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More good news for fans of Luke Vibert's Plug output. Hot on the heels of the Variety Magic album, released earlier this year, De:tuned returns to the vault with four more previously unreleased Plug tracks.

Following the hugely acclaimed 11-track Variety Magic, which saw Vibert unearth and hand-pick a collection of forgotten jungle and drum & bass gems from his original mid-90s DAT archive, Robotic Futuristic digs even deeper into the same treasure trove. Four more raw, playful and highly distinctive Plug cuts, all previously unheard and finally brought to light.

The EP takes its title from one of the tracks and opens with Luke Vibert's personal favourite: 'Bring A Fuckin' Army'. A full-on jungle workout driven by rolling breaks, heavyweight bass and that unmistakable Plug funk. Put the needle on the record and let it rip. Go 'Head - Do It!

Robotic Futuristic also marks the 17th anniversary of De:tuned, making this a particularly fitting release for the Belgian label.

Visualised by the Variety Magi. Stencil art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.

Revival House Project makes a triumphant return to Peppermint Jam with four essential, soulful house cuts. After months of intense anticipation and heavy ID requests, these highly sought-after tracks are finally receiving a proper, official vinyl release.

As a massive bonus, the record features the blockbuster collaboration AC Soul Symphony vs. Mousse T. – 'Dance To The Music' (feat. Kathy Brown), uniting two legendary forces on one unstoppable track!

Recorded in 1988 and originally released in 1992 by Discos Musart on cassette, this landmark album by Chalino Sánchez, the King of Corridos, makes its long-awaited vinyl debut. Backed by the powerful tambora sound of Los Guamuchileños, its ten tracks—six written by Chalino—blend heartfelt love songs and vivid corridos inspired by life in Sinaloa. AAA lacquers cut from the original master tapes deliver the definitive listening experience.

Dutch-born and Singapore-based, Mike Risk has spent more than three decades immersed in house music. As a DJ, producer, promoter and agent, he has experienced the culture from multiple angles, building relationships and sharing dancefloors across Amsterdam, London, Ibiza, New York, Chicago, Singapore and beyond.

Now Is Forever is a full-circle moment. A statement. A celebration of a lifelong relationship with house music.

Mike first made his mark in the Dutch underground through Club Risk and later RiskSoundSystem, two platforms that helped shape nightlife culture in the Netherlands throughout the 1990s and 2000s. After decades spent championing the music of others, Now Is Forever is Mike adding his own chapter to the culture that shaped his life.

Created with longtime collaborator Greg van Bueren (Hardsoul) between Amsterdam and Singapore, the album is a deeply personal tribute to the music, people and places that shaped him. From the clubs of Amsterdam and London to the sounds of Chicago, New York and Detroit, it distils decades of dancefloors, record stores, studios and late-night conversations into one body of work.

From deep and soulful grooves to raw house cuts and acid-tinged late-night moments, Now Is Forever explores house music in its full spectrum. It reflects the way Mike has always approached a dancefloor as a DJ: not as a collection of tracks, but as a journey through the many moods and moments that make a greatnight unforgettable.

Featuring Mike Dunn, Bluey Robinson, Marc Evans and John Agesilas, the album brings together years of experience, inspiration and dedication. Crafted not out of commercial pressure but out of creative necessity, it is the product of pure love-for the culture, for the craft, for the music.

Now Is Forever is a past-forward record: rooted in the music, dancefloors and relationships that shaped Mike, while carrying their spirit firmly into the present. At its heart, it is about honouring the kid who first fell in love with house music-and never let go.

Because when you are truly lost in music, there is no past and no future. There is only now.

And now is forever.

With »The Future Is Futuristic«, the fifth album for Haleiwa (and third with Morr Music), Stockholm’s Mikko Singh draws from a deep well of nostalgic feeling, while making music that feels razor-sharp, on point, and full of hazy dream-pop pleasure. After 2019’s »Cloud Formations« and 2022’s »Hallway Waverider«, which imagined psychedelic post-shoegaze and mantric pop songs into being, »The Future Is Futuristic« feels like both consolidation and magnification; the noise-drenched songs feel thicker, heftier; the electronic interludes playful and kinetic; the rhythms boundless. It’s as though Singh has truly found his metier, his voice, a place from which he’s comfortable to indulge in the kind of home-recorded worldmaking that has always marked Haleiwa out as something special.

»The Future Is Futuristic« passes by in a rush of whiteout tones and scurrilous energy; the whole thing is over within half an hour, Singh ensuring his songs say exactly what they need to say – no more, no less – before bustling through into the next ecstatic pop moment, pushing the music further into the zone. While his music often has a similar, drenched quality to shoegaze, on »The Future Is Futuristic«, Singh seems to be settling in alongside other spirits – there are touches of the experimentation of both A.R. Kane and Flying Saucer Attack here; the more motoric tunes recall New Zealand’s Snapper; the glitchtronics have a City Centre Offices sensibility, while the sparkling folksiness of the melodies can recall Bristol bands like Light or AMP.

But it’s ultimately not about influence, beyond perhaps Haleiwa nestling alongside some like-minded souls in perceptive listeners’ minds. Instead, thrill to the rush of rhythms that float between jungle and punk on »Flourishing« and »96«, the latter a reference, from Singh, to moments of early revelation – »it’s about being thankful for having found punk rock and skateboarding at a young age, in 1996.« There’s also the hypnotic dream-rush of the opening »Smoke Will Rise«, the beautiful Cure-esque guitars swimming through »Sunset Street« and »Strange Notes«, the tumbling rhythms and heady, elated chord changes that grant lift-off to »Wave Chaos«… A real panoply of pleasures, in fact.

