Buscar:mas

Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes.

The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form.

Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music.

The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

A deeply hypnotic and beautifully crafted statement from one of the true masters of subtle groove and atmosphere. Playedby‘s label boss himself, returns to his very own imprint Tripsi Records with a stunning new vinyl release. Pure hypnotic brilliance, essential for selectors, collectors, and lovers of deeply crafted electronic music.
Tripsi Records is more than just a label. It is an audio-visual world created by Cristi Klebleev, where sound and image come from the same hand. Every release features only his own music, accompanied by original artworks painted by Cristi himself on canvas, making each record a fully personal expression, both sonically and visually. A perfect example of why Tripsi Records continues to stand out in a crowded world. Finest mastering and Cut, 180g Vinyl!

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Pariah’s cult debut re-issued! “The Kindred” brings you pure old school Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. Satan’s evolution for the time being came to an end here with this band, Pariah, in 1988. What Satan were going for with “Suspended Sentence”, could definitely be seen as a hint to the direction they would take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this album. The main lineup here is entirely the same from Satan and Blind Fury (vocalists aside).

Simply put, one could easily say they took “Suspended Sentence”’s interesting idea of “NWOBHM meets Thrash Metal” and basically focused on being even more aggressive this time. We might be throwing out the obvious here again, but if you are new to Pariah or perhaps Satan, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. For the most part with “The Kindred” their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classic NWOBHM solo’s, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics. The production and mix seems to be an improvement over “Suspended Sentence” and here the guitars tend to have more of a sharper edge, Jackson’s vocals are constantly in the clear and never overpowered by anything else, and overall there is a tougher vibe surrounding this.

Everything here is pretty damn heavy. While Tippins and Ramsey are really out there in a realm of their own, there’s great performances again by Graeme English on bass and Sean Taylor on drums. Overall you’ve got a whole package of virtuous musicians here that really mastered the beauty of balance. All in all “The Kindred” goes all the way with every track being fast and aggressive. Satan and Pariah are all typically made up of the same core members and definitely created some timeless and unique Heavy Metal.

‘UK House Sermon’ stands proudly alongside many US house fables and its delivery pays homage to the likes of The Streets, ‘Weak Become Heroes’, Ashley Beedle and Earl Zinger’s ‘Ghost Dancers’ and Daft Punk’s ‘Teachers’.

The 'UK House Sermon' trilogy is a behemoth of a project. The original concept of saluting the trailblazing UK House DJs was conceived by producer/remixer/DJ, Dan The Drum. He enlisted the amazing team of Stuart Patterson narrating, Carmy Love on vocals and musical maestro, Darren Morris on co-production and all additional instrumentation.

Legendary remix combo, X-Press 2 have waded in and rolled up their remixing sleeves to deliver two massive slabs of prime time house niceness. The 'Wild Pitch' remix is a dance floor destroyer of epic proportions with the 'Give Thanks' remix creeping up on you like a thief in the night. A magnificent brace of musical interpretations. Hats off to everyone involved.

Bristol experimental band SUGAR HORSE are delighted to announce that their third album, Not A Sound In Heaven, will be released on 10th April 2026 via Fat Dracula Records.

To celebrate the news, the band are sharing the bruising lead single ‘Secret Speech’, available to stream on all good digital service providers from 12th February 2026.

Also announced today are a run of April 2026 UK album headline tour dates and an appearance at StrangeForms Festival 2026, with tickets on sale now (see below for full listings).

“We are fortunate enough to live in what is generally known as ‘The West’,” says front man Ash Tubb of the lyrical themes behind the new track. “I say fortunate with gritted teeth, because I know—as I’m sure the reader knows—that living in the West isn’t always rosy. The vast majority of people struggle everyday to feed, clothe and house themselves. Let alone receive adequate healthcare, schooling and workers’ rights.”

“We are, however, where all the world’s wealth is hoarded. We are at the centre of Empire. The people outside of this empire—those of the Global South—have had their resources extracted and their populations exploited by our own governments, with very little given back in return. This won’t go on forever. It will inevitably end, as all great empires do.”

