingly channelled and dubbed via the cult Soundcraft Ghost Mixing Desk at Silsila HQ.
This debut release from the label has been written, produced and mixed by Govind Singh of the burgeoning Mya Hi-Fi crew who are closely related to Silsila and it's output. Across 2 mixes 'Perseverance' offers us a meditative and uplifting space in which to enrich our ears and our minds to carry on, no matter what life throws at us. Positive sounds for all to absorb.
London’s Silsila Dubs crew triumphantly return with further explorations into the deeper recesses of sound system culture as a tool for spiritual enlightenment. The Hayes based collective – with close links to the Mya Hi-Fi family - are committed to the preservation of the long-standing ethics and methods of this culture, and the myriad cultural influences and flavours that a city such as London can present. This much anticipated second release mirrors these notions with style and grace.
The second release on the label ‘Walk in the Light’ has existed on dubplate since 2023, with the mighty Aba Shanti-I making it one of his selections at the Notting Hill carnival of that year. An uplifting and motivating digital dub track that boasts live instrumentation, echoing the mammoth influences and spirits of the late Jah Shaka, The Disciples, Conscious Sound, Aba Shanti-I and Nick Mannaseh respectively.
Featuring a beautiful master and cut from Music House alumni Chris Hanson, an inspiring trumpet performance from Silsila family Luther Vine, and a crucial Melodica, mix and version from label head and producer Govind Singh, ‘Walk in the Light’ is a sonic mantra, a vehicle of positive vibration and a means to step out of the shadows.
Rich Oddie (Orphx) and Dave Foster (Huren/Teste) reunite for their electronic-industrial punk project, O/H.
NO CONTACT LP - is a live compilation that captures the raw energy of their performances between 2011 and 2019. This intense anthology distills the essence of their sound: noise driven electronic power, relentless rhythms, and obsessive vocals. For the first time, this fury is preserved on a double vinyl with a special edition.
Fosters gritty vocals clash with Oddies dark sound
manipulations, reflecting a world on the edge of collapse a bleak view of modern civilization embodied in their
uncompromising music.
Let's dive into the third act of the KR3 Fifth Anniversary
celebration
Orphx makes a striking comeback with a six-track EP on KR3, celebrating Rich & Christie's three-decade career in the industrial music scene.
Theikos EP - spans multiple eras and moods, merging raw, ancient production methods with modern interpretations. The result is a sonic landscape that bridges pulsing club rhythms with the intense energy of extreme electronics and death industrial. The title track, "Theikos," began in 1998 and was only finalized in 2024, years of evolution shaping it into a truly formidable piece.
This 12" release stands out as a deep and fully realized body of work, filled with personal insight and resonant echoes of a primordial world.
The standard edition comes in a sleek single-pocket gatefold sleeve, featuring a 1997 photograph taken in Toronto by Michael Nine, capturing the duo in their early years and visually anchoring the album to the roots of their sound. Limited and special editions include an exclusive booklet with archival photos of Orphx and a poster, along with a promotional videos featuring remastered and reimagined archival footage created especially for this release.
Six years after their last standalone release, TESTE return in full raw power!
Following their 2020 double 12" on L.I.E.S. - which marked a renewed phase after years of silence - David and Martin (TESTE) now open a new chapter.
ERASED FROM MEMORY is a 4-track EP developed between 2023 and 2026, continuing their exploration of sharp, unconventional sound design - suspended between chaos and decadence.
The visual direction features a key contribution from the late Juan Mendez // Silent Servant via his SILENT EDITIONS imprint, combining archival TESTE materials with his legendary punk vision.
He completed the cover and zine before his passing in January 2024.
This release is dedicated to TESTE and their three decades of legacy, and to Juan Mendez - one of our greatest heroes.
It all began in the late 1980s with *Calypso of House* by K.T.E. (released by Irma Records), a track that made history
in Italian house music.
The man behind the project, Francesco "Kekko" Montefiori, went on to collaborate with Claudio Rispoli (aka DJ
MozArt) under the name SOFTHOUSE COMPANY, creating cult classics like *What You Need*.
He later formed the duo Montefiori Cocktail with his twin brother, Federico "Chicco" Montefiori, touring the world together.
Now, the story continues.
Kekko Montefiori and Lorenzo "Meo" Meoni (resident DJ at BICIO PAPAO)
are launching OTUM Records to revive the Softhouse Company and Keytronics Ensemble projects.
The goal: to capture the original energy of the Italian House Music "Golden Age" and project it into the future.
No nostalgia—just high-quality dance music.
"Otum" means "excellent" in the slang of Italy’s Romagna region.
2026 Repress
The Teflon Dons' Rudiments EP, released in 1996 on Worldship Music and now reissued on FRL Classic edition, is one of those records that perfectly embodies the most authentic spirit of 90s underground deep house. From the very first bars, Rudiments EP stands out for its raw but deeply soulful sound, built on filtered samples, “dirty” drum machines (typically SP-1200) and an aesthetic that mixes Chicago and Detroit.
Cameron Winter kündigt sein erstes Live-Album "Live at Carnegie Hall" an. Das Album dokumentiert Winters historischen Auftritt im Dezember 2025, bei dem er als einer der jüngsten Solokünstler überhaupt als Headliner im Hauptsaal der legendären Konzerthalle auftrat. Ganz allein, über sein Klavier gebeugt und mit dem Rücken zu einem ehrfürchtigen, ausverkauften Publikum, interpretierte der Frontmann der Band "Geese" Songs aus seinem gefeierten Debütalbum "Heavy Metal" neu. Ein Album, das von GQ in ihrem ausführlichen Bericht über diesen Abend in der Carnegie Hall als "eine der kühnsten und selbstbewusstesten Singer-Songwriter-Platten dieses Jahrhunderts bisher, ein Fiebertraum voller Gefühle von jemandem, der die Regeln gut genug verstand, um zu wissen, dass sie ihm kaum etwas bedeuteten" beschrieben wurde.
Auf dieser berühmten Bühne präsentierte er zudem drei bisher unveröffentlichte Kompositionen, von denen jede einen Einblick in seinen Fundus an Material bot. Die gesamte Darbietung war von einem unbestreitbaren Gefühl der Einmaligkeit geprägt, das die Bedeutung des Augenblicks einfing: Zeuge zu sein, wie ein Künstler, wie er nur einmal in einer Generation vorkommt, die Bühne eines der ehrwürdigsten Veranstaltungsorte der amerikanischen Musikszene beherrscht.
You've never played a game like Blippo+ before, and you've never heard a video game soundtrack quite like Greatest Hits from Planet Blip.
Composed by Rob Kieswetter and Jona Bechtolt from the LA-based trio YACHT, the soundtrack collects 71 tracks from the cult classic video game Blippo+, reworked and sequenced into a continuous listen for this special release —a TV static-speckled gatefold double LP, out Oct. 16 via Hologram Opera, marking the soundtrack’s physical debut.