»The Future Is Futuristic« was recorded solely by Singh on four- and eight-track in his home studio, with a quick trip to Telefonstudion to record drums. Recording at home grants a certain intimacy to »The Future Is Futuristic«, even as the songs, at times, bliss their way off into the skies; there’s something both expansive and intimate about the music here, as though Singh is grappling immensities into intimacies. It also feels deeply personal for Singh, a summation of much of what he’s done over the years; as he says, simply and clearly, »The album is in my interpretation a mix between punk, electronic music, and dream pop.« The threads that connect these creative phenomena? Energy, texture, melody, tone, sensuality; pure pop pleasure.

Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.

Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.

There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.

Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.

Few tracks carry the weight of techno history quite like Dave Clarke’s ‘Wisdom To The Wise’. Created in a damp basement flat in Brighton in the early ’90s, the track was produced on an Atari 1040 and micro-sampler, drenched in dubbed-out reverb and shaped by a young Clarke still honing the sound that would soon make his name.

‘Wisdom To The Wise’ became the centrepiece of Red 2, the second instalment of Clarke’s seminal three-release series. With Red 1 already making serious waves, it was Red 2 that sent interest in Clarke into overdrive. Within a year, the series had helped propel him from underground producer to global techno force, culminating in a major-label album deal and international recognition.

The track’s influence has endured ever since, earning celebrated reinterpretations from techno heavyweights including Robert Hood, Marcel Dettmann, Boys Noize and Steve Rachmad. Now, Spectrum adds another chapter to that lineage with a very special remix from label boss Joris Voorn.

Staying faithful to the spirit and unmistakable character of the original, Voorn brings his own weight to the classic, reinforcing its impact with a heavier kick and the subtle production touches that have become his signature. Originally created as a weapon for his own sets, the remix has been road-tested on dancefloors and is now ready to be unleashed beyond the booth.

This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.

Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.

Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."

That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.

Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.

The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.

Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.

As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."

Cyphon Recordings welcome DJ, producer, musician, and D.KO co-owner Flabaire for the fourth outing on the label.

At just 29, the Parisian artist, already has a fair share of victories under his belt. On his acclaimed D.KO imprint, which will celebrate its 10th anniversary this year, he’s released three albums and several EPs, as well as charting releases for Organic-Music, Deeppa Records and South Street.

For his next solo EP, he brings his beautifully affecting and nostalgic blend of electro, IDM, and deep house to Cyphon. Doing what he does best, Flabaire’s ‘Entre-Deux’ is an EP brimming with emotion and atmosphere. Pulling at the heartstrings, opener ‘In Between’ layers an electro beat over lush pads with iridescent synth lines rising out of the haze. Cowbells swing into action, pads swell and glisten, making way for a squelchy 303 to bubble underneath.

‘No Minding’ moves into softer realms, a serene blend of deep house and electronica, it’s paced by a warm bass bounce and shuffling percussion sprinkled with chopped vocal samples and bright keys. Flabaire’s bass mastery continues ‘Click Plok’, as does his deftness at producing delicate, gliding pads, this time punctuated by tight bleeps, gentle open hats, and a meandering synth solo.

Closing out the EP the atmospheric ‘FBG’, a balmy syncopated groove joined by twinkling synth melodies that dance over dusty breakbeats and hushed vocal stutters.

“Interpretation”
The act of explaining, reframing, or otherwise showing your own understanding of something. This captured me. We can all look at the same thing but what we see, hear or experience may differ. This word ended up being the title of my new album. I want to share my interpretation of music with listeners and take them on a musical journey. Through my music, I hope to bring about many interpretations. Your interpretation.

With great joy and pride we announce that The Night Service Commute second album Interpretation is a fact. The release is set for November 13th. You can expect cinematic vibes driven by breakbeats, bass, rhodes, violin, poetry, trumpet and field recordings. This turned out fantastic, and gave the album the groove, feel and vibe I was looking for. During the making, It was so great to learn how to capture the sound and get it to sit well in the mix.

The cover was made by my dear friend Saša Ostoja. His illustrations resonate greatly with me and put a smile on my face. The setting of the cover artwork is urban with hints of forest. Behind the windows, you can see the characters playing music and doing studio stuff. It has loads of hidden jokes and details. I can look at it again and again and discover new things every time.

Across To Remind Myself I Have Lived, aquatic sounds drift through hazy electronics and lush bedroom textures, before giving way to harsher, more industrial British landscapes. Voices appear and disappear. Loops seem to circle memories rather than rhythms. Guitar fragments become dream sequences. Domestic spaces open onto something colder and more distant.

The new album by London-based Michele Tellarini under the Catholic Block moniker gathers works made across five years, moving between composition, improvisation and a more instinctive form of sound collage. Known for his work with concrete punks Qlowski (Feel It Records/Maple Death) and goth-punks Secrecy (La Vida Es Un Mus), Tellarini approaches this material without the conventions of a traditional song cycle, allowing disparate pieces to find their own connections.

There is something strangely timeless in these works: a quality shared with music that seems to exist slightly outside its own moment, from the intimate, confidential organic realm of Mount Eerie to Bruce Gilbert's more abstract electronic and ambient experiments or the haunting digital world of Holly Herndon. To Remind Myself I Have Lived belongs to that same uncertain space, music that feels both deeply tied to the circumstances of its making and somehow detached from them, music for the lonely that shines with crepuscular clarity.