“We in The West have a choice to make in the meantime; either help create a new, fairer world, or let the greed of our ruling classes become the undoing of all of us.”

The first glimpse of new material from the quartet, ‘Secret Speech’ starts as Not A Sound In Heaven means to go on—a politically-charged wrecking ball of a song that smashes its way through the often unbelievable chaos and brutality of the 21st century with vitriolic malice.

How do you capture the machinations of the geo-political industrial war machine—and all the horrors that go with it—in the studio, without seeming trite or crass? That’s the question that Sugar Horse have posed themselves on their forthcoming third album Not A Sound In Heaven, and they must surely be one of the only bands in existence capable of delivering on just that premise with both musical substance and cutting philosophical insight.

“Ever since I was born I can remember visions of war, famine, and death being beamed directly into my living room via the magic of television,” says Tubb of the record. “These visions were accompanied by newsreader narratives designed to either humanise or dehumanise the people involved. We humanise our government’s allies and dehumanise their enemies. This is taken as common sense, or even wisdom to some degree. People watch the news and accept it as fact, simple and true.”

“As a person gets older they move in one of three different directions with this acceptance of reality; They embrace what they’re being told, they fall into a kind of trust free nihilism or they learn that there are deeper narratives at play.”

“Not A Sound In Heaven is an aged acceptance of the latter. An acceptance of sitting at the centre of a global empire of both military and economic dimensions. An acceptance that the stories we’re told as a nation, or what’s generally in the zeitgeist, isn’t necessarily reality itself.”

“How does a person cope with the weight—and, frankly, the guilt—of a society that perpetuates such distinct inequalities? A society that thinks a bit of killing abroad is fine, as long as it improves the lives of people at home. You can see why so many choose to embrace it. Hell, nihilism seems pretty sensible. Once a person decides upon pursuing a degree of truth however, things get a bit depressing. Beyond depressing...maddening.”

“This album explores this kind of breezy, frivolous subject matter in a manner that will no doubt be uplifting to the listener and massively financially rewarding for the artist.”

The new album follows on from their standalone AA single ‘What’s Your ETA? Let’s Have A Tear Up’/‘Would You Like Me To Be The Cat?’ which was released late last year as a surprise double drop.

2026 Repress

One of the all-time greats in electronic music, Uwe Schmidt-better known as Atom TM-joins the Sonic Groove roster with his latest masterpiece, "Exotrax". A true visionary, Uwe's discography is legendary, and this new release is no exception. It's a slickly reduced, hypnotic four-track journey in industrialized techno, showcasing his signature style-minimal, powerful, and intensely immersive. "Exotrax" which adds another brilliant chapter to his already remarkable legacy. Don't miss this one.

OTON releases limited edition vinyl and CD box set of Alva Noto's Xerrox series.

Pioneering in his approach to digital sound and its materiality, Alva Noto (Carsten Nicolai) began his ongoing exploration of sampling, degradation and recontextualisation with the Xerrox series in 2007. Over the years, the project has evolved into one of the most distinctive bodies of work in contemporary electronic music, situated between minimalism, experimental sound art and digital abstraction.

Across five albums, Xerrox Vol.1 (2007), Xerrox Vol.2 (2009), Xerrox Vol.3 (2015), Xerrox Vol.4 (2020), and Xerrox Vol.5 (2024), Nicolai's method evolves from sample-based work toward original composition as he deconstructs and reassembles source material into precise, sculpted sound worlds that are at once minimal and emotive.

Remastered in collaboration with Bo Kondren of Calyx Mastering, the Xerrox recordings of Volumes 1, 2, and 3 are made available alongside Volumes 4 and 5 on vinyl and CD under the title 'reMASTER', presented in a beautifully designed box featuring original artwork by Carsten Nicolai.