Taking the form of a cable TV simulator, Blippo+ captures the magical feeling of seizing a mysterious signal from outer space and discovering the television programming of an alien culture. Soundtracking the game’s pastiche of programs is Rob and Jona’s genre-spanning score—synth-heavy, eccentrically electronic, with a skewed sensibility that pays homage to cable access, library music, video art, and the late-night margins of the 80s and 90s underground.
TV obsessives will find plenty to love in Greatest Hits from Planet Blip: with surreal theme songs, jangly jingles, zippystings, catchy kitsch, period-accurate menu music and even pop hits from the alien airwaves, this propulsively playful soundtrack will have channel-flippers tingling with nostalgia.
“Planet Blip is an alien planet where art and music are the only currency and ‘consciousness particles’ form the basis of all media. To capture the spirit of this world, we drew inspiration
from all the music we felt best embodied this ethos and ran it through our own utopian blender,” say Bechtolt and Kieswetter.
Blippo+ is an award-winning, experimental, live-action video game created by YACHT and Telefantasy Studios, along with developers Noble Robot and Dustin Mierau, and published by Panic Games. It was released for Steam, Playdate and Nintendo Switch in 2025 to widespread
critical acclaim and has earned a devoted fandom. A Mac version followed earlier this year, and was nominated for an Apple Design Award.
"Simultaneously nostalgic and futuristic, otherworldly yet
welcoming, Blippo+ is an absolute artistic triumph.
" —Deven McClure, Screen Rant
"Blippo+’s presentation might ape old traditions, but the collective impact of its content is richer, deeper, and more entertaining than any mere remembrance.
" —Garrett Martin, Paste/Endless Mode
"In the increasingly reactionary and prescriptive landscape of video games, it is remarkable to encounter something so distinctive, so hopeful, so celebratory, so devoted to expanding the possibility space of art beyond a single medium." —Sam Bodrojan
(remastered classic incl DL card) Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition. In the late nineties, the budding producers Morgan Geist and Darshan Jesrani bonded over their shared love of slower tempos and '70s and '80s NYC club culture. Obsessed with record digging and the sounds they heard on late-night "club classics" radio shows—and turned off by current releases they saw as artlessly "updating" sublime disco by sampling, filtering and subjugating them with huge kick drums —the duo set out to discover how their favorite old 12" records were made. They naturally gravitated towards extended dubs of songs—full of strange mistakes and echoing backing tracks—instead of the better-known vocal versions. Lacking the big budgets and gear that made so many of their favorite classic records come together, they were forced to take a guerrilla approach. They reprogrammed their techno-oriented arsenal of secondhand synths and samplers, using novel digital recording technology to capture live instrumentation and prioritizing mood over hooks, and the resulting music was just wrong enough to sound unlike anything else being released at the time.After just four underground 12" releases, the duo—now well-known as Metro Area—released their first and only album, Metro Area, in the fall of 2002. Fifteen years later, it's time to celebrate the culmination of their shared history and inspiration once again. Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The 12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition.
The Discos Panorama series heads back to Colombia again for PAN016, pairing a heavyweight cumbia classic from Andrés Landero Y Conjunto with a wild Colombian take on one of the great Afro-funk records.
On the A-side, “La Pava Congona” is Landero in full flight. Known as El Rey de la Cumbia, Landero had that rare ability to make the accordion feel raw, hypnotic and completely dancefloor-ready. This one is all about the rolling rhythm, the call-and-response feel, and that unmistakable sabanero swing. Proper Colombian cumbia with weight behind it.
On the flip, Afrosound take on Manu Dibango’s “Soul Makossa” and send it straight from Colombia’s northern coast. Where the original is already a landmark Afro-funk groove, Afrosound bring their own Colombian flavour to it: fuzzed-out guitar, tropical percussion and loose psychedelic touches and that brilliant energy that made their records so special. A track that when we heard Hugo “Crucial Juice” spin, we knew we had to reissue.
Together, it’s exactly what the Discos Panorama series is about.
As always, PANORAMA Records is here to bring rare and essential music back into circulation with care, respect and admiration. Proper records, properly pressed, and ready for the dancers.
Live Ones is an LP compilation of refixes and remixes of older material and brand new tracks that have all featured in New Jackson live sets in recent years available on vinyl for the first time.
It features contributions from Rory Sweeney and Rita Lynn and long-term collaborator Richie 'Jape' Egan. Cover photography shot by long time collaborator Rich Gilligan at a New Jackson show in Dublin.
According to New Jackson himself 'This started out as a way to put out new tracks and remixes of older stuff as quickfire digi releases without the pressure of making a cohesive body of work that normally comes with making an album yet ironically I feel this works better as a cohesive vinyl release then my last album proper and features some of my favourite music I've made.'
Fused around saxophonist Ornella Noulet and a shared devotion to the spiritual jazz of John Coltrane, OLA TUNJI is a Brussels-based quartet whose music channels the intensity and openness of the 1960s “New Thing” movement.
Deeply inspired by John and Alice Coltrane, Pharoah Sanders, and Albert Ayler, the group embraces improvisation as a political and spiritual act. On stage, their performances often take on a trance-like intensity, carrying musicians and audience alike toward a sense of shared elevation. The music becomes a reminder that it can still be a medium for love, sister and brotherhood, and collective uplift.
Debut album ‘TRUST’ was born from a long artistic and spiritual journey, with music playing a central role as a space for inner exploration. Trust, a key concept for the group, lies at the foundation of this journey. The album’s title embodies an approach rooted in self-awareness, connection, and the sharing of love.
‘TRUST’ presents itself as a cohesive body of work, moving through moments of intensity, calm, spirituality and joy, each track contributes to a shared intention: to remind us that personal transformation is the starting point for a more authentic relationship with ourselves, with others and with the world around us.
Compositions such as ‘DEVOTION,’ WE CHOOSE LOVE’ and ‘SPEAK UP! (YOUR VOICE IS YOUR STRENGTH)’ reveal the album’s guiding thread: self-knowledge, resilience and the awakening of consciousness. Each track invites the listener to reconnect with their inner voice, cultivating a deeper sense of awareness and view of the world through a lens of reflection and humanity. Modal and physical, the album is built on long-form playing and moves between a deeply meditative and ecstatic sound.
Love or its absence dominates the intimate songs on the new album from ARBORIST – the musical outlet of Mark McCambridge. Looking For Love, Arborist’s fourth album of exquisitely inventive Americana, places us firmly in his hometown of Belfast, allowing it to act as a microcosm of the wider-world, with all its foibles and charms. We find fictional protagonists scouring the dark corners of the city, wiling-away afternoons in strip clubs, wandering the streets in all weather and reflecting on the harsh reality of modern society, all in search of an elusive love – emphasising our need for it now more than ever.
