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Most Excellent Unlimited is happy to announce the next release in its series of collaborations with master DJ and editor "Mr. K". Two exceptional deep classic album gems skillfully cut down to a maximum 7" 45rpm format, Luther’s “Funky Music (Is a Part of Me)” and Zulema’s “Giving Up.”

Long before “Never Too Much” and his other solo hits, Luther Vandross was an in-demand backup singer and vocal arranger, working with luminaries like Carly Simon, Bette Midler, and Donna Summer, along with his stand out performances in Change, Bionic Boogie, & so many more. Perhaps his most significant role, however, was backing David Bowie on the 1975 Young Americans album. It was during these sessions that Bowie heard Luther’s song “Funky Music (Is a Part of Me)” and re-tooled it to become the Bowie/Vandross joint composition “Fascination,” which went on to become a successful Bowie single.

For the latest edition of Most Excellent Unlimited’s series of edits, Mr. K has gone back to the original source, credited to the group (not the solo artist) Luther (which also features Christine Wiltshire). Mr. K's technique on this edit is cleverly subtle, in the process giving us the first opportunity to get almost the entire full-length song on compact 7-inch wax, keeping that irresistible building energy that places the track firmly on dancefloor-friendly territory.

“Giving Up” was the opening track on Zulema’s second LP, and given the drama of the intro, with its rolling piano, string ensemble, and piercing guitar, it’s not hard to hear why it was effective in that role. Mr. K’s edit benefits from a crystal clear remastering in which each element of the band is distinct in the soundfield, led by Zulema’s gutsy vocals upfront. Originally a 1964 Gladys Knight tearjerker that crept along at a tango’s pace, Zulema’s 1973 cover gives the song a new, powerfully soulful arrangement, championed by such disparate eras and tastemakers as Nicky Siano at the Gallery in the ’70s and breakbeat hunters the Beatnuts in the ’90s that has easily found favor with a wide variety of listeners and DJs, and this new issue should solidify that position. Never before available on 7-inch, “Giving Up” is a bonafide funk and proto-disco classic —

Time to welcome Session Victim back to Delusions Of Grandeur following some heavyweight releases on Toytonics and Rhythm Section International. The German duo show absolutely no signs of slowing down continuing to impress with their unique sound which combines organic live elements, fat, floor-filling beats and a deep, musical approach. Here on The Intangibles EP we’re treated to three original tracks spanning high energy jazz disco meets techno, soulful uplifting house and downtempo blunted beats.

Opener Motivation features spoken word from Ras Stimulant backed by urgent looping Rhodes stabs and an uptempo disco groove. An instant Session Victim dance-floor shaker if ever there was one, the energy cranked up to the maximum without losing sight of that all important groove.

Next up we have Dromedary Twist which keeps up the pace but goes deeper on the jazzy organ chords and lays down a heavy syncopated bass- line which ensures the funk factor remains present and correct.

Rounding out the EP in fine style, Green Run drops the BPM’s as we head into lazy, hazy, blissed-out jazzed-up beats territory. Lush strings and layers of analogue synths come together on this simple yet enchanting little tune which compliments the other tracks perfectly and will appeal to fans of SV’s more home-listening output from their 2020 LP Needledrop.

Our dubby ‘detective’ Axel Larsen is back for another 10 inch on the « Special » series (MMS), establishing the « Criminal Music » genre for good !

You will find in this EP a concentrate of foggy atmospheres, heavy basslines, tension rhythms and dark melodies that will fit perfectly in your next Cluedo night. It can also be used during a GTA session, but be sure that its maximum effect will be in a dark room full of crazy motherf****rz 

Limited to 300 copies, don’t snooze !!

This mini album was originally published on Semantica Records in 2010 as a extremely limited 100 copy only reference. 12 years later we recover this for the Drivecom’s catalogue and fans of the label. This is a re-press edition with a new mastering and cutting, focused in the audio quality more than trying to get a maximum volume or gain. So this is one of the reasons that the side A cutting is trying to keep the tracks in the outside area of the vinyl in the most possible way, trying to avoid distortions or other artifacts from the inner vinyl curvature.

This 12” contains the same tracks on vinyl as the original edition but a couple of bonuses as a digital download. Those tracks called "Axonal Destruction (1999 Rework)" and "Automatic Reconstruction" were never released.