Amulets is the solo project of Portland-based audio and visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music. Amulets has steadily built a catalog defined by tactile intimacy and patient exploration. Deeply immersive, the album navigates the dreamy boundaries between the tangible and the ethereal, where sound behaves as memory itself: unstable, layered, and quietly transformative. Known for his ability to weave soundscapes that evoke powerful emotions with minimalistic instrumentation, Taylor's newest project is a masterful exploration of mood, atmosphere, and texture.Throughout the ambient soundscapes is introspection, melancholy, and an almost hypnotic calm. The album resists forward motion, instead inviting the listener to linger inside its evolving textures, to sit with what's left behind rather than rush toward resolution. Central to Amulets' identity is Taylor's insistence on working, quite literally, outside the box. While many contemporary experimental artists rely heavily on software, Taylor's process remains rooted in physical interaction with sound. "This album differs from previous albums because it's a lot of found sounds, song fragments, and other samples that I have that I wanted to fuse together. I also heavily relied on a lot of ambient guitar and live guitar recording to marry all the sounds together." (Randall Taylor) FOR FANS OF Tim Hecker * Ben Frost * Lawrence English * Alessandro Cortini * This Will Destroy You * Mono * Windy & Carl

Amulets is the solo project of Portland-based audio and visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music. Amulets has steadily built a catalog defined by tactile intimacy and patient exploration. Deeply immersive, the album navigates the dreamy boundaries between the tangible and the ethereal, where sound behaves as memory itself: unstable, layered, and quietly transformative. Known for his ability to weave soundscapes that evoke powerful emotions with minimalistic instrumentation, Taylor's newest project is a masterful exploration of mood, atmosphere, and texture.Throughout the ambient soundscapes is introspection, melancholy, and an almost hypnotic calm. The album resists forward motion, instead inviting the listener to linger inside its evolving textures, to sit with what's left behind rather than rush toward resolution. Central to Amulets' identity is Taylor's insistence on working, quite literally, outside the box. While many contemporary experimental artists rely heavily on software, Taylor's process remains rooted in physical interaction with sound. "This album differs from previous albums because it's a lot of found sounds, song fragments, and other samples that I have that I wanted to fuse together. I also heavily relied on a lot of ambient guitar and live guitar recording to marry all the sounds together." (Randall Taylor) FOR FANS OF Tim Hecker * Ben Frost * Lawrence English * Alessandro Cortini * This Will Destroy You * Mono * Windy & Carl The single colour edition comes as Lavender vinyl!

Zum ersten Mal seit einem Jahrzehnt sind die lebenden Fuzz-Legenden Truckfighters mit brandneuem Material zurück und entfachen die Rockszene erneut mit ihrer rohen Energie.MASTERFLOW - das Gleichgewicht zwischen Disziplin und Freiheit. Eine vibrierende Resonanz auf mehreren Ebenen - Körper, Geist, Raum, Zeit und Publikum in perfekter Harmonie.Tauche ein in MASTERFLOW und lass dich von den donnernden Klanglandschaften mitreißen, die nur Truckfighters erschaffen können.Das neue Album entfesselt eine unerbittliche Welle aus fuzz-getränkten Hymnen, massiven Riffs und hypnotischen Grooves, die die Desert-Rock-Wurzeln der Band widerspiegeln und ihren Sound zugleich in neues, weitläufiges Terrain vorstoßen lassen.Ganz im klassischen Truckfighters-Geist ist die Musik auf MASTERFLOW sowohl dynamisch als auch reich an Variationen - sie wechselt mühelos zwischen erdrückender Schwere und ausgedehnten, psychedelischen Passagen. Von erdbebentiefem Bassfundament bis hin zu aufsteigenden, melodischen Spannungsbögen balanciert die Band meisterhaft rohe Kraft mit Feingefühl und Flow. Jeder Track atmet, entwickelt sich und trifft mit klarer Absicht - eine nahtlose Reise, angetrieben von Schweiß, Fuzz und dem rein verzerrten Geist des Rock 'n' Roll.Dieses Album ist gemacht für überfüllte Clubs, endlose Highways und Lautsprecher am Limit - ein klangliches Monolith, das noch lange nach dem Verklingen des letzten Tons nachhallt.Eine große Europa-Release-Tour startet Mitte April und zieht sich durch den gesamten Mai, bevor sie nahtlos in den Festival-Sommer übergeht. Ob im Studio oder live auf der Bühne: Truckfighters liefern ein unvergessliches, überwältigendes Klangerlebnis.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

Originally released in 1994.