Looking for Love is ARBORIST’s first album to be self-produced by McCambridge, largely from his home studio in Belfast – and at times it feels like we are in the room with him. It’s a different kind of record for him as previously he has always sought collaboration; whether it be with Kim Deal who chose to sing intertwined harmony on his debut single “Twisted Arrow”, or recording in The Curfew Tower owned by The KLF’s Bill Drummond who described Mark’s songwriting as being “riven with more loss than any record since Leonard Cohen quit this world”, and who Matthew E White and his Spacebomb band collaborated with to such astonishing effect on the previous Arborist LP, 2023’s An Endless Sequence of Dead Zeros, winner of the prestigious Northern Ireland Music Prize. This time, with no outside producer steering the way, McCambridge found that the quiet hours were where he felt most at ease, despite periods of trial and error, and, by his own admission, moments of feeling genuinely lost in it all.
Despite playing many of the parts himself, McCambridge still called upon old friends from the community around him; Spacebomb’s resident bassist Cameron Ralston (Bonnie Light Horseman, Hiss Golden Messenger) again features throughout the record, alongside Eamon Ferris (The Waterboys) on drums, with the great and the good from Belfast’s vibrant music scene. Grainne Meyer plays concert harp and Aga Olek plays violin for the quasi-title track “Looking 4 Love” – an off-kilter love-letter to Belfast. Meilana Gillard provides a sleazy saxophone on “Bye Bye Johnny Cash” – a seedy tale of a man obsessively visiting a dancer in a club, and The Larne Community Youth Choir provide backing vocals for “Go Kill The Fatted Calf” – a song Mark wrote about his son growing up, a take on the parable of the prodigal son, with Jonny Ashe’s blistering guitar solo adding an album highlight. The Errigal Ensemble String Quartet and Aisling Agnew’s breathtaking flute solo feature on “What Is It You’re Asking” – a song about love, or its absence, both personally and universally in these times.
McCambridge was recently honoured with a “Fellowship” by the Seamus Heaney Centre at Queen's University Belfast where he collaborated with such illustrious names from the literary world as Nick Laird, Caoilinn Hughes and Conor McPherson. Through the University he was given access to the music department's Steinways and pipe organs, and decided to try one out for the album’s centrepiece “I’ve Been A Flaneur”. As Mark explains, "The drone on the pipe organ — and the sound of it starting and stopping — was so visceral that I decided to try a half-written song against it right there and then, and this came out in one take… The song was a breakthrough artistically - I don't think I'll ever record in the same way again after this."
The album was engineered by longtime collaborator Ben McAuley (Van Morrison) and mixed by Jimmy Robertson (Anna Calvi, Beth Gibbons, Fat Dog). The results are staggering, devastating and uplifting in equal measure, calling to mind albums such as Songs Ohia’s Magnolia Electric Co., The Divine Comedy’s Regeneration, The Blue Nile’s Hats and Wilco’s Ode to Joy, as well as early-70s records from John Cale, John Lennon and Bill Fay.
Belfast native Mark McCambridge played his first show as Arborist supporting James Yorkston. A solo tour followed, and impressive performances led to notable support slots alongside Low, Cat Power, Echo & The Bunnymen and Guy Garvey. Arborist's debut single, the Americana-tinged "Twisted Arrow," caught the attention of the critics with an astonishing duet with Kim Deal of The Breeders. The debut album Home Burial (2016) and its follow-up, A Northern View, both received glowing praise, from The Guardian ("instant classic" ----) to MOJO ("devastatingly bleak… upliftingly beautiful" ----) to Uncut (8/10), with BBC 6 Music play from Cerys Matthews, Cillian Murphy, Lauren Laverne, Radcliffe and Maconie and Gideon Coe — and Steve Lamacq calling single "Taxi" "one of those records that makes you immediately stop what you're doing." He went on to even greater success with the 2023 Northern Irish Music Prize winning third LP, An Endless Sequence of Dead Zeroes, which was recorded at SpaceBomb Studios in Virginia with musician and producer Matthew E White. For his fourth LP, Looking For Love, he has signed with Fika Recordings and with a tour approaching in November, 2026 looks set to be a seminal year for the Irish artist.
Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...
One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.
Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.
Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.
‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.
There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.
You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.
The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.
British Birds will be embarking on a headline tour of the UK in early 2027.
Teen of Denial: Joe’s Story is a freshly reimagined take on Car Seat Headrest’s beloved breakout, Teens of Denial, now celebrating its 10th anniversary.
On the original album, Toledo often used the name “Joe” as a pseudonym – a sly homage to Daniel Johnston. Revisiting Teens in the run-up to its 10th birthday, he felt called to give Joe a unique backstory and began tweaking the album to tell that tale. The group returned to the studio with Teens producer Steve Fisk to update accordingly – tweaking lyrics, revising arrangements, and recording new songs in the “Denial-style,” including ‘Optimistic Son” and the anthemic ‘Joe Drives Again’. The result retains Teens’ dark edge and youthful cynicism, but allows a bit of hard-won compassion into the mix.
From Will Toledo:
Sometime last year, it was suggested to me that we do something for the ten-year anniversary of ‘Teens of Denial,’ so I started looking back on the album to see what we might do. In spite of some of its songs being a regular part of my life for the past decade, it wasn’t a record I’d thought much about as a whole since it came out. Most of the songs I’d come up with over a two-year period at the end of my college days, when I was struggling a lot with cynicism and misplaced aggression. But by the time the songs were done, I was living in Washington, Car Seat Headrest was a full band with a record label, and in spite of the turmoil of the writing process, the final album was pretty enjoyable for everyone to work on.
This time, looking back at the songs, I started to feel like there was a story being told through the album, though I’d never imagined it as being a narrative work. On ‘Hi, How Are You?’ Daniel Johnston had used the name “Joe” in the titles of a few tracks –“No More Pushing Joe Around,” “Keep Punching Joe” – as a sort of joke, a stand-in for himself. I borrowed the idea, and the name, for titling songs on ‘Denial.’ This time, I started thinking - who is Joe? And how do the songs, in the way they’re sequenced on the album, reflect what he’s going through? As I started asking this question, a story emerged with startling wholeness and clarity, like finding the foundations of an ancient city while digging in my backyard. As I kept digging, certain songs from the original album fell by the wayside, as they seemed misplaced in this new context; others asked for new lyrics, to fully give birth to the story contained in the music.