Note: For the people who purchase a physical copy in the shops, please take a picture of your purchase and share it on social networks, then we’ll send you a special download code.

In the musical ­eld, this reference was introduced with minimal and repetitive mental synth lines, mainly triggered from TB303 sequenced lines as the vertebral spinae, slow and progressive cadence rhythms with a touch of experimental electro and vocoders on board, exception is the ­rst tittle “Ultralink” which gives the name to the reference and it’s also the most club-oriented track in the mini album. About the thematic is all surrounded of such as mental driving musical lines so all the tittles were focused in the neuroscience

Another disastrous POPPERS attempt at making people feel like dancing, this time featuring a promo release for DJ Tranquilos - a completely unknown "artist", never booked before DJ, virgin territory for bookers. Guaranteed to offer anything but tranquility to the listener. French vocal epic HiNRG pop cover and Soca dancefloor bulldozer on the A side. Heavy percussive acoustic drums with extraterrestrial synths and a sound effects DJ tool on the B side. Mastered for maximum dancefloor impact - only for true Peak Time DJs.

Ninth release from our label Rezpektiva featuring select cuts from the past that have made an impression on us over the years, released with the maximum respect.
Rezpekt to Xs-Ive House !

Los Angeleno and all around swell guy Dino Soccio has been building his rep as a premier selector and editor with his own Pleasure of Love edits series, and now joins the RNT ranks with an EP of rarified rework gold.

The record kicks off with the meteoric energy of 'Star Beaming', a rolling interstellar disco stomper, then lays back with the low-slung 'Fred’s Groove' and jazzy balearic groove of 'Laid Back', finishing off with the bouncey early-'80s boogie feel of 'Forgot'. All dusty digger’s delights, simonized and edited to perfection for maximum vibes!

Villa Åbo in the alternative solo project of Swedish musician and Villa Åbo in the alternative solo project of Swedish musician and producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg. 'Magnetic Moves' is Villa Åbo's debut album, originally released inan limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in at over 46 minutes, this first-ever vinyl edition spreads the 8 ragged techno tracks across four sides for maximum loudness. Some songs are aggressively potent, with cyclical synth riffs and razor-sharp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg.'Magnetic Moves' is Villa Åbo's debut album, originally released in an limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in atover 46 minutes, this first-ever vinyl edition spreads the 8 rgged techno tracks across four sides for maximum loudness. Soe songs are aggressively potent, with cyclical synth riffs and razor-harp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.

After amazing releases on Moan, Serkal, Zoo Lab and his own Innocent Music, Aney F. lands on Cellaa Music with a smashing EP titled New System'.

All tracks are designed to cause maximum damage on the dancefloor that is set to take the world by storm.

He blend warm house flavours with sharp techno beats and creating harmonic coherence from elements that seem to be contrary. 4 killer dance floor workouts, big enough for the main rooms, groovy for the back rooms which let's everybody start dancing - anytime, anywhere!

It's for sure that you have to take this trip through sound - better now than later.

Father Hervé and son Louis return as FRONTMASCHINE with “Rühren”, their most accomplished and refined work to date. United by a shared passion for the rawest and most uncompromising forms of EBM, the duo continues to explore the essence of body music while pushing their sound to a new level of maturity.

On “Rühren”, cold, almost chilling polyphonic synthesizer melodies intertwine with their classic relentless drum programming that sits somewhere between the militant precision of DAF and the mechanical drive of the “Commando days” of Front 242. Every track is built around pure functionality: no unnecessary ornamentation, no concessions—just stripped-down, commanding rhythms designed to move bodies.

This is an exceptionally DJ-friendly record. Each cut is crafted for maximum impact on the dancefloor, making “Rühren” an essential tool and a true secret weapon for any DJ devoted to uncompromising body music. Martial, hypnotic and brutally effective, FRONTMASCHINE once again prove that the most direct approach is often the most powerful.

Coil’s 17-minute soundtrack for »How to Destroy Angels«, performed on January 19, 1984: ritual music ›for the accumulation of male sexual energy‹, structured around magickal and numerological concepts.