YES is a genre-blurring blend of punk, electronic and rap from South Africa, released on limited edition White Vinyl

South African alt-rap trio Internet Girl have officially announced their debut album, YES, arriving November 13 via PACK. Records. Alongside the announcement, the group has released their new single “DA BUSINESS” featuring Kenny Mason.

A high-energy party anthem, “DA BUSINESS” opens with distorted guitar before chopped vocals briefly pull things back, only for an abrupt beat drop and howling synth to send the track into overdrive. As another synth melody sweeps in, TK cuts through the chaos with an introspective opening verse before Kenny Mason crashes in with a gritty guest verse. Live drums, distorted guitars, and surging synths continue to build around them, turning their vocals into something closer to rage-filled battle chants than traditional rap verses.

Partially written on tour last year, “DA BUSINESS” is the oldest song on YES and one of the album’s few guitar-led tracks. Kenny connected with the trio over DMs months earlier before joining them on the track, bringing Atlanta and South Africa together for one of the album’s most charged moments. “DA BUSINESS” follows the trio’s recent single “ALL THE SAME,” a swagger-heavy track built around a hypnotic Spanish-language vocal sample and live drums before a heavily distorted bass synth takes over in its final stretch, drawing inspiration from South Africa’s booming taxi rave scene. Together, the two singles offer an early look at the range of YES, moving between the rock, rap, and electronic sounds Internet Girl have made entirely their own.

Written largely during a week-long trip to South Africa’s Karoo region at the beginning of 2026, YES captures Internet Girl at a turning point. What began as an ad-lib TK would throw into his verses gradually became the philosophy behind the record: saying yes to an idea and committing to it completely, even before there’s any proof it will work. Across the album, that once-delusional confidence begins to feel real as the trio reflect on coming of age, growing more comfortable with themselves, and becoming increasingly assured in the music they make.

The new release arrives on the heels of a big year for the South African trio, who have brought their high-energy live show to stages around the world, including Pitchfork Music Festival Paris and Boiler Room Soweto, while co-headlining Kiss Kiss Festival in South Africa alongside Basement Jaxx.

With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.

Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.

Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.

With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.

With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.

Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.

Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.

With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and the player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video games, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The soundtrack of The Last Of Us: Season 1 is available as a limited edition of 4000 individually numbered copies on yellow marble vinyl. This 2LP is packaged in a deluxe gatefold sleeve with linen laminate finish. It includes printed innersleeves and an 8-page booklet with liner notes by writer and creative director Neil Druckmann.

Comfort with ambiguity, dynamic experimentation and melancholy are rife throughout Brody Price’s newest record, Leaf Miner’s Daughter. Classic alt-country at its core, this collection meticulously weaves together Americana into sluggish, heavy grooves; overdriven guitars, hook-laden acoustic dissonance - all bolstered by a songwriter full of heart and intention.

An integral member of the Dallas / Texas scene and national DIY touring community, Price has been quietly building a dedicated community of fans across the US since 2017, entirely independent and reliant on each other to build and shape the tours by word of mouth. Following a cassette recorded collection of country songs, ‘What’s The Point In Trying’ (2017), and the gorgeous and chaotic ‘Win A Trip To Palm Springs’ (2022), Price is tracing a sonic and narrative arc that feels specific, earnest and whimsical - not without its dark corners and deep questions.

The innate ability to find beauty among the rubble is rife throughout his newest, revealing an authentically tender desire to dig deeper to find relief and understanding. He invites us to empathize and sit alongside his turmoil in an effort to make ours more bearable. At home in his musicality and the discomfort of living, Price revels in the act of putting the pieces back together, giving us all permission to do the same.

On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.

On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.

Leather-jacket krautrock? Indeed. Welcome to the world of Carrboro NC's Object Hours. These generous saviors consist of three Triangle scene lifers who all worship the riff but imagine what happens if the riff fell into the middle of your favorite CAN LP. Yes, it lives up to the hype.

"Solved By Walking" was recorded in the winter of 2025 at Betty's in the Chapel Hill woods, these are mighty rock slabs ready for all seasons. Rock believers have felt the ripples and knew the day was coming. Object Hours is a band that fits right in on stage alongside acts as varied as Kim Gordon and Tropical Fuck Storm, bringing the house down in these and similar moments. These are songs that groove, peel paint, sandblast, inspire unconscious movement, make your head bob - frequently all at the same time. These are the jams inspired by the time that you heard "Fun House" coming out of that dude's car with the windows down in the middle of the summer, the ones inspired by the kids who own 3 copies of "Daydream Nation," the ones who listen to the last 1:30 of Wire's "Too Late" over and over. This is the band that has a timer on stage so they don't keep each song playing for days on end, the band whose Bandcamp bio succinctly summarizes their approach thusly: "We try to keep songs under 25 minutes for your sake." Every word here should be inspiration for you to *want* and *need* to hear this record and every word here is true. Just you wait.

Real heads know and the rest of the heads are getting ready to find out. Get ready for Object Hours' "Solved By Walking".

In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.

The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.

Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.

In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.

The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.

Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.

Soundkiller anthem of the highest order by Birmingham OG fast chat legend Speng Bond, born during an all night Jahtari live session at the Annex bass bunker at Open Ground, now cut onto wax for the very first time.