The resulting work feels more like the album ‘Teens of Denial’ was meant to be. When you’re writing from a dark space, it’s hard to have perspective on where you’re at. This time, I could pull from memories of that darkness, and use the distance and additional perspective of ten years of life to shed a fuller light on the experience. Joe is a character going through some of what I experienced, and some of his own problems. Telling his story, and not just my own impressions of life at the end of the teen years, brought a new level of compassion and wholeness to the album. It gave us the opportunity to write new material in “Denial style”, embracing a snappy and simple(ish) rock aesthetic, and in an additional blessing, we were able to team up once with Steve Fisk, a joy and inspiration to get back into the studio with after ten years. We mixed the material at his house in Tacoma, and were constantly amazed at the lack of divide between past and present, as we’d punch in vocal overdubs ten years later into the same gear, hearing my voice now running alongside a 2015 Will. For someone coming across this album or this band for the first time, this is how they’d hear the record, not as a relic of the past but as a new piece. It was immensely rewarding to experience that on our side.
For anyone familiar with ‘Teens,’ comparisons with the original will be inevitable, but I do hope that as much as possible, people can come to this album on its own terms, approaching it as a teen, hearing the music and story for the first time. I believe music is an ongoing story, and albums don’t always do justice to its dynamic, ongoing nature. What gives it life is the new ears that hear it, and the new hearts that engage with it. I’m so grateful that this is a work that people have kept coming to, and I hope that this presentation does them honor with a fresh offering to the conversation. We’ve known that “it doesn’t have to be like this”; now we can wonder - “what it if were like this?”
Curren$y & Wiz Khalifa link up with Harry Fraud on Roofless Records For Drop Tops, the latest chapter in the rappers collaborative series. This Fraud-produced installment is considered Disc 2 in the series and follows up the Digital-Only 'Disc 1', which was produced by Cardo. Backed by Fraud's smooth production, Curren$y and Wiz deliver the laid-back flows, sharp lyricism, and effortless chemistry fans have come to expect. Built for cruising and easy listening, the project continues the sound and style that has made these three some of hip hop's most consistent names for a decade. Now available on vinyl, Roofless Records For Drop Tops is a must have for collectors and fans looking to add another essential release from Curren$y, Wiz Khalifa, and Harry Fraud to their shelves.
On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of
It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.
On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of
It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.
Wewantsounds it delighted to announce a deluxe reissue of Frank Foster's 'The Loud Minority' LP. Released on Bob Shad's Mainstream Records in 1972, it's a landmark album and one of the key political works of the 70s. Featuring an all-star cast of superb musicians including Elvin Jones, Stanley Clarke, Airto, Cecil Bridgewater and Marvin 'Hannibal' Peterson, it is also Dee Dee Bridgewater's earliest full recordings. This special edition includes a 20-page booklet featuring amazing unseen session photos recently unearthed, an introduction by Judd and Mia Apatow (Shad's grandchildren), an essay by British journalist Kevin Le Gendre and an exclusive interview of Cecil and Dee Dee Bridgewater by Paul Bowler. The album's original artwork as been recreated with original photos and the audio newly remastered from the original tapes.
When he recorded "The Loud Minority" in 1972 for Bob Shad's Mainstream Records, Frank Foster had been a solid sax player for nearly twenty years, playing with the likes of Donald Byrd, Thelonious Monk and The Count Basie Orchestra. For this special session, he gathered a stellar line up of old fellow musicians like Elvin Jones and Harold Mabern and young turks including Stanley Clarke, 'Hannibal' Marvin Peterson, Cecil and Dee Dee Bridgewater. Cecil Bridgewater remembers: "Frank, his thing was, any group that he had he wanted to give young musicians a chance." As usual for Mainstream sessions, the studio was booked for two days and the record was cut live, supervised by Bob Shad's trusted men, arranger Ernie Wilkins and engineer Carmine Rubino.
What came out of these two days is now the stuff of legend, four long funky jams fuelled by two distinct line ups playing simultaneously augmented with a powerful 6-piece brass section led by Foster. The album kicks off with the anthemic "The Loud Minority" (sampled by United Future Organization and DJ Shadow) with its long brass introduction followed by Dee Dee Bridgewater fiery poem, a politically charged statement expressing the fight for civil rights, before the whole group comes together for a funky explosion clocking at 14 minutes. "That was a period where we were really into our African consciousness" reminisces Dee Dee in the interview.
The album continues with the funky uptempo "Requiem for Dusty" while "J.P.'s Thing" adopts a slightly more spiritual feel, with a beautiful Fender Rhodes solo and Foster's soprano sax improvisation. The album ends with "E.W. Beautiful People", a long dreamy improvisation climaxing with Dee Dee Bridgewater's poignant vocals.
The Loud Minority is a key militant jazz manifesto and one of the landmark jazz funk albums of the 20th Century. The album was recorded in two days but its legacy lives on and still resonates loudly in the BLM days. Wewantsounds is delighted to reissue this major works with newly remastered audio and a deluxe 20-page booklet full of breathtaking unseen session photos and insightful texts telling the whole story of this superb album.
All-enveloping superbly alternative third take on 1988’s ‘Charmed Life’ album featuring previously unissued versions and a half dozen previously unreleased songs. Includes liner notes and an interview with Jad and David Fair.
Over & Even was a breakout album for Joan Shelley. Originally released in 2015 and recorded in Louisville, Kentucky - with Shelley and her then neighbor Nathan Salsburg on guitar. The record was an album of the year at NPR Music and in The Los Angeles Times. Rolling Stone called it, "a masterfully turned set of folk reflections" in their 4 star review. This expanded edition features 8 never before heard demos, performed and recorded solo by Shelley who shared them only with Salsburg so he could learn the songs.
Tropical Fu*k Storm revisit the live album concept on ‘Inflatable Graveyard Vol. 2’, their second live album and the follow-up to the critically acclaimed ‘Fairyland Codex’. Recorded over three nights during a sold-out residency at New York venue TV Eye, the album finds the band at the height of their incendiary powers, turning already combustible songs into something even more ferocious and unpredictable.
Fine-tuned and road-tested through heavy touring, songs from ‘Fairyland Codex’ are stretched into new forms. Ballad “Stepping on a Rake” takes on heavier undertones, “Irukandji Syndrome” becomes a launchpad for a guitar solo worthy of the Velvets’ “I Heard Her Call My Name” and “Moscovium” sounds more urgent than ever.
The band also revisit back catalogue favourites including “Who’s My Eugene” and “You Let My Tyres Down”, alongside a cover of Australian punk heroes The Saints’ “This Perfect Day”.
Tropical Fu*k Storm have built a catalogue worth obsessing over, but their live show is where the band’s brilliance really breaks open, and ‘Inflatable Graveyard Vol. 2’ catches that chaos in the act.
Key Quotes:
“Tropical Fuck Storm are masters of tension and release.” The Guardian.
“If anyone's qualified to make music about all-encompassing terror, it ought to be Tropical Fuck Storm.” Pitchfork.
“Thrilling noise-rock pranksters” Uncut.
“End times chaos… A gloriously imperfect storm” MOJO.
“A galvanising opus of incredible political bite” The Line Of Best Fit.
“One of the most rewarding listens in rock music” Consequence Of Sound.