Throughout history man has made and used music for two distinct and separate purposes. In recent years, particularly since the advent of sound recording, the most popular use of music has been for entertainment - the temporary amusement and distraction of as large a number as possible. As a consequence, many people tend to overlook its more fundamental and ancient use as a tool for affecting man's body and spirit. The many varieties of religious music from around the world contain a vast quantity of clues to the way in which sound can affect the physical and mental state of the serious listener, yet many find their associations with religion itself too difficult a stigma to overlook in their appreciation of the sound and its potential, for its own sake.

On this record, hopefully the first in a series, we have tried to produce sound which has a real, practical and beneficial power in this modern Era. Specifically, it is intended as an accumulator of male sexual energy. Although we make neither claims nor rules for its use, we do suggest that for maximum potency it should only be played in circumstances that exclusively male and/or onanistic in nature. What these are is entirely up to you.

The execution of the piece was structured around concepts we felt would work for us - in this case magickal and numerological rather than conventionally musical in form. One image or symbol which we drew upon that may be useful to bear in mind is that of Mars, often indicated by the male symbol.

Should this music have any power, over and above the banal and transitory titillation achieved by most records available now, it is a positive and beneficial power to be used and controlled by the listener, as he desires.

Coil’s 17-minute soundtrack for »How to Destroy Angels«, performed on January 19, 1984: ritual music ›for the accumulation of male sexual energy‹, structured around magickal and numerological concepts.

Throughout history man has made and used music for two distinct and separate purposes. In recent years, particularly since the advent of sound recording, the most popular use of music has been for entertainment - the temporary amusement and distraction of as large a number as possible. As a consequence, many people tend to overlook its more fundamental and ancient use as a tool for affecting man's body and spirit. The many varieties of religious music from around the world contain a vast quantity of clues to the way in which sound can affect the physical and mental state of the serious listener, yet many find their associations with religion itself too difficult a stigma to overlook in their appreciation of the sound and its potential, for its own sake.

On this record, hopefully the first in a series, we have tried to produce sound which has a real, practical and beneficial power in this modern Era. Specifically, it is intended as an accumulator of male sexual energy. Although we make neither claims nor rules for its use, we do suggest that for maximum potency it should only be played in circumstances that exclusively male and/or onanistic in nature. What these are is entirely up to you.

The execution of the piece was structured around concepts we felt would work for us - in this case magickal and numerological rather than conventionally musical in form. One image or symbol which we drew upon that may be useful to bear in mind is that of Mars, often indicated by the male symbol.

Should this music have any power, over and above the banal and transitory titillation achieved by most records available now, it is a positive and beneficial power to be used and controlled by the listener, as he desires.

DPRTNDRP make a long-awaited return to Infernal Sounds with 'Byrnei', a release that's been quietly building anticipation across the 140 scene. Following their acclaimed 'What Ya Mean' EP in 2020, the duo are back with five heavyweight cuts that showcase exactly why they've remained one of dubstep's most respected production outfits for well over a decade.

Opening with the title track, 'Byrnei' wastes no time setting the tone. Rolling with DPRTNDRP's unmistakable swing, weight and groove, it's a certified soundsystem weapon - built to lock dancers into its hypnotic rhythm while delivering devastating low-end pressure.

Next up, 'Jiaozi' shifts into overdrive. A relentless barrage of razor-sharp percussion, cavernous basslines and seismic energy, it's an uncompromising slice of peak-time dubstep designed to hit with maximum impact from the first drop to the last.

'Fury' explores a deeper side of the duo's sound, drawing influence from their dub-focused alias, D-Operation Drop. Rich in space, texture and heavyweight sonics, it perfectly blurs the line between traditional dub and modern 140, combining meditative atmospherics with chest-rattling low-end.

Adding another dimension to the EP, Causa steps in to rework 'Fury', twisting the original into a hypnotic, distorted roller. Layered with his unmistakable wobble-heavy aesthetic, the remix pushes the track into darker territory, delivering an immersive journey of oppressive bass weight and razor-sharp sound design.

Bringing the release to a thunderous close, 'Backfire' is pure, uncompromising pressure. Stripped back, direct and devastatingly effective, it's arguably the heaviest moment on the EP; a no-nonsense soundsystem destroyer that leaves a lasting impression.

From start to finish, 'Byrnei' is a statement of intent. It's a masterclass in weight, groove and precision, reinforcing DPRTNDRP's status as true innovators within the 140 landscape. With five expertly crafted cuts destined for dancefloors and soundsystems worldwide, this is another landmark release from two producers operating firmly at the top of their game.