“Dead Dem A Go Dead” comes with a devastating Dub cut on B by disrupt and silver pantone print on the labels – this dangerous 7” beauty is ready to make other soundbwoys bite the dust in no time.

This is the second release in a new Jahtari 7” series, don’t forget to check out number one: Sammy Gold x Tapes – Ital Food.

- 2026 repress - Molekul is taking its claim in the underground techno scene, teaming up with the next-gen artists on this 6 tracks compilation built for the dancefloors. Each artist delivering their own signature sound and personal energy, making this release unique.

Cécille Records revisits a standout cut from long-time label associate Christian Burkhardt, inviting Ben Sterling and Shokë to put their own stamp on “Content Creator”.

Long-time friend of the label Christian Burkhardt, hailing from Frankfurt, has been pushing his distinctive take on house and techno for more than two decades, combining complex, moving rhythms with the warmth of analogue gear. With releases across labels including Cocoon, Cuttin’ Headz, Oslo and Eastenderz, alongside his own imprint CB Sessions and Cécille, his sound has always felt naturally connected to the label.

The strength of the original opened the door for two contrasting interpretations. First up is London’s Ben Sterling, whose UK-rooted house and tech house influences and forward-thinking production style made him a natural choice to rework the track. His remix pushes “Content Creator” into a different space while retaining the character and groove at the heart of Burkhardt’s original.

Completing the package are Naples-based duo Shokë, returning to the label following their “Chiamami EP”. With the release still making its mark in the charts, the duo continue their close connection with Cécille, reshaping “Content Creator” through their own warm, groove-led house sound and unmistakable dancefloor energy.

Christian Burkhardt’s original sits firmly at the heart of the release, joined by two individual interpretations from Ben Sterling and Shokë – three cuts that each bring their own character while sharing the groove and timeless house aesthetic at the core of Cécille.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

Celestial Echo Records heads to the Cayman Islands for CER014, produced in association with Whale Rider Records and longtime friend of the label Medlar.

This release shines a light on two incredible sides from the legendary Memory Of Justice Band, one of the Caribbean's best-kept musical secrets. Formed in Grand Cayman during the 1970s, the group blended soul, reggae, funk and island influences into a sound entirely their own, becoming one of the region's most beloved bands in the process.

On the A-side is a gorgeous piece of sweet modern soul — warm, uplifting and packed with the kind of effortless musicianship that makes you wonder how it stayed under the radar for so long. It's exactly the sort of record Celestial Echo was built for: soulful, timeless and impossible not to fall for.

Flip it over and things move firmly onto the dancefloor with a reggae-boogie burner produced by the legendary duo Sly and Robbie. Built around a heavyweight groove, tight rhythm section and infectious hooks, it's the perfect counterpart to the sweetness of the A-side and a reminder of just how interconnected Caribbean music was during this period.

As always, Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

On this 5th and final part of B sides Vol 14 we have The fantastic Kaufmann who shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

Long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

Some of the most revered Dog With A Bone tracks finally make their way to vinyl. A selection of fire cuts with a distinct '90s classic house aroma, refreshed with a subtle 21st-century edge A proven collection of dancefloor cuts supported by Riva Starr, DJ Spen, Angelo Ferreri and other respected names from the global house scene. Tracks from this release have been featured in Traxsource's Best of 2025 Deep House and Best of 2024 Garage charts, while consistently charting among top-selling House and Garage releases.

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

A little over a decade on from his debut album released on the label, Wah Wah 45s are very proud to present two brand new remixes taken from Afrobeat AmbassadorDele Sosimi’s much celebrated LPYou No Fit Touch Am. In the years that have passed since the album’s release, a number of producers and DJs have re-worked and reimagined cuts from the album, most notably the much reveredMedlarand his irresistible take on the title track.

In anticipation of Dele’s long awaited follow up album in 2027, and closing off theYNFTAera, we present to you two brand new remixes of tracks taken from this timeless LP.

Mysterious London based producer and DJbrekkyt(erstwhile known as The Breakfast Triple) is up first with a typically rhythm-focused, bruk infused and bass worrying re-work that takes Dele’s ever popular title track to a brand new audience, perfectly timed for the current broken beat revival. Brekkyt’s recent cheeky re-works for Raphael Saadiq, Mis-Teeq and most recently for Kyla Kilzer & Max Noir on Tru Thoughts Recordings have seen his music receive some serious heat.

On the flip, Portuguese producerMeithtakes album favouriteSanctuarydeep into Afro-tech territories creating an irrepressible groove tailor made for the big rooms this summer. The Lisbon based beat-maker has previously released club focussed tracks on labels like Kazukuta and Sondela Records.

This pair of dance floor destroying remixes will be available on hand-stamped, white label vinyl.

Bogdan Ra's Love Affair label is still in its infancy, but thus far has yet to make a misstep. On his previous EP for the imprint, the Lisbon-based artist explored his love of TB-303 powered acid house insanity; here, he drops a much more diverse but no less impressive five tracker. He begins with 'Tour De Acid', a punchy electro-meets-acid house workout featuring nods aplenty to Kraftwerk, before blurring the boundaries between formative acid house, bleep and deep nu-disco on title track 'Light Boom'. 'Take Your Time' and 'Manic and Cool' are both peak-time ready slabs of peak-time-ready house nostalgia, while closing cut 'Strictly Business' is a brilliant blend of bass-heavy breaks and acid-fired dancefloor psychedelia.