Ein echter Dance-Klassiker ist zurück auf Vinyl! „2 Times“ von Ann Lee, der große Superhit aus dem Jahr 1998, erscheint endlich wieder als farbige, streng limitierte 12“ Maxi Single.
Mit seinem unverwechselbaren Eurodance-Sound, der eingängigen Melodie und dem legendären Refrain gehört „2 Times“ zu den unvergessenen Dance-Hits der späten 90er Jahre. Jetzt gibt es den Kult-Track endlich wieder als besonderes Vinyl-Release – ein Highlight für Nostalgiker, DJs und alle Vinyl-Liebhaber.
Die 12“ Maxi Single bietet insgesamt 5 verschiedene Mixe und lädt damit zu einer musikalischen Zeitreise zurück in die große Ära des 90er-Jahre-Dance ein.
Das farbige Vinyl und die streng limitierte Auflage machen diese Veröffentlichung zu einem besonderen Sammlerstück, das in keiner Dance- und Vinyl-Sammlung fehlen sollte.
Tomorrow’s World is the new album from synth-punk/darkwave artist N8NOFACE. Fully produced by Dave Sitek of TV on the Radio, the record also features contributions from Hudson Mohawke, Snow Wife, and Angélica Garcia.
On Tomorrow’s World, N8NOFACE pushes beyond the DIY spaces that formed him, delivering his most ambitious album yet: a collection of hard-as-nails songs that manage to be furiously catchy. In line with N8's cyberpunk aesthetic, Tomorrow's World's title comes from the 1960s British TV show of the same name about tech and science. N8 came across the show when he found a clip of Kraftwerk performing and breaking down their music on it, with Tomorrow's World being credited in breaking the band to a wider audience. In N8's words, the album sees him “imagining what the punks and the street kids might be listening to in 2077.”
And they can't. Tiny things are important - This house could be anywhere, These things could happen to anyone." With this reflection, Charlie Parr introduces the characters of Rooming House, a conceptual folk opera that chronicles the lives of Upper Midwesterners through his quietly raucous, deeply rooted, and empathetic blues. These are songs of lost memories and hardship, but also of the improvised acts of kindness that help neighbors make do. Joined by celebrated drummer and fellow Minnesotan Dave King (The Bad Plus, Happy Apple), Parr cements his role as one of the great troubadours of our time with an album that becomes its own small yet profound offering of care. * "A gritty blend of Delta blues and Depression- era roots music soaked in his hardscrabble voice. It's a sacred realm of folk wisdom and sorrowful vulnerability." - Rolling Stone * "Expertly-picked resonator guitar and lyrics that puncture the soul" - NPR * "Arguably America's finest living troubadour." - Songlines (UK) * Compelling character-driven portraits on a folk opera concept album that chronicles the lives of Upper Midwesterners through his quietly raucous, deeply rooted, and empathetic blues. Driving, groove- driven resonator guitar pulls you in. Working through the material realities of our contemporary moment but also weaving that narrative with his hypnotic sound reveals the near-mythic scale importance of these stories
More than eighty years ago in southwestern Virginia, Carter and Ralph Stanley (The Stanley Brothers) - forged a sound that became a cornerstone of bluegrass and old-time music yet they remain far less known outside the genre than their influence warrants Where the Soul Never Dies sets out to change that. Producers Alison Brown and Garry West assembled an eclectic cast spanning bluegrass and Americana, pairing the genre's next generation with roots voices who grew up on these songs. Standout contributors include Billy Strings , Dolly Parton , Willie Nelson , Sierra Ferrell , Jamey Johnson, Steve Martin, and Ralph Stanley II, among others. The album arrives October 16th two days before The Stanley Brothers' induction into the Country Music Hall of Fame
The Dutch composer and conductor, born in 1993, has assembled a powerful collective with his "hugely inventive and fast- thinking" (UK Jazz News) Brainteaser Orchestra, uniting the vanguard of the current Amsterdam scene - including guitarist Teis Semey , saxophonist Kika Sprangers , drummer Jamie Peet , violinists George Dimitriu and Yanna Pelser , trombonist Nabou Claerhout , clarinetist Federico Calcagno, and bassist Alessandro Fongaro. This lineup has been making international waves, highlighted by invitations to major European festivals and a recent performance alongside Pat Metheny at the North Sea Jazz Festival. Now comes Tonepool Paradox, the orchestra's second album, commissioned to celebrate the 50th anniversary of Amsterdam's legendary BIMHUIS. Wybenga's compositional approach radically breaks with big band conventions. His process mirrors that of a hip- hop producer: he records solo improvisations by his musicians, chops the material into pieces, and uses these fragments as samples to build entirely new tracks. Wybenga layers jazz, electronics, and contemporary classical music without ever sounding academic or overintellectualized. For Tonepool Paradox , he expanded this concept internationally, bringing in guests such as Berlin-based saxophonist Otis Sandjo, Parisian violinist Theo Ceccaldi, singer Lizz Wright , and hip- hop vocalist Pink Oculus . Mixed by Grammy winner Nic Hard (Snarky Puppy), the sound brings together the diverse musical styles of everyone involved, juxtaposing the angular lines of the horns with sweeping, melodic string passages.
A genre- blurring statement born from bedrooms and late- night studio sessions, the album fuses live drums, analogue synths, samples, and dense percussion into something critics struggled to pin down - baggy grooves meet electro-pop meets rave culture. Originally designed as an extension of the band's unpredictable live shows, Harder Than It Should Be captures a rotating cast of collaborators and a core four-piece that expanded into an eight-member spectacle. Tracks like Atom Bomb City, Cut It Loose and the cult single These Boys Are Athletes (featuring Bis vocalist Manda Rin) earned radio play and industry buzz - yet the album itself was never formally released. Recovered from early recordings and demos, this reconstruction reflects the original intent: a high- energy journey mirroring the band's live intensity. A document of a moment when MySpace buzz, indie discos and electro experimentation collided in small venues and word-of-mouth scenes.
Marcus Gad, one of France's top reggae artists, hailing from the Pacific island of New Caledonia, returns with a powerful new album, FOR ALL Produced with his longtime collaborator Tamal, along with instrumental backing from his band Tribe, the record brings 12 new songs that continue Gad's thoughtful and catchy approach to modern reggae. Lush production, killer musicanship, along with modern vibes and riddims all make the album one of his best yet. Lyrically, Gad tackles many of the topics that have concerned him for years - liberty, equality, fighting against injustice and the problems of the world today.
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
Tropical Fu*k Storm revisit the live album concept on ‘Inflatable Graveyard Vol. 2’, their second live album and the follow-up to the critically acclaimed ‘Fairyland Codex’. Recorded over three nights during a sold-out residency at New York venue TV Eye, the album finds the band at the height of their incendiary powers, turning already combustible songs into something even more ferocious and unpredictable.