[d] B2. Fury [Causa Remix]

EM Records is proud to present the first new album release in 25 years from Australia's Sheriff Lindo, dubmaster of the Southern Hemisphere.
His "Ten Dubs That Shook The World" EM1119CD/LP, released in 1988, has been growing in stature since its release, supported by its re-issue on EM Records, and in the meantime the Sheriff has been working steadily, deep-local style, honing his skills with the Australian sound systems Firehouse Sound and Earthlink Sound. The tracks on "Aftershock Dubs", recorded between 1990 and 2005, while never officially released, have been played as dub plates at sound system parties, proved movers, tested in the heat of action. Recorded at Lindo's 4/5 Studios, these specials were chosen by Japanese sound system savants Takuto Kuratani (Ruv Bytes) and Atsushi Muneshige (Touch the Sky/Corner Stone Music) from a cornucopia of goodness supplied by Sheriff Lindo, mastered by Kuratani for maximum impact. EM Records' first-ever Dancehall release is available on vinyl and CD, with two bonus tracks on the CD. One track features the vocals of Ras Roni; all tracks feature the experience-forged Dub sense of the Sheriff. More than a quarter-century of love, knowledge and soul-science has been distilled here. Don't miss it.

Following the reissue of Fire & Sugar (1975), we present a special 45 focused on two standout tracks from the album.

If you’ve heard the album, you already know “Guaguanrock” had to make it to our favorite format. So here it is on 45.

Side A features “Guaguanrock (Le Spam Mix)”, a new version by Andrew “DJ Le Spam” Yeomanson, created from the original multitrack master tapes. The mix extends the intro break and brings the drums forward, enhancing the track’s raw, percussive energy for maximum dancefloor impact.

On the flip, “Bokolo” delivers a deeper, hypnotic groove, showcasing Caunedo’s unique blend of Afro-Cuban rhythms and jazz-funk textures.


A DJ-focused release, bridging rare groove authenticity with modern playability.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic. Album opener "Low Times" sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of "After All", the haunting ambience and buried heartbeat throb of "Soft Collapse", and the noirish atmospherics of "Blackout Dust", which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on "Bombed Suburbs", where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove. Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track "Almost a Structure", obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. "Second album from electronic producer Michael Fiedler's GHOST DUBS project. "Follows up from the highly-acclaimed 'Implosion' album with The Bug from 2025. "Debut album 'Damaged' sold out its three initial pressings and has just been repressed "Michael Fiedler recently scored 'Sound of Falling' which won a Cannes award in 2025 and made the shortlist for an Oscar, too.

Mr. K turns his attention to his hometown with a couple of deep underground NYC disco cuts that have never appeared on 7-inch before: the stomping ‘Hey Roots’ by Black Rock and Ahzz’s sought-after ‘New York’s Movin’’. Black Rock’s ‘Hey Roots’ was the band’s follow-up to their 1975 proto-disco single ‘New York City Bump’ and takes a similar four-on-the-floor approach while raising the tempo to match the energy of a standard 1977 dancefloor cut. Mr. K’s edit builds the track methodically, using a sparse sprinkling of the original vocals and focusing on the hypnotic, Bohannon-esque beat. On the flip, he tackles the Peter Brown-adjacent classic ‘New York’s Movin’’, this time dropping the vocals entirely in favour of working with the wicked instrumental take, a wild jam that layers handclaps, tambourine, slicing rhythm-guitar and perfectly cheesy synth strings to make an irresistible dancefloor banger. Adding a dubby breakdown and arranging the parts to get the maximum out of the limited 7-inch real estate (both cuts here top the five-minute mark), Mr. K has given us another powerful tool in an ever-growing arsenal of dancefloor weapons.

Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard ragebaiting.
”A roar of nothing”—HeartattaCk

Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard ragebaiting.
”A roar of nothing”—HeartattaCk

To celebrate the 30th Anniversary of the band's 3rd album and major label debut from 27 February, 1996, the band is releasing In Search Of...30th Anniversary Edition. Recorded at Grandmaster Studios in Hollywood, California by the band and Brian Jenkins (KYUSS, SCREAMING TREES), "In Search Of_" is considered a classic of the '90s and a pillar for the "stoner rock" movement. Highlights include the lead single "Asphalt Risin'," "Redline" and fan favorite "Cyclone Launch." This limited edition 2,000 unit run is pressed on Red Blue Vinyl & Custom Night Sky Vinyl with each LP in a printed sleeve with never before seen images and the gatefold package design includes never before seen photos of the band. The second LP contains the previously released demos for the album that the band recorded themselves in 1995 on a 4-track Tascam. Both LPs feature newly remastered audio for maximum fidelity. Red Blue Vinyl & Custom Night Sky Vinyl, ltd to 2000 copies worldwide.

Love Glow Vinyl, auf 700 Stück limitiert. Wendecover. Inkl. Poster, Insert, Downloadcode und CD (Album + Film "Im Zeichen des Zwillings". Wer nach dem von der Presse hochgelobten Vorgänger ,Remove The Ties" dachte, das kreative Maximum sei erreicht, wird eines Besseren belehrt. Vibravoid unterwerfen sich nicht dem zerstörerischen Zwang, das Vorgängeralbum übertreffen zu müssen - sie tun es einfach. Auf ,A Reason For Now" zeigt die Band, wie tief die DNA der Jahre 1966 bis 1968 in ihrem Sound verwurzelt ist. Vibravoid kopieren nichts - noch nicht einmal sich selbst. Sie distanzieren sich von den inflationär verwendeten Begriffen, die sie einst selbst popularisiert haben, und erklären die Popmusik zur neuen Droge. ,A Reason For Now" ist ein mitreißender Rausch, der sofort infiziert - ein fieberhafter LSD-Rausch aus Verzerrung und surrealen Traumfrequenzen.

It feels like a lifetime ago that the first Rat Cage demo tape was spat into the Hardcore Punk underground. Maybe that’s because for the past 10 years Bry Suddaby has been relentlessly chucking out a slew of pummelling records, arming many Punks worldwide with a soundtrack to survival in the modern age of death and destruction.
Fourteen bloody releases later, the third RAT CAGE LP comes crashing in as the state of global horror reaches a grave pinnacle. In true RAT CAGE fashion, the drums relentlessly hammer away under rollercoaster riffs, while Bry’s viciously cynical bark spills the trials and tribulations of trying to get by in 2026.
For the uninitiated, RAT CAGE pulls influence from 80’s Northern European Punk like MISSBRUKARNA or APPENDIX, contemporary Swedish sweet spot Hardcore like HERÄTYS or FYFAN, ripping USHC ala POISON IDEA or OUT COLD, while naturally adding a classic British injection of GBH or THE VARUKERS.
As always, there’s the constant apprehension that you never quite know what’s around the next bend, and with ‘Not Asking for Much’ Bry has cast the net even further. There’s moments that get as heavy as BASTARD, as melodic as the UK SUBS, and even a title track that gets as rocking as the PINK FAIRIES. All amounting to a distinctive and characterful sound that’s unmistakably RAT CAGE.
With little to be hopeful about as we all suffocate within the authoritarian nightmare, this LP could once again be your beacon of fire. So, light the match and burn alone at maximum volume.

More than 25 years after the start of collaboration with Acid Mothers Temple mastermind Makoto Kawabata (including the INUI series and the classic Kawabata/Youngs release) comes the first proper VHF LP by the prolific quintet. One of an occasional series of “minimalism” inspired LPs by the group, “In A Not C” is a not a barely changing drone, but a wild ride with the band in full flight, rushing along in a glorious swirl of psychedelic madness. Like the band’s well-known 2001 version of Terry Riley’s “In C,” the group uses a small cell of repeating sound as a jumping off point and then gradually revs up to maximum velocity. The current AMT lineup has produced a series of fun and unique variants on the band’s longstanding signatures, with the addition of vocalist/guitarist Jyonson Tsu and drummer Satoshima Nani providing a lightness and nimbleness of touch that resets the context of the band’s usual blazing electric guitar and burbling synth. Both sides here build to a multi-layered crescendo, with loops of Tsu’s gentle vocals competing with frenetic drums, whistling electronics, and guitar that alternates trebly feedback and soft arpeggios. Cut by Golden, pressed in Chicago at Smashed, first pressing on clear vinyl.