The legendary album from South Africa’s House and Kwaito master Doctor House being reissued for the first time with a full remaster from the original DAT tapes. Nelson Phetole Mohale released a series of albums as Doctor House. Cutting his teeth in the 80s as a session player for a host of big names like Volcano, Senyaka and Obed Ngobeni, he moved on to programming for acts like La Viva and Jivaro, also contributing to Carlos Djedje and others. Still barely out of his teens he became one of South Africa’s first rappers as part of PT House, co-written and produced by Danny Bridgens. Their debut album Big World was released in 1991 and followed by Big City Taste a year later.

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

EP2 Limited 2 x 12" Vinyl & Digital Release The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP — but far too important not to be heard. The double pack also includes the title track off the forthcoming album ‘Now More Than Ever’, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording sessions. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration. The EP features seven tracks, including reimagined and extended versions of classics such as Kenlou Cult Classic ‘Moonshine’, Jackson and Heron’s ‘Lady Day and John Coltrane’, and ‘Home Is Where the Hatred Is’, plus a deep focus on ‘Racetrack in France’ — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album. Highlights include: The MAW (Masters at Work) Live Mix of ‘Moonshine’, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone. A sprawling 12" version of ‘Home Is Where the Hatred Is’ — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance. The 12” version of ‘Lady Day and John Coltrane’, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement. A masterful reworking of ‘Racetrack in France’ featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The instrumental version is also included in this 2 x 12” EP. Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever ‘EP Two’ is an essential release — a bridge between the past, present, and the music still to come.

Denver Cuss presents her first 7" single release and her debut with UK independent label LRK Records.

'Crossed My Mind' backed with 'You Don't Get It' is out on streaming services on the 30 January, with the 7" out on the 27th February. It follows her 2024 album 'Leaving Me', which was described as "a nostalgic masterpiece" - Sommer Zeit magazine, earning a feature in Rolling Stone Germany, and a series digital singles, which have been played on the Craig Charles Funk & Soul Show on BB6 Music as well as Noble & Heath's Soho Radio show.

Denver is an Irish, London-based musician and producer, who makes classic R&B and Soul-influenced music, having graduated as the prize-winning jazz vocalist from the London College Of Music. She has since stepped into a world of live and session singing, alongside her solo project, delving deep into girl-group harmony, Northern Soul and classic Rhythm and Blues.

For this release, she captures the essence of '60s record-making, working with collaborator/producer PM Warson and engineer Ed Deegan at the all-analogue Gizzard Recording in East London. Backed by some of London's finest young musicians, she cut her vocal live, bypassing the trend for layered productions and imitation, in favour of a direct, live and soulful approach, direct to tape. The result is two of the most authentic '60s Pop/Soul sides you're likely to hear this year

Vinyl LP pressing. Bad Brains is the self-titled debut studio album recorded by hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as The Yellow Tape because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing. This Punk Note edition comes with alternate packaging artwork from designer John Yates (Stealworks). The artwork is a nod to Reid Miles and Francis Wolff, and their amazing work at the Blue Note label

Ten years ago, Norrköping's own Skraeckoedlan released their second full-length album, Sagor (Fairy Tale/Stories). Spring 2026 marks its 10th anniversary, and the band is celebrating with a newly remastered edition along with a special tour that once again invites listeners back into their myth-filled universe. Rooted in the Riff-driven heaviness of stoner rock and the storytelling spirit of progressive rock, Skraeckoedlan craft sonic worlds where myths, cosmic beings, and the forces of nature feel as alive as the guitars driving them. Back in 2015, they released the concept album Sagor, weaving together their love of grand narratives with their massive, immersive sound - a musical journey through Nordic legends, timeless natural mysticism, and entirely original realms. It became a landmark release, firmly establishing Skraeckoedlan as one of Sweden's most ambitious and imaginative heavy bands. Today, they stand as one of the Nordic region's most distinctive and celebrated fuzz acts-musicians who don't just write songs, but entire stories. In 2026, the band will take Sagor back on the road, celebrating another major milestone together with their fans! But wait, there's more from our friends in Skraeckoedlan..!

GOLLIWOG is billy woods' first album in two years, preceded by 2023's Maps, his second collaboration with producer Kenny Segal. That nimble travelogue has little in common with woods' newest work, despite the fact that Segal shows up a couple times in the credits. GOLLIWOG is a haunting collection that weaves horror, humor, surrealism and Afropessimism into a cinematic tapestry, aided and abetted by a murderer's row of producers. African zombies, time traveling trap cars, malevolent ragdolls and a dying Frantz Fanon are just a few of the revelers in woods' danse macabre. GOLLIWOG features production from The Alchemist, Kenny Segal, EL-P, Conductor Williams, Preservation, Messiah Musik, Sadhugold, Ant (Atmosphere), Shabaka Hutchings, Steel Tipped Dove, DJ Haram, Willie Green, Jeff Markey, Saint Abdullah, and LA-based experimental jazz trio Human Error Club. Meanwhile, woods is joined on the mic by Backwoodz labelmates ELUCID and Cavalier, along with rappers Bruiser Wolf, Despot, Al.Divino, and singer-songwriter Yolanda Watson. GOLLIWOG is another triumph in the woods oeuvre, as layered and compelling as anything he has ever done. A black carnival pitched in a muddy field overnight, empty rides whirring and clattering in the dark.

Limited Edition 12" Picture Disc Vinyl featuring the 16th studio album from the undisputed masters of death metal!

The ultimate 1999 Death Metal masterpiece on limited edition 12" picture disc!

Death Metal's dissonant masterpiece returns on picture disc! Revisit the 1996 seminal classic from New York's titans of extremity.

The absolute definition of 80s US power metal, back on limited edition picture disc!

The definitive USPM classic. Now on limited edition picture disc!

Pete Blaker returns to RNT with 2 glorious long-play sides of edit mastery. On side A, Miami Sax is a bit of funky 80s fusion for the jazz Uncs, teased out and looped up to dizzying perfection, with the blissful soul of Must Be Love on the flip, for the disco spinners . Both extended loopy journeys of dancefloor euphoria, already getting big support from Harvey, Hunee and company!

Hard rock paired with a pinch of cowpunk and hearty Danish gruffness: This unique mix has earned D-A-D a passionate fan base whose loyalty and devotion extends far beyond Scandinavia. A bond just as deeply rooted, as that between Hamburg dark rock giants MONO INC. (whose current album Darkness once again conquered the top spot on the German charts) and their raven family. Back in 2008, MONO INC. paid tribute to D-A-D with a cover version of “Sleeping My Day Away” and today, what belongs together rocks together, as MONO INC. plays D-A-D! What's more, in MONO INC.'s version of Grow or Pay, their epic, melancholic dark rock meets the unmistakable raspy voice of D-A-D singer Jesper Binzer.

“We've adored D-A-D since we first saw them live in the early 1990s,” explains MONO INC. mastermind Martin Engler. “The fact that we were able to get Jesper Binzer on board for our version of ”Grow or Pay“ and that D-A-D will also be joining us as special guests on our 2026 tour in Bremen and Munich is almost too much of an honor.”

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.

A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.

When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.

The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.

Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.

Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

Powerful lyrics are voiced by Jah Rueben Mystic, with the inspirational Ital Horns brass section.

Jah Rueben Mystic vocal evokes the fighting spirit and hopefulness of a message sent out to defeat the arrogance and greed of the capitalistic leaders of the world.

Lock up riddim, composed by Kieko De Stefanis is an original Roots Dub tune.

The Dub -produced by Gaudi- is a musical journey through the sound of 70's roots, Gaudi here adds his own analogue trademark creativity and psychedelic-dub mastery effects to the track.

A central figure in Belgian techno, Border One's work has also been an international reference for consistency and direction since his early releases. An artist for artists with true commitment to his sound, Steven Petit's impact in the studio and behind the decks is admired by anyone who has done their homework. His music describes tight pressure under curious, modular-like sequences that stretch through the timeline of each track. The scale of minimalism remains key here, and the Belgian wastes no time when tunneling through his erratic tracks. Jazz-like dissonance drives his tension and although each element is carefully measured, the records truly command dancefloors. 'Inner Radiance' is no different. The Fuse resident takes his game one step further, pushing harmony to hysteria at every turn.

The EP skips foreplay and dives straight into the extremities of Border One's sound. In 'Reducing Valve', sustain is the key ingredient to this chaos. Slowly ripping the synth sequence into chords, Border one maintains a firm hold on the track's tension while remaining playful with the main theme. 'Sensory Reset' is more of a lurker with its shifting pad that spreads across the stereo image. This track is characterized by a grim urgency as opposed to its predecessor's progressive spiral. Keeping things low to the groove, the A2 swings about satisfyingly while Border One tinkers at his 909 constructions. Continuing his work on resonance, 'Transfigured' balances obscurity and surrealism. With a sequencer on the loose and a drum machine to emphasize it, the Fuse resident guides his audience into twists and turns at a constant pace. Here, we explore the dichotomy between the warmth and cold of a modular sound in techno, something frequently done but rarely mastered. Border One puts his years of experience to work to provide a combination of flair and balance to his tracks, something that is clearly translated in this EP. Of course, the final track - the title track - 'Inner Radiance' brings something very special to the table. The power of simplicity can never be underestimated and Petit knows just how to use it. With a strong core to an already sturdy track, the conclusion is spectacular. Emphasizing the electrifying nature of the record, Border One adds vintage chord stabs that fit right in with the sharp lead to create a powerful and memorable dancefloor experience. Not as much of a wind-down more than it is a gripping cliff hanger for his future releases, Border One provides once more an EP that underlines the true ethos of techno music.

Der „vielleicht beste Ravel-Interpret unserer Zeit« - Scherzo
Nun endlich auf Vinyl erhältlich! Seong-Jin Cho’s weltweit gefeiertes Album “Ravel: The Complete Solo
Piano Works.”
Im Sommer 2024 stellte sich Cho dem historischen, umfassenden Werk in der Siemens-Villa in Berlin:
»Ravel wusste, was er wollte, deshalb versuche ich, mich an seine genauen Spielanweisungen zu halten.
Miroirs zum Beispiel ist technisch unglaublich herausfordernd. Es ist gefühlvoll und dramatisch, voller
Fantasie und Farbe. Fast ist es unmöglich, jeder Angabe zu folgen, aber ich gebe mein Bestes!«, so Cho.
Das scheint zu gelingen, wie jüngste Kritiken nahelegen: Nach einem Recital in Madrid kürte Scherzo Cho
zum »vielleicht besten Ravel-Interpreten unserer Zeit«, während The Scotsman nach dem Auftritt beim
Edinburgh Festival konstatierte: »Den Ravel-Part des Konzerts spielte Cho mit kaum fassbarer Präzision
in kontrastierenden und reichen Farben, er war wie im Fluss der Musik, was ihr erlaubte, voller Leichtigkeit
und Wärme zu atmen.«
Zehn Jahre nach dem Gewinn des Chopin-Wettbewerbs bestätigt sich Chos Status als einer der bedeutendsten Pianisten unserer Zeit, und der erste Teil dieser maßstabsetzenden Aufnahmen sind nun endlich
auch auf 180g-Vinyl erhältlich.

Mango Glow Edition. Das experimentelle Berliner Trio ZAHN kehrt mit seinem bislang elektrisierendsten Werk zurück. Eine üppige Fusion aus Schwere, Elektronik und halluzinatorischen Farben. Monolithische Grooves treffen auf synthetischen Schimmer. PURPUR strahlt Spannung und Gefahr aus und pulsiert mit Tiefe und Dichte. Bekannt für ihren intensiven, treibenden Sound, der den unerbittlichen Marsch einer Welt am Abgrund widerspiegelt, vertieft das Trio ZAHN - Chris Breuer, Nic Stockmann und Felix Gebhard - seine klangliche Erkundung mit einem Album, das gleichzeitig elektronischer und rockiger ist als seine gefeierten Vorgänger. Purpur orientiert sich am lebhaften Cover des Albums - einer Explosion aus Trauben und Beeren, die seinen üppigen, farbenfrohen Sound widerspiegelt. Das Album verbindet kraftvolle Genres zu etwas Frischem und Elektrisierendem: schwere Fundamente treffen auf reichhaltige elektronische Texturen und schaffen Schichten aus Farbe, Komplexität und einem Hauch von halluzinatorischer Süße. Erneut in Gyhum mit dem Toningenieur Peter Voigtmann (ex-The Ocean, Death By Gong, Heads.) aufgenommen, tritt Purpur in die Fußstapfen der bisherigen Werke der Band, markiert aber auch einen mutigen Sprung nach vorne. Gastbeiträge von Fabian Bremer (Radare, AUA) und Kjetil Nernes (Årabrot) vertiefen das Gefühl der Unruhe und Faszination des Albums, während Magnus Lindberg (Cult of Luna) mit seinem Mix und Mastering dem Album die Tiefe eines unterirdischen Pulses verleiht - knackig, schwer und lebendig mit mikroskopischen Details. Während ,Adria" eine lebhafte Flucht durch Krautrock, Dark Jazz, Noise Rock und Post-Punk bot, zieht ,Purpur" die Zuhörer in eine dichtere, komplexere und eng verwobene Klanglandschaft. Das dritte Album der Band ist ein berauschender Wirbel aus synthetischem Puls und physischer Schwere - ein Album, das sich eher wie fermentiert als wie komponiert anfühlt.

First time reissue of JP free jazz rarity, pre-Seikatsu Kōjyō Iinkai group.

The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo’s free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In Free Jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the centre: a cramped basement beneath a rice shop, seating just 20 people. Musician-run, operated on a shoestring, these spaces offered a vital site for community, creativity, and a small measure of financial independence — “even though it was in a basement, in spirit it was a loft.”

Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene.

In early 1976, Umezu and pianist Yoriyuki Harada — recently returned from New York’s loft jazz environment, where they had played with musicians such as David Murray and William Parker — formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning “mass evacuation,” pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms.

They returned to Alone on December 24 to record Sono zen’ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. The closing “Ballad for Seshiru,” dedicated to Harada’s newborn son, unfolds over a delicate piano melody that moves into emphatic chords as intertwining alto lines rise and spiral.

Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

Re issue of the album on LP as previous versions had all sold out and were deleted.
Global Dance phenomenon Sammy Virji’s sophomore album ‘Same Day Cleaning’ sees the renowned party starter deliver UK Garage to the world like no one before. The new album is rooted in Sammy’s unmissable club ready production style and features a slew of legendary rappers & producers. The project lands after an insane year of global festival and headline touring for Sammy. ‘Same Day Cleaning’ follows Sammy’s hugely successful ‘If U Need It’ and his follow up singles including club mainstay ‘Damager’, with Interplanetary Criminal. The album also features Sammy’s massive link up with British icon Skepta, ‘Cops & Robbers’. ‘Same Day Cleaning’ is bigger, bolder and promises to propel Sammy Virji even further onto the global dance-music stage

Engaging artistically with the unique oeuvre of the Pet Shops Boys through the form of cover versions is both an appealing and risky endeavour. Hundreds of such adaptations already exist, and covering songs is a complex undertaking, one that Neil Tennant and Chris Lowe themselves have mastered to perfection.

Exciting cover versions involve a skillful game of allusions and references, quotations and are entangled with personal as well as borrowed memories. Cover versions are homage, appropriation and interpretation — in many ways like adding letters in a Scrabble game: a new word, a new meaning emerge. Or, in the best case, a new song.

With her first debut EP ’Heart’, due for release in April 2026, Cat Storm dives into this labyrinth. It includes beguiling and intimate versions of 'Heart', ‘The Way It Used To Be’, ‘A Man Could Get Arrested’ and ‘Home And Dry’. The artist behind Cat Storm is Carmen Strzelecki. Born in Lörrach, raised in Mannheim and relocating to Cologne in the 1990s, Carmen has become an integral part of the Cologne art and culture scene since founding her publishing house ‘StrzeleckiBooks’ in 2009.

She produced her EP herself in collaboration with some of the grand masters of the Rhineland indie and electro aristocracy. The remixes by Christian Skrzypek, oskø and Clima ensure that it is well-suited for clubs.

Miles Davis & Quincy Jones - Live At Montreux Rhino Reserve
The Grammy* Award winning collaboration of Miles & Quincy revisiting the classic Gil Evansarrangements that Miles originally recorded decades before with Gil. It's rare for Miles to lookback and these performances are superb. Recorded live at the Montreux Jazz Festival on July8, 1991, these are some of Miles' final recordings.Cut by Matthew Lutthans at The Mastering Lab and pressed on 180g black vinyl at FidelityRecord Pressing

Knowone! Fully recycled vinyl, recycled cover. 190g. Analog mastering, vinyl only. Manufactured by Matter Of Fact Vinyl - Andre Kronerts own pressing plant.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Placid aka Paul Wise is the operator in chief at ‘We’re Going Deep’ – an online community and record label born out of a lifelong love affair with the many shades of electronic rhythm, and an obsession for collecting records since 1988. With a mission to share and release new music via his We’re Going Deep and We’re Going Back imprints, you’ll find only the best in underground Acid, Electro, IDM, Techno and House for the dance floor and your listening pleasure.

Up next in the label series, We’re Going Deep is excited to welcome 4 tracks of fresh material from pivotal electronic music maker Gerard Hanson, under his much prized E.R.P. alias. Renown for keeping his profile below the radar and letting the machines do all the talking for him. Hanson’s work as a producer has been much coveted since his debut back in the mid 90s as Convextion. Hailing from Dallas, Texas, he has become something of a hero in the underground Electro community. His work as E.R.P. has left a huge impression on labels such as Frustrated Funk, Bleep43 and Semantica over the years. Renown for his distinctive shimmering machine funk aesthetic, he ably summons the outer reaches of deep space listening thanks to his innate mastery of brooding, sci-fi soundscapes that few can equal.

Following releases for Apnea and Synchrophone, Hanson lifts off with a heartfelt tribute to our recently departed friend James Baker on ‘One4ReKab’. Ascending with the pulse of a steady kick drum, precision snares take hold as whispered vocals seep in and out of consciousness. Underpinned by trademark angular bass tones, soaring strings inject a deep sense of foreboding as all the parts fuse with a fierce glow. Stepping things a notch back as the sonic trajectory levels out, ‘Onward’ takes a more contemplative stance in a fusion of hypnotic drum programming that leads the fray whilst subtle arpeggios flow, all whilst wistful melodies wind you in.

Over on the flipside, Hanson revisits his 2008 composition “Multipole Vector” to launch yet another interstellar cruise by mission in the shape of “Multipole Vector II”. Leading with the simplest of bass progressions and metronomic beat programming, twinkling synth elements reach across the void as chords sweep to and fro to powerful effect. Ending out on the uplifting yet almost IDM inflected tones of “Self Unemployed”, this low tempo air rounds the EP off on an equally captivating note filled with playful charm, that makes this collection of music all the more pleasing.