Fine-tuned and road-tested through heavy touring, songs from ‘Fairyland Codex’ are stretched into new forms. Ballad “Stepping on a Rake” takes on heavier undertones, “Irukandji Syndrome” becomes a launchpad for a guitar solo worthy of the Velvets’ “I Heard Her Call My Name” and “Moscovium” sounds more urgent than ever.
The band also revisit back catalogue favourites including “Who’s My Eugene” and “You Let My Tyres Down”, alongside a cover of Australian punk heroes The Saints’ “This Perfect Day”.
Tropical Fu*k Storm have built a catalogue worth obsessing over, but their live show is where the band’s brilliance really breaks open, and ‘Inflatable Graveyard Vol. 2’ catches that chaos in the act.
Key Quotes:
“Tropical Fuck Storm are masters of tension and release.” The Guardian.
“If anyone's qualified to make music about all-encompassing terror, it ought to be Tropical Fuck Storm.” Pitchfork.
“Thrilling noise-rock pranksters” Uncut.
“End times chaos… A gloriously imperfect storm” MOJO.
“A galvanising opus of incredible political bite” The Line Of Best Fit.
“One of the most rewarding listens in rock music” Consequence Of Sound.
In their own words, it's "more focussed, paced and thought-out." Over 13 tracks that explore the horrors of the outside world and the internal minefield of the brain, Mould's debut also hits with the thrills of a brilliant live band who've distilled that energy to tape. The title comes from a line taken from the time signature-warping 'Emotive Language' that distills what it means to be a band in 2026 down to one concise sentiment. "This has always been the dream, playing with your mates and making good songs and getting to tour and make records," says Kane. "But the realities of trying to start a band now, when you're 30 and also have other goals at the same time are hard. We'd be doing it regardless, but you have to learn a lot. " This duality runs throughout the record, where tracks like lead single 'Float' speak of "strolling through hellscapes" of social media yet surround their frustrations with the sort of barbed, visceral musicality that sounds like if Interpol had grown up in gloomy, rain- soaked Britain. "You're endlessly doom scrolling, past a funny video of a sausage, and then there's Farage and then there's an ad for something," Joe says of the track. "That mindnumbing flashy distraction turns you into idiots."
In their own words, it's "more focussed, paced and thought-out." Over 13 tracks that explore the horrors of the outside world and the internal minefield of the brain, Mould's debut also hits with the thrills of a brilliant live band who've distilled that energy to tape. The title comes from a line taken from the time signature-warping 'Emotive Language' that distills what it means to be a band in 2026 down to one concise sentiment. "This has always been the dream, playing with your mates and making good songs and getting to tour and make records," says Kane. "But the realities of trying to start a band now, when you're 30 and also have other goals at the same time are hard. We'd be doing it regardless, but you have to learn a lot. " This duality runs throughout the record, where tracks like lead single 'Float' speak of "strolling through hellscapes" of social media yet surround their frustrations with the sort of barbed, visceral musicality that sounds like if Interpol had grown up in gloomy, rain- soaked Britain. "You're endlessly doom scrolling, past a funny video of a sausage, and then there's Farage and then there's an ad for something," Joe says of the track. "That mindnumbing flashy distraction turns you into idiots."
An evolution of her radio show, event series and Bandcamp community under the same name, this compilation plots a globe-spanning day-into-night voyage across 16 tracks, from artists, countries and scenes that have shaped Jamz' musical worldview. Each track, many of which are exclusive to this comp, tells a story of heritage and roots, whilst pushing boundaries and pioneering new sounds in their respective regions. From the Reunion Island to Latin America, East Africa to the Caribbean and Pacific, it's a 24-hour cycle moving from downtempo to dancefloor. The concept of Dance Around The World began in the summer of 2025 but has ultimately been a part of Jamz' journey in music since the beginning. At the centre of it is her 15-year career as radio presenter - her tastes evolving from the early days on Reprezent Radio, to a 1Xtra residency and now a Saturday daytime show on BBC 6Music. There has always been a desire to highlight music from underrepresented scenes to new audiences.
Swivel inaugura su nuevo sello Swivel Traxx produciendo cinco tracks originales recién salidos del horno.
Swivel Traxx steps up with ‘Out of Circle EP’, a 5-track trip delivered by label head Swivel. Blending raw 90s vibes with modern hypnotic soundscapes, the EP shifts gears from tense ambient to direct, Birmingham-influenced techno and high-energy cosmic madness. Built for both deep head-trips and pure dancefloor mayhem:
A1. Out of Circle (Prelude): A beatless atmospheric opener setting a mystical vibe for the whole record. A hypnotic, bell-like arpeggio glides over a warm Moog bassline and thick tension, teasing the concept behind the EP.
A2. Out of Circle: The title track drops straight into club territory while keeping things dark and mysterious. Massive cavernous pads, a driving rhythmic base, and a relentless sequenced synth loop pay homage once again to classic Birmingham techno.
A3. The Black Knights: A dark, dystopian trip. Driven by a hypnotic groove and sharp triplet hi-hats, this one brings a combat-ready energy made for peak-time dancefloor moments.
B1. Starlight: The fastest joint on the record (140 BPM). Equal parts melodic and club-focused, it locks TR-909 drums, Moog bass, and lush pads together for an astral trip into the unknown.
B2. Roundtable: A heavy, mental, and dark closer. Packed with raw analog-filtered synths, broken beats, and a relentless interplay of open and closed hi-hats, it delivers pure energy for the floor.
Ariwa Sounds started in a front room in Thornton Heath, South London. Four tracks, some homemade equipment, and Neil Fraser, better known as Mad Professor, at the controls. That was 1980. Over four decades later, the label has more than 300 albums to its name and a legacy that stretches well beyond the reggae scene.
This compilation pulls twelve tracks from across the catalogue. Dub, lovers rock, heavy roots music, digital dancehall — it's all here. What ties it together is the Ariwa studio sound all going through Mad Professor’s desk.
Mad Professor is the backbone of it. Dub Me Crazy got him known and his production credits run from Jah Shaka and Horace Andy to Massive Attack, Sade and The Orb. The tracks here — the Dub Sampler, H2SO4, Disco Dude, Kathmandu Dub — show why.
The Jah Shaka collaboration Only One God is a landmark. Two of the UK's most important dub figures on one track. Dark and heavy roots music.
The Robotics appear twice — Hong Kong Flew! and Miss Mood. They are Ariwa's house band and have backed U-Roy, Lee Perry, Big Youth and more over the years.
Aisha closes things out with Can You Feel It. A track that crosses reggae, soul and boogie funk. Collectors have been after original pressings for years.
Starky Banton, Ragga Doll, Professor Doppler and Earl Lawrence complete the compilation. Exactly the kind of thing that reminds you how wide the Ariwa net was cast.