2026 Repress

Berlin’s Phil Berg, one of techno’s most distinctive rising names, debuts on Mutual Rytm with his ‘Dārin’ EP. First invited as the debut guest DJ for Mutual Rytm’s inaugural label night back in 2022, Berlin’s Phil Berg has maintained a close relationship with the imprint ever since. Known for his shadowy, immersive sound, Berg has carved out a singular position within the scene - equally respected for his high-impact DJ sets, his improvisational live performances, and a production style defined by clarity, tension, and a deeply recognisable sonic identity. While his live shows remain a vital part of his artistic DNA, often shaping the raw ideas that later evolve in the studio, his work extends far beyond the club floor, marking him out as a fully formed and increasingly essential voice in contemporary techno. That connection between stage and studio is fully realised on ‘Dārin’, where Berg delivers a darker, more driving statement for his Mutual Rytm debut, with the title track already becoming a standout in the sets of label founder SHDW. The title cut opens the EP with great urgency, as flaming drums and machine-gun synths are fired across the night sky, with sensuous whispers and sonar pulses adding the pull of the groove. Next, ‘Tempest’ brings big, banging hits, nailing down the kicks while rising tension appears through the backlit synths and distant bass rumbles. ‘Tanoo’ releases the pressure with a more luminous synth line that locks you in a trance as linear drums race on, while ‘Mephisto’ keeps you on edge with twitchy motifs and a burrowing bassline that drills down deep into a moody underworld. The EP closes with ‘Destiny Bond’, which rises with undulating, tactile lines, sleek synth smears, and a cosmic sense of travel. As digital bonus cuts, ‘Seiko’ and ‘Nyx’ bring anxiety and foreboding to the fore with two more muscular and physical deep techno hitters crafted for maximum impact.

Baby You’re A Winner’ is a perfect illustration of the elevated musicality of the album that bears its name. Linking up across the record’s twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You’re A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.

It’s the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single ‘DOG’ to the syncopated post-punk and brass blasts of ‘Dance’ and on to the chamber folk ambiance of closer ‘Spring’, Baby You’re A Winner is the most authentic, realised portrait of Grandmas House to date.

The songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band’s tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. It’s a testament that even when the odds are against you, anyone can be a winner.

"Nido de Espinas" is the fourteenth studio album by Buitres. Uruguayan Punk Rock band formed in 1989, heirs to the legacy of the iconic Post Punk band "Los Estómagos" It began to be composed in 2022 and was recorded in early 2024. The texts are inspired by the Diary of a Desperate Heart, an arbitrary overflow of feelings written disorderedly with an improvised rein, which demanded exhaustive work from the band to reach maximum expression in each track. Artistic production was handled by Ale Vázquez (Spinetta, Intoxicados and more) and Sebastián Teysera (La Vela Puerca), who landed the runaway chariot set on fire. buitres formed in late 1989, following the dissolution of the group Los Estómagos, a band that sparked a new era of Uruguayan rock in 1983. José "Pepe" Rambao, a close friend since childhood, joined the Parodi-Peluffo duo. Buitres has toured extensively throughout the entire Uruguayan territory and has participated in massive international shows both in Uruguay and abroad. Additionally, they have completed six tours across Spain, where the album En la Vuelta (CD and DVD) was released. Their discography features 14 studio albums. They have released three live albums, two documentary DVDs, and three live DVDs. Three books have been published about the band. The band has received numerous acolytes and awards, but most importantly, after more than thirty years, they continue to maintain a close and emotional relationship with their audience - one that has endured throughout their history and grows over time. For this reason, the band dedicates their absolute best effort to every new work and every performance. "Nido de Espinas" is their new Studio album. These are wild and excessive times. Perhaps this statement applies to our life history just as it did to ordinary people in bygone eras. However, we assimilate the changes, adapt, and move forward. Nothing new under the sun. We grew up assuming static realities without trying to understand that they were newborn and would not last forever. The "forever" was declining into premature obsolescence. Every accessory is fleeting in the dizzying change of language.

Gondwana Records is pleased to announce ‘Interlude’, the second album from Estonian-born, London-based composer and pianist Hanakiv.

Showcasing an expanded sound, the compositions trace a journey of overcoming the past, unfolding into a seductively unconventional style imbued with hope and a therapeutic quality.

Pressed on high quality black BioVinyl at Optimal in Germany for maximum sound quality.