2026 Repress

Few producers embody the soulful heart of House Music quite like Move D. Being a mentor of the label since day one, All That Jelly brings together two defining and desirable cuts from David Moufang’s recent history to one record.
'To The Disco ’77' 2013 original version for the A-side and the 2017 live rework finds its way to the B-side, both freshly remastered by the amazing and sought after Andreas Kauffelt. 'To The Disco ’77', opens with a clean, electro-styled beat that has a restrained power and a controlled tension that gradually blooms as the keys start to lift the mood into something lighter. When the iconic 'to the disco' vocal sample cuts through, it’s like a wink
from the past, threading disco’s golden exuberance through the disciplined swing of classic house. The track is a seamless blend of Funk, Disco, House and Electro with each element raw yet playful, woven into a groove that never stops urging you forward. It’s a masterclass in balance: sleek but deeply human, nostalgic but alive in the moment. It's like listening to the history of dance music in one special track.
'To The Disco ’77 (Move D Live Rework)' stretches the idea out into something even more fluid. The groove loosens, the funk rises to the surface and the extended runtime gives space for guitar and bass lines to share center stage, riffing around each other with organic warmth. The 'to the disco' mantra remains, grounding the track in its celebratory intent. It’s the kind of tune that closes a night perfectly and makes you not want to leave the dancefloor. Reissued together, these versions show Move D’s masterful ability to bridge eras and genres, reminding listeners that the dancefloor is as much about emotion as it is about motion.

Rebolledo is back. And this time, he's bringing his own label: Rated R. What began as a party series — with chapters like Rated R and Wax Upon A Time — now mutates into a record label. Long overdue, if you ask us. Surrounded by talented friends from all corners of the globe, this is the new home for bringing everything back into focus. And yes, on wax too.
Naturally. For the first release, we're kicking things off with something equally overdue: Rub N Tug are back. The track? A certified underground wanderer. Loved, played, and passed around dance floors worldwide for well over a decade, yet somehow never properly released. Or maybe it was. Sort of. It's complicated. Now it returns with a remix of a remix, giving the whole thing a fresh coat of cosmic polish. As if that wasn't enough, Paulor takes things one step further with a particularly special jam of his own. Which means we're now dealing with a remix of a remix of a remix.

Confusing? Maybe.
Necessary? Absolutely.
Makes perfect sense to us.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

Mensch & Maschine. A concept. 13 tracks. One system. No coincidence. No compromise. Everything follows a logic. We live in a time where progress is no longer a goal, but a reflex. We accelerate without knowing the destination. We develop without questioning. We trust without understanding. We are driven by the idea that technology produces solutions. Without calculating the risks. Meanwhile, something new is emerging. A form of intelligence. Not human. Not emotional. Unstoppable. Consistent. Precise. Superior. Maybe not today. But eventually. Mensch & Maschine exists exactly there. Between what we create and what replaces us. This work does not provide answers. But it may ask the right questions. What happens when we are no longer the most intelligent entity? What remains of the human when systems begin to replace them? And who makes the decisions when we no longer decide for ourselves?

Dutch producer Kid Sublime presents his first EP on Makin’ Moves, here he teams up with Philly singer/song writer Lady Alma exploring elements of soul, broken beat and house.

The EP kicks off with The Grind a super smooth soulful house track, that catches your attention straight away with its groovy baseline that remains throughout adding to that Alma’s meaningful lyrics demonstrating the power of the music as she uses it as to get herself through the day.
The positivity continues on ‘Can You Feel It’ another quality piece of soulful house as the action moves to the dance floor as the beat and grove winds you in as once again Alma’s lyrics drop perfectly on the track.
The B side shows Kid switch it up on the broken beat production wiith ‘Ready To Meet You’ a touching song about two individuals excited to meet each other for the first time, a sure shot hit for the ‘bruk’ beat and dance heads alike!

2026 Repress

This is the third release from the upcoming "ROMANTIC FLIGHT" album. The song acts as la lamentation for all serious melody makers, muses, and dancers with poetic vocals, deep strings, and ethereal melody.

Wewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita-the visionary behind the cult album First Light -the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4p booklet with a new introduction by Paul Bowler.

Nearly a decade in the making, Catalyst is Julion De’Angelo’s long-awaited debut album, a bold statement of artistic vision and musical dedication. Released on his Maybee Hill Music imprint, the album blends driving rhythms with rich melodies, from the Beatdown house energy of “The Tundra” and “Antheme” to the expansive jazz textures of “Karma” and “Confused Ones.” Honoring Detroit’s legacy while pushing beyond it, Catalyst bridges soulful experimentation, organic composition, and contemporary dance music into a sound that is distinctly Julion’s own. Spanning six tracks across the double 12″ vinyl with full color double-sided insert, pressed at Mother Tongue Records.

“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.

“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.

“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.

“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.

ANDREW MACARI, JASON HODGES, GIL AGUILAR, and DANIEL ALLEN need no introduction, and this release is a must have for all house heads. Jackin', thick and soulful, these cuts are all made to keep the people moving and smiling. This release is why we love house music.

Smallville presents a very special album project – 'Tumbling Cycles' by Billus is here to stay! Ethereal deep-dubby house music from Australia, that feels like finding the hidden-treasure you were not even looking for.