Sleeve design is by Trevor Jackson. One of the UK's most respected graphic designers. His work has defined the visual language of British music for thirty years. His involvement here signals exactly the kind of release this is. A serious serious catalogue and compilation of music, treated with the respect it deserves.
Ariwa sits alongside Greensleeves as the most important reggae imprint this country has produced. This compilation shows why.
By the end of 1986, with Miles Davis’ career in resurgence, he was approached by the producers of the movie Siesta, based on the book by Patrice Chaplin and starring Ellen Barkin, Gabriel Byrne and Martin Sheen. Miles agreed to create the music for the movie and immediately asked Marcus Miller to help compose and produce.
As had taken place with Tutu, Miles looked to bassist Marcus Miller—working with keyboardist/programmer Jason Miles—to compose and construct the various tracks, over which he blew his trumpet parts. Matching the music to the mood and tempo of the film’s scenes lay on Miller’s shoulders. The soundtrack came together in early 1987 in Los Angeles, Miller and Jason Miles working in North Hollywood, and Miles driving in from Malibu to play his parts. Miller brought in a number of players to add solos and texture: guitarists John Scofield and Earl Klugh; flautist James Walker, and drummer Omar Hakim.
Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots.
Siësta is available as a numbered limited edition of 1000 copies on gold vinyl.
For Louis Johnstone, making music has never been about waiting for the right equipment, the right environment or the right moment. Across more than a decade of work as both Wanda Group and A Large Sheet Of Muscle, the Huddersfield-based musician has built one of British experimental music's most singular bodies of work by embracing whatever happens to be within reach, allowing instinct, improvisation and circumstance to shape the outcome as much as conscious composition.
"'Chinese Benefits' was made over a year ago on an iPhone that had a broken microphone and was on its way out," he explains. "I have made many records after this with clearer sounds. Sharper ideas. That is never the point, though. You work with what you hold in your hands."
Recorded entirely on a failing iPhone 6 that stopped working shortly afterwards, 'Chinese Benefits' isn't a record about damaged technology. It is a record shaped by it. Rather than resisting the limitations of the device, Johnstone allows them to become part of the music itself, where distortion, interference and deteriorating fidelity are inseparable from the recording process.
Across twenty brief but disquieting pieces, corroded spoken word, environmental recordings, abrasive noise and fractured electronics continually emerge and dissolve. Voices drift in and out of range, reverberation stretches everyday sounds beyond recognition, and bursts of white noise interrupt moments of uneasy calm. There are echoes of radio transmissions, field recordings and musique concrète throughout, yet 'Chinese Benefits' never settles comfortably into any one tradition. Instead, it inhabits a space where accident and intention become almost impossible to separate.
That philosophy has long defined Johnstone's work. Through a vast catalogue of self-released recordings on his Umbro G imprint, alongside releases for labels including The Trilogy Tapes, he has consistently favoured immediacy over refinement, embracing imperfection not as an aesthetic but as a practical reality. His recordings are less concerned with perfection than with capturing the conditions in which they were made.
Looking back on 'Chinese Benefits', however, Johnstone's own assessment is characteristically understated.
"Listening back fully, it's quite a nice record actually. Fair enough, I make them and never really listen again TBH. Even better, it was the last Large Sheet Of Muscle record made on that phone with grit and damaged guts."
Like much of his work, 'Chinese Benefits' offers few fixed meanings. Its titles remain cryptic, its voices partially obscured and its structures deliberately unstable. What emerges instead is a deeply personal document of process over perfection, where the limitations of the tools become inseparable from the music they produce, and where the act of making something matters far more than the conditions in which it was made.
Welcome Tori Kudo back to A Colourful Storm with a new edition of Maher Shalal Hash Baz's Faux Départ, a document of a stateside tour that culminated in a recording session at the legendary Dub Narcotic Studio with a one-time ensemble of Greg Saunier and Chris Cohen (Deerhoof), Andrew Maxwell, McCloud Zicmuse, Arrington de Dionyso, Takashi Ueno, Saya Ueno, Naoki Otani, Akiko Hotaka, Masaaki Endo and Naoki Otani. Always spontaneous, never rehearsed. Music in and of this world, seemingly teetering on the verge of collapse.
"We flew to the US for a show with Red Crayola in Los Angeles and initially stayed at Rick Potts' house. There, I met up with The Curtains and hit the road in their car. We headed north, writing down every melody that came to mind. I slept in the gap between the wall and the sofa and got interrupted by a herd of cows along the way, but I finally arrived in Olympia and recorded all the melodies I'd written down, which became Faux Depart. There, I found McCloud, a noble beggar who was sleeping in the studio and playing the bassoon on the street." - Tori Kudo, 2026
"Chris Cohen, who played in Deerhoof from 2001-2006 or so, was an obsessive Maher fan. When our other band, The Curtains, was given a chance to support Maher on a West Coast tour, we got to see up close how Tori leads - often by not leading. He is an unpredictable, wild musical genius and card-carrying eccentric." - Greg Saunier, 2026
What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.
Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.
Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.
The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.
The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.
Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.
The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.
And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.
Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.
This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.
„Mutant präsentiert in Zusammenarbeit mit Sony Music Masterworks und Amazon MGM Studios stolz den kompletten Soundtrack zu Lord & Millers epischem Meisterwerk ‚Project Hail Mary‘. Dieses Sammler-Boxset mit 4 LPs enthält Daniel Pembertons komplette Originalmusik – mit über 30 Minuten exklusivem Material, das in keiner anderen Veröffentlichung enthalten ist – gepresst auf 3 x 140 g Gold-Vinyl Das Original-Soundtrack-Album des Films – 10 Musikausschnitte aus dem Film, gepresst auf exklusivem Zoetrop-Vinyl Ein 16-seitiges Booklet mit Liner Notes des Komponisten Daniel Pemberton sowie von Name Namerson und Another Person „Project Hail Mary“-Slipmat „Project Hail Mary“-Aufnäher (3 Zoll)“
Mit"Lach doch mal" legen Bärchen und die Milchbubis ihr zweites Studioalbum seit ihrer viel beachteten Rückkehr vor. Die Band, die bereits Anfang der 1980er-Jahre mit ihrer eigenwilligen Mischung aus Punk, Pop und scharfem Humor Kultstatus erlangte, knüpft dabei an ihre Stärken an und präsentiert zwölf neue Songs voller Energie, Haltung und Alltagsbeobachtungen. Zwischen humorvollen Seitenhieben, gesellschaftspolitischen Themen und persönlichen Geschichten entstehen Stücke, die gleichermaßen wütend, nachdenklich und verspielt wirken. Produziert von Tobias Levin (u.a. Tocotronic, Ja, Panik, Rocko Schamoni), verbindet das Album den charakteristischen Charme der Band mit einer zeitgemäßen Perspektive. Gastbeiträge von Bela B, Stefanie Schrank und den Feigen Flittchen unterstreichen die kreative Offenheit dieser Veröffentlichung. Lach doch mal zeigt eine Band, die auch Jahrzehnte nach ihrer Gründung unverwechselbar geblieben ist.