The talented Mr. K continues to build up the most comprehensive collection of DJ essentials to hit the 7-inch format with this latest offering of two beloved classics from the golden era of neo soul. First up is Jill Scott’s self-empowerment anthem ‘Golden’, here the original version stitched together with an unreleased 2005 breakdown remix by London crew Blackbeard. Using sweeping strings from the Blackbeard version, dramatically building to a tambourine acapella & original track makes for a masterful edit, one even more impressive when it’s done as seamlessly as this. The flip side ups the tempo with Mos Def’s ‘Umi Says’, a unique hybrid of broken drums, swirling keyboards (courtesy Weldon Irvine Jr. and Will.I.Am!), a propulsive bassline, and those instantly addictive vocals. Mr. K adds a solid minute of intro, giving the song the room it deserves to breathe, and just lets things simmer without distraction. Another masterclass at the edit board, and another gem to add to our growing treasure trove of work from Mr. Krivit in maximum sonic fidelity both for their first appearance in a 7-inch format.

"Time's Up"! Die australischen Streetpunker von "The Clinch" kommen endlich über den großen Teich mit ihrem brandneuem, dritten Album und ihrer ersten Europa-Tournee! 2018 erschien ihr Debut "Our Path is gone" und die 5 köpfige Band aus Melbourne avancierte schnell zum Geheimtipp: Schnörkelloser rough'n'tough Aussie-Streetpunk mit dirty RnR-Kante a la Rose Tattoo und einer Prise Brickwall-American Oi! Dazu Texte fernab der üblichen ausgetretenen Pfade und dezent eingesetzte aber stets mitreißende Gang-Vocals. Schnell machten Vergleiche mit Bonecrusher oder Bishops Green die Runde. Mit dem 2 Jahre später erschienenen Nachfolger "Basecamp" zementierte The Clinch ihren Ruf und die weltweiten Kritiken von Maximum RocknRoll bis Ox-Fanzine waren sich einig: Diese Band hat das gewisse Etwas und startet durch! Die erste Tour in Europa wurde geplant um aus dem Schatten des Outbacks heraus zu treten_dann kam die Pandemie und eine Krise folgte der Nächsten_aber aufgeschoben ist nicht aufgehoben: Im Fühjahr 2026 veröffentlichen "The Clinch" mit "Melbourne" und "Journeyman" digital die ersten Single-Auskoppelungen und kündigen mit "Time's up" ihr neues Album auf Sunny Bastards an! Musikstil und Sound als bewährtes Rezept sind gleich geblieben auch wenn The Clinch thematisch noch persönlicher den Finger in die Wunde der Gesellschaft legen_ Streetpunk, authentisch, ergreifend, ehrlich und ungeschönt ohne Pathos: 10 harte Volltreffer, die Spuren hinterlassen! "Man's not fed on good intention. No Safe Spaces left to mention" Songs wie "Stray Dogs" oder "FED" sind unter die Haut gehende Underdog-Anthems über Kampf, Verzweiflung, Zuversicht und sich nicht unterkriegen zu lassen. "Another day, another try"! Das Leben ist halt eine Reise und endet für Alle gleich! Mit Deinen Freunden im Rücken, einem Kämpferherz und "Seelenfutter" wie diese Platte ist es jeden verdammten Tag ertragbar. Also genieß es bevor "Time's Up!"! Oder um es mit "The Clinch zu sagen" It's my chosen way of life"!