„When I am most enjoying making music, I have this sense that I'm just watching cycles of sound happen and match up in front me on their own and I'm not really just doing anything and it's really nice. Most of these tracks stem from a small collection of
iteratively distorted percussive jazz and breaks that I kept coming back to and watching them cycle around each other.“

This is Billus' approach while he is out in the studio zone. As a result, we all get the chance to scuba-dive into his soundscapes like a warm blanket, interwoven rhythms and cosmic textures, that seem to have the ability to heal. The fresh feels was real,
every time the album went by.

Billus is praised for his impeccable mixtapes for a lot of very special occasions of doing not a lot- make sure to check these out. And Billus produces sprawling music- he released on Naarm labels Animalia, Vessel and Pollinate and he makes music to shyaway in the woods, picking up lil mushrooms if you feel like- or leave these untouched for the same effects.

So while listening to the Tumbling Cycles LP, make yourself comfy and try to work out your own personal scenario, in which Billus' music and his leftfield approach would flourish best. These tracks come with approval by the sweetest dancefloors
around the world and we can't wait to release these to the world. The 2x12“ comes with a stunning full-cover artwork from Stefan Marx.

xtal makes his debut on mule musiq with a four-track ep that explores the space between club functionality and left-field experimentation. opening with “off-axis,” warped electronic textures and elastic grooves subtly recall early-2000s dance music while retaining a distinctive sense of lightness. “ arches” develops a hypnotic atmosphere through intricate arpeggios and minimal rhythmic patterns, finding depth in repetition and subtle shifts. on “lilt,” warm dub textures and supple rhythms merge into a fluid, dreamy deep house excursion, balancing understated euphoria with an effortless sense of movement. closing with “morse signals,” fragmented synth phrases and playful rhythms evoke a kind of retro-futuristic communication, bringing together experimental instincts and dancefloor sensibility. moving freely between minimal repetition, dub-inflected atmospheres and off-kilter electronic rhythms, xtal makes a compelling first appearance on mule musiq, delivering a release full of unexpected details, musicality and understated eccentricity.

2026 Repress
Gockel steps out with Otorongo - a 4-track EP of deep, dub-infused techno touched with Detroit spirit. Heavy low-ends, driving rhythms, and atmospheric layers make this one built for heads and dancefloors alike. Each track carries its own depth and character, yet together they form a powerful and immersive journey. Released as the second chapter on Patent, this record showcases the label's evolving sonic identity.

Celebrating 30 years of ‘Filthy Lucre’ Live, the incendiary 1996 recording that captured the Sex Pistols’ explosive reunion tour of the same name, this landmark live album returns for the first time as a 2LP, set on red vinyl. The album documents Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock reuniting nearly two decades after their original implosion, revisiting the songs that transformed punk and the world we live in today. Recorded at the band’s Finsbury Park performance, the release delivers a raw and uncompromising snapshot of the Sex Pistols at full volume, reaffirming their enduring influence and confrontational spirit.

Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.

Green Tee Latte & Cappucchino Variant. Shall we add a little milk? Black Screen Records and Toge Productions have once again teamed for the vinyl repress of Andrew Jeremy's soothing, relaxing and jazzy lo-fi soundtrack to the coffee brewing and heart-to-heart talking simulator Coffee Talk on limited edition vinyl. For the first time, the soundtrack will be available on Green Tea Latte & Cappuccino Ink Spot double vinyl and comes in a beautiful gatefold sleeve with stunning original artwork by Natto (@vulpetrope) and liner notes by the Coffee Talk developer team. "Jazzy chords, hip-hop beats, vinyl crackles, a chilled mind and heart, and a prayer, that's all you need to make music for Coffee Talk. It's soothing, relaxing, and most importantly, keeping the warmth of your heart." - Andrew Jeremy, Game Producer / Music Composer

25th Anniversary Black Vinyl Repress.
Before he was Caribou, Dan Snaith was a 20-something student in a "crappy" Toronto bedroom, recording music on a beat-up computer that used to strain under the weight of digital recording.
Start Breaking My Heart was Snaith's 2001 debut, originally released under the name Manitoba. Twenty-five years on, it still sounds like an artist finding his voice in real time - rainbow melody, hopscotch percussion, and playground laughter stitched into warm, tactile electronic pop.
Reflecting on the record, Snaith said it was the first time something clicked - he'd been making music since his early teens, but this was when he first felt he understood what he wanted his tracks to be. That moment coincided with the chance encounter that changed everything: he met Kieran Hebden (Four Tet) at a UK festival, who helped Dan get this album released - the start of a career that has spanned a quarter century and many albums since.

One of the most influential dub albums ever made. The remixing techniques used – radically new for 1973 – helped transform the role of the producer and the engineer to that of creative artists in their own right.

First released in Jamaica in December 1972, Upsetters 14 Dub Black Board Jungle is widely regarded as one of the first full-length dub albums and a true landmark in reggae history. Produced by the visionary Jamaican innovator Lee “Scratch” Perry, it marks the decisive moment when dub evolved from incidental B-sides into a fully realized long-playing art form. At a time when Jamaican sound system culture was flourishing, producers were beginning to strip down popular reggae tracks into instrumental “versions,” emphasizing the bass and drums for sound system deejays to toast over while adding echo and reverb effects to make things more interesting and dynamic. While King Tubby, who was in charge of mixing the tracks, was pioneering the technical foundations of dub, Perry expanded the approach by adding the hypnotic and psychedelic sound effects that made this record so rich in ideas, rendering the album more conceptually bold.

The album reworked previously released rhythm tracks by the Upsetters, which were recorded between 1970 and 1972, shortly before Perry opened his own studio – the legendary Black Ark Studio in Kingston. Their tight, groove-driven playing provided a solid backbone for these radical studio manipulations. Using the mixing desk as an instrument, tracks were deconstructed in real time – dropping vocals in and out, isolating drumbeats, pushing bass lines to the front of the mix, and sending fragments of sound spiraling into space through the heavy use of a spring reverb and tape delay effect units. Silence became as important as sound, and the interplay of rhythm and echo created a hypnotic, immersive listening experience.

Upsetters 14 Dub Black Board Jungle established dub as a genre defined by creative studio intervention. It demonstrated that the remix itself could be the main attraction, influencing generations of reggae producers and resonating far beyond into the techniques and aesthetics of post-punk, electronic music, hip-hop, and ambient sound design. By transforming the studio into a creative laboratory and elevating the “version” to an art form, this foundational album reshaped not only Jamaican music, but the whole of modern music production culture.

Harmacy (30th Anniversary Expanded Edition) finally makes Sebadoh’s seminal 1996 indie-rock album available again, and adds 16 bonus tracks, including alternate versions, rare B-sides, BBC sessions, and live material from the Harmacy era.


Sebadoh was formed in 1986 in Northampton, Massachusetts, by Eric Gaffney and Lou Barlow (Dinosaur Jr., The Folk Implosion), with multi-instrumentalist Jason Loewenstein completing the line-up in 1989, and Bob Fay taking Gaffney’s spot in 1994. By 1994, the band had released five albums and more or less changed the pockmarked face of indie rock. Their albums were mostly home recordings, decried for their lack of sharp production, but embraced by fans of Barlow's intimate songwriting style, which owed as much to Joni Mitchell as Bob Mould. In 1996 Harmacy, their breakout sixth album, arrived, finding Sebadoh as conflicted as ever: torn between screaming punk and gentle crooning, replete with highly personal songs guaranteed to bring down even the most super-charged midnight ravers.


Released in the wake of The Folk Implosion’s Top 40 hit "Natural One," Harmacy became Sebadoh's first charting album in the U.S., and yielded the hit "Ocean." Interview said, “Harmacy is nothing short of a masterpiece.” The New Yorker called it a collection of “perfectly crafted, honest (read: ambiguous and emotionally twisted), impassioned songs about love and hate.” Harmacy was hailed as one of the best albums of 1996 by Rolling Stone, The Village Voice, and NME.

Volume 1 - Growth
Resurrection is a long-term musical work that has accompanied Christine Benz for almost twenty years. The first track was created in 2007 (track id - Born after Code), with another piece added nearly every year thereafter.
Throughout this time, she continued to produce other music while steadily developing her artistic language.
Musically, the album moves between minimal techno, ambient and experimental electronic music. Across different phases of her life, Resurrection gradually grew into an archive of her personal and musical evolution.
The complete work unfolds as a trilogy across Volumes 1-3.
At its core lies her fascination with sound as material. Rather than thinking in terms of conventional melodies, she works with textures, vibrations, and spatial relationships. A small number of elements give rise to complex sonic spaces, where minimal changes can have a profound effect. Mistakes, chance occurrences, and unexpected responses from the systems she uses also become part of the music. Even from chaos, remarkable structures
emerge. Whenever unplanned beauty reveals itself, she preserves it as a small “miracle” in which control and chance intertwine.
The complete work unfolds across three chapters: Growth, Structure and Resonance, exploring repetition, frequency, perception, consciousness and technological development in the relationship between humans and
machines. It moves from origin through the formation of an internal order towards connection and interaction.
Volume 1: Growth, draws upon the Fibonacci sequence and the spiral as symbols of natural development, with the music growing through repetition and minimal change into increasingly complex forms. Throughout the
project, technology appears as a tool, a partner and a mirror of our perception, raising the question of whether consciousness, responsibility and empathy can evolve alongside technological progress.
During the project’s long evolution, Donato Dozzy developed an interest in Christine’s distinctive sound design.
In 2021, this led him to propose his own interpretation of Our Determination for Volume 1, subtly reworking the track through his own musical perspective.
The artwork developed by Christine also went through a creative process of its own. The original photographs were taken in a basement around 2019, with a wet curtain draped over her. In 2026, she decided to transform
this visual world into a moving-image artwork. For the production, a film crew reconstructed the entire setting.
The video shoot demanded a great deal from Christine: after several hours beneath the wet curtain, the cold was no longer merely part of the staging. This elaborate creative process gives the artwork its distinctive character
and makes it an essential part of Resurrection.
The first chapter will be released in November 2026 as a double-vinyl edition housed in a distinctive gatefold sleeve with an inside-out finish, matte varnish, and partial raised spot UV varnish. Two further double-vinyl
releases, Structure and Resonance, will complete the trilogy. All three volumes will be released on Pirat Records.Records.

Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself.

Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz.

»Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.«

»Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks+Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«

Eve 6 is the debut studio album by American alternative rock band Eve 6, originally released in 1998. The lead single and popular song "Inside Out" became a hit and reached #1 on the Modern Rock charts. Other singles include "Leech", "Superhero Girl", "Open Road Song" and "Tongue Tied", all contributing to the album's wide recognition.

