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Open the doors of perception with 'Alchemy of Being,' a deep ambient exploration inspired by Jungian analysis, olfactory meditations and psycho-