Mit"Lach doch mal" legen Bärchen und die Milchbubis ihr zweites Studioalbum seit ihrer viel beachteten Rückkehr vor. Die Band, die bereits Anfang der 1980er-Jahre mit ihrer eigenwilligen Mischung aus Punk, Pop und scharfem Humor Kultstatus erlangte, knüpft dabei an ihre Stärken an und präsentiert zwölf neue Songs voller Energie, Haltung und Alltagsbeobachtungen. Zwischen humorvollen Seitenhieben, gesellschaftspolitischen Themen und persönlichen Geschichten entstehen Stücke, die gleichermaßen wütend, nachdenklich und verspielt wirken. Produziert von Tobias Levin (u.a. Tocotronic, Ja, Panik, Rocko Schamoni), verbindet das Album den charakteristischen Charme der Band mit einer zeitgemäßen Perspektive. Gastbeiträge von Bela B, Stefanie Schrank und den Feigen Flittchen unterstreichen die kreative Offenheit dieser Veröffentlichung. Lach doch mal zeigt eine Band, die auch Jahrzehnte nach ihrer Gründung unverwechselbar geblieben ist.
Here we go! Ein echter 90er-Jahre-Kult-Hit ist zurück auf Vinyl! „Saturday Night“ von Whigfield, der legendäre Top-Hit aus dem Jahr 1994, ist endlich wieder als streng limitierte farbige 12“ Maxi Single erhältlich.
Mit seinem unverwechselbaren Dance-Sound, der eingängigen Melodie und dem legendären „Saturday Night“-Refrain eroberte Whigfield 1994 die internationalen Charts und wurde zu einem der großen Dance-Klassiker der 90er Jahre.
Jetzt gibt es den Hit endlich wieder auf hochwertigem, farbigem Vinyl – ein echtes Highlight für alle Fans der 90s, Dancefloor-Klassiker und Vinyl-Sammler.
Die Maxi Single enthält insgesamt 4 verschiedene Mixe und bietet damit gleich mehrere Versionen des unvergessenen Dancefloor-Hits.
Born in São Paulo, Caetano Malta embodies the vibrant creative energy of one of Latin America's most dynamic cities. A singer, songwriter, and multi-instrumentalist, he has spent more than twenty years crafting a distinctive musical universe shaped by Brazil's rich and diverse traditions. Tropicalia, MPB, Afro-Brazilian rhythms, psychedelic folk, and contemporary pop blend seamlessly in his work with effortless elegance.
Over the years, he has become a highly sought-after collaborator. Since 2004, he has performed with numerous leading Brazilian artists, including Lucas Santtana, Bixiga 70, Karina Buhr, and many others. After two decades of international touring, he eventually settled in Paris, where he became the guitarist for Flavia Coelho, Luiza, Guts, among others. As a songwriter, he has also co-written with artists such as Lucas Santtana, Wado, MOMO, Rubinho Jacobina, and Arto Lindsay.
With Eterna Juventude, his long-awaited debut solo album, due for release in autumn 2026, Caetano Malta reaches a new artistic milestone. The record reveals a radiant songwriting style where harmonic sophistication, organic rhythms, and instantly memorable melodies come together naturally. Filled with joyful energy and deep tenderness, Eterna Juventude celebrates imagination, movement, and childhood's unique ability to reinvent the world. It is a remarkably accomplished debut, showcasing an artist whose singular voice and musical identity are already fully formed.
Zum 50-jährigen Jubiläum der „Muppet Show“ singt und swingt Seth MacFarlane auf „Sings The Muppets“
beliebte Songs aus der „Muppet Show“, den Muppet-Filmen und der „Sesamstraße“ im Stil opulenter orchestraler Jazzstandards neu. MacFarlane, preisgekrönter Schöpfer von „Family Guy“ und gefeierter Sänger
im Bereich Swing und Jazz, verbindet dabei seine Leidenschaft für das klassische American Songbook mit
diesem legendären Repertoire. Mit Songs von Joe Raposo, Paul Williams und Jeff Moss sowie Arrangements von Andrew Cottee entstand das Album unter der Leitung von Dirigent John Wilson mit einem
erstklassigen Orchester im Studio der Skywalker Ranch. Inspiriert von legendären Arrangeuren wie Nelson
Riddle und Billy May, feiert das Album den warmherzigen Humor und die zeitlose Magie der Muppet-Songs.
Major figure in electronic music and pioneer of cosmic disco, Space was founded in 1977 by Didier Marouani.
"Magic Fly", its first single, embodies its futuristic DNA (a melodious, cosmic and disco-inspired composition). Following its worldwide success, 3 albums were released in 2 years :
- "Magic Fly" (1977), blending melodic richness with synthetic innovation, delivered both dancefloor hits and midtempo tracks.
- "Deliverance" (1977) is a typical 70s concept album, ranging from disco to cosmic electronic music.
- "Just Blue" (1978) is a more melancholic album featuring broader orchestrations and complex harmonies.
These 3 records sold over 10 million copies worldwide.
"The Art Of Space Disco (1977-1978)" presents Space's most iconic tracks and sums up two fruitful intense years of musical innovation.
- The Vinyl comes in as 1LP Crystal Clear. It includes 4 edits : Carry On Turn Me On, My Love Is Music, Deliverance & Running In The City.
- The Double CD features original versions . It includes 2 additional tracks (Symphony, Velvet Rape) and 8 remixes (never released physically before) produced in 2026 by artists whose musical careers were shaped by Space.
- CD & Vinyl Exclusive liner notes by Jean-Yves Leloup.
- All tracks have been remastered by Alex Gopher
DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.
After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..
The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..
The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..
On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..
,BETHLEHEM" ist eine Zusammenarbeit, die über Grenzen hinweg entstanden ist, die nicht überschritten werden konnten. Das Stück vereint die Stimme von Lawrence Sammour - der seit mehr als fünf Jahrzehnten den Chor der Geburtskirche leitet - mit der elektroakustischen Sprache der Beiruter Komponisten Sary Moussa und Abed Kobeissy. Entstanden als Reaktion auf die Entscheidung der Geburtskirche, die Weihnachtsfeierlichkeiten während des Völkermords in Gaza auszusetzen, verwandelt das Werk traditionelle liturgische Hymnen in eine weitläufige und tief bewegende Komposition, in der Stimme, Elektronik, Buzuq und Atmosphäre ohne Hierarchie nebeneinander existieren. Weder Neuinterpretation noch Bewahrung - ,BETHLEHEM" ist ein Akt des Zuhörens über Entfernungen hinweg: ein Werk der Trauer, das auf der fortbestehenden Präsenz von kulturellem Gedächtnis, Hingabe und menschlicher Verbundenheit besteht.
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
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