The album was produced by Don Gilmore, known for his work with Linkin Park and Good Charlotte. Eve 6 became certified Platinum, selling over one million copies in the United States and achieved high positions on the Billboard charts, making it a hugely successful rock debut.

Eve 6 is available as a limited edition of 1500 numbered copies on yellow & white marble vinyl. The record comes in a deluxe sleeve finished with leather laminate and includes an insert with lyrics and liner notes.

What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,

What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,

'Life As A Duck' marks the return of Fergus Sweetland's imprint Pressure Systems and the label's first vinyl release. The title originates from a joke between two friends - friends that are ducks. These ducks found one another whilst discovering themselves, trying to navigate a world built for humans. Being a duck is another way of saying neurodivergent; existing adjacent to everything whilst trying to make sense of a strange planet, determined to remain as true to themselves at the same time as trying to be accepted in society. The tracks were made in direct response to a challenge presented to Fergus from a close friend: strip it back. The test was to apply brain-licking sound design to as few elements as possible and work them into functional club tracks. 'Tickle My Tism' meets the challenge. Fergus' signature low end captures the hips as the tension builds, expanding into an unexpected soundscape with precise smoothness. 'Trouble In The Bubble' is a dark yet dubby rolling club track full of texture and soundscapes. Nørbak's remix of 'Trouble In The Bubble' strips things down further with the Portuguese Garage (PTG) version, providing a more club-focused slant to the tune. 'Mind Easer' closes out the EP. The concluding track was written to ease the mind of a fellow duck when their feathers were ruffled by life. Its soothing focus allows one to melt into the sound and calm their mind. It tells you that everything is going to be okay. Expect the unexpected as Fergus' distinct sound design carries you through a four-track journey that emphasises that less is more - from a duck just trying to do his best.

Kicking things off, Suavy AF sets the tone with a sensual, groove-driven cut that balances raw energy and playful finesse. Tight drums, cheeky edits and a laid-back swagger make this one built for both heads-down listening or late-night dancefloor moments. Lemon & Mint, showing they're not here to play it safe.

On the flipside, Synkro takes the original into deeper territory, stripping it back and reshaping it with weighty low-end and a more introspective swing. He offers a more hypnotic take that hits just as hard in its own way. A perfect counterbalance that rounds out the release with class!

Belgrade's rising underground force Ledeni makes his KUJE Records debut with Liminal State, an emotional four-track EP exploring vivid sonic narratives through driving rhythms and hardware textures, inspired by the roots of acid and dub techno.

A well needed vinyl re-issue of these sought after Break 3000 Electroclash classics from the period 1999-2003.
Originally released on Meuse Muzique in Maastricht, The Netherlands.

"Plastique People feat. Zusi" became a club hit again these past few years and saw the original vinyl prices soar on Discogs. "Last Emotion" was previously unreleased and brought back to live again thanks to the great Argentinian label "Calypso's Dream" who did the fine "The Rise Of Poseidon I" release three years ago that also included the fierce banger "Sacrifice", which became a hit back in the days when it was first featured on the massive DJ Kicks compilation by Tiga in 2003. The re-issue by "Calypso's Dream" sold out in a few weeks and was never re-pressed. The vocoder anthem "Emolotion" saw a vinyl only comeback on the cool Italian label "Mondo Phase" from Milan together with "Plastique People" in 2023, these limited copies were gone in days as well.

As a lot of people missed out on these Electroclash anthems by Break 3000 in the first vinyl re-issues we thought now is the right time to give them another run and make them available again. Enjoy!

All tracks were re-mastered by Salz Mastering in Cologne. Music & Art by Break 3000.

Rupert Marnie, co-founder of The Press Group and Remoto Records, makes his debut on Smallville with some serious curveball action.
Once you immerse yourself in the wonderful breadth of Hamburg’s subculture, it is quite likely that you will soon hear about Matthias Schubert also known as Rupert Marnie. Operating in the City's deepest part of the underground, Matthias provides some highlights that you should know about - may it be co-running a vinyl label (The Press Group) and an amazing record-store (remoto records) together with a group of like-minded friends or may it be as a DJ or Liveact, playing house, techno or ambient music at clubs like Golden Pudel, Südpol or Frappant in Hamburg or outside of town (Club der Visionäre/ Berlin, Bassiani/ Tblisi...)- there is quite a lot of things that Matthias has accomplished. And we are very happy to present his latest installment – four raw and gritty tracks, deeply driving yet bouncy, wobbly at times and definitely with a Curveball-appeal and no compromises.
Smallville 77 will be released 4th of September 2026 with a full cover artwork from Stefan Marx.

For the best part of the last decade, Dumfries-born, Glasgow-raised Liam Shortall AKA corto.alto has been in his home studio in the Southside of the Scottish city, cooking up frenetic improvisations, diligently wonky productions and genre-spanning compositions with a close-knit group of local collaborators. Now signed to Ninja Tune, the multi-instrumentalist producer, composer and performer announces “SOME SMALL FORTUNE”, which finds Shortall at his most expansive and unpredictably exciting, working with his widest range of features to date, collaborating with the likes of Mick Jenkins, Vector, anaiis, Oscar Jerome, Jacob Alon (Brit Award winner), BINA., Terra Kin and Eriff alongside his longtime Glaswegian band, drummer Graham Costello, Mercury Prize nominated Fergus McCreadie and saxophonist Mateusz Sobieski to produce an electronic, classical, pop and indie-influenced record that extends far beyond the confines of its meticulous making