"Time's Up"! Die australischen Streetpunker von "The Clinch" kommen endlich über den großen Teich mit ihrem brandneuem, dritten Album und ihrer ersten Europa-Tournee! 2018 erschien ihr Debut "Our Path is gone" und die 5 köpfige Band aus Melbourne avancierte schnell zum Geheimtipp: Schnörkelloser rough'n'tough Aussie-Streetpunk mit dirty RnR-Kante a la Rose Tattoo und einer Prise Brickwall-American Oi! Dazu Texte fernab der üblichen ausgetretenen Pfade und dezent eingesetzte aber stets mitreißende Gang-Vocals. Schnell machten Vergleiche mit Bonecrusher oder Bishops Green die Runde. Mit dem 2 Jahre später erschienenen Nachfolger "Basecamp" zementierte The Clinch ihren Ruf und die weltweiten Kritiken von Maximum RocknRoll bis Ox-Fanzine waren sich einig: Diese Band hat das gewisse Etwas und startet durch! Die erste Tour in Europa wurde geplant um aus dem Schatten des Outbacks heraus zu treten_dann kam die Pandemie und eine Krise folgte der Nächsten_aber aufgeschoben ist nicht aufgehoben: Im Fühjahr 2026 veröffentlichen "The Clinch" mit "Melbourne" und "Journeyman" digital die ersten Single-Auskoppelungen und kündigen mit "Time's up" ihr neues Album auf Sunny Bastards an! Musikstil und Sound als bewährtes Rezept sind gleich geblieben auch wenn The Clinch thematisch noch persönlicher den Finger in die Wunde der Gesellschaft legen_ Streetpunk, authentisch, ergreifend, ehrlich und ungeschönt ohne Pathos: 10 harte Volltreffer, die Spuren hinterlassen! "Man's not fed on good intention. No Safe Spaces left to mention" Songs wie "Stray Dogs" oder "FED" sind unter die Haut gehende Underdog-Anthems über Kampf, Verzweiflung, Zuversicht und sich nicht unterkriegen zu lassen. "Another day, another try"! Das Leben ist halt eine Reise und endet für Alle gleich! Mit Deinen Freunden im Rücken, einem Kämpferherz und "Seelenfutter" wie diese Platte ist es jeden verdammten Tag ertragbar. Also genieß es bevor "Time's Up!"! Oder um es mit "The Clinch zu sagen" It's my chosen way of life"!

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

CROWD welcomes Gina Demarchi with 'Other Side', a driving 4-track EP that adds a new voice to the label's growing roster. Born and raised in Buenos Aires, Gina Demarchi has spent the last nine years refining her signature hypnotic blend of tribal-infused grooves, rolling percussion and emotionally charged energy, showcasing a sound rooted in 2000s techno and dubbed chords. As a resident at the event series Fungi and founder of her own label Seduction, she has built a strong reputation through performances all across South America, Europe, Australia, Asia and beyond. Opening track 'Never Enough' immediately sets the tone. Powered by a tom-driven bassline, huge open hats and uplifting chord melodies, it moves with a propulsive forward energy that plants the listener firmly on the dancefloor from the first bar. Next up on the A-side is 'I'm In Love', where endlessly echoing warm chords churn above a pulsing low end while marching claps and driving percussion lock the track into pure peak-time territory, serving as a reliable anchor for any uncompromising techno set. The title track 'Other Side' leans deeper and groovier, combining a gliding bassline with swinging chord stabs and crisp percussion that give full focus to the track's powerful low-end movement. Sitting somewhere between hypnotic and relentless, it is perhaps the clearest expression of what makes Gina Demarchi's sound so compelling. Closing cut 'Lonely' strips things back but lands with maximum impact: fast-paced chord repetitions, tight closed hats and sub-heavy drums generate a sense of momentum, creating a track that feels explosive and intense without relying on excessive speed. With 'Other Side', Gina Demarchi delivers a high-impact debut that reflects both the raw spirit of her unmistakable sound and the identity of the CROWD universe. The 11th release of the label is another statement from a label that has consistently refused to follow trends, instead carving out a singular identity rooted in raw energy. Join us for a high energy release party on July 5th 2026 al Le Sucre in Lyon!

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day

Blending world-class musicianship with undeniable dancefloor energy, this release marks a bold evolution in Sean Khan’s sound — stepping beyond his signature jazz roots into a rich fusion of house, disco, and jazz-funk.
The A-side delivers a powerful, vocal-led jazzy house anthem, with Omar’s unmistakable voice floating over lush live keys and deep bass grooves. Driven by refined production and crafted for maximum impact, Stéphane and Alex Attias bring a sophisticated yet infectious energy designed to ignite dancefloors. Flip it over, and the B-side turns up the heat — a killer disco-house remix by Alex Attias, powered by tight programming from Stéphane Attias and vibrant keys from Sohan Wilson. Already catching attention from DJs, this track is built for late-night moments and peak-time reactions. The EP also features “As The Tree Grows” — a soulful, live-inspired journey through jazz-funk and disco textures. Warm, groovy, and deeply musical, it channels the spirit of legends while staying fresh and modern — perfect for both listening and dancing. Three moods. One release.cCrafted for the dancefloor. Designed for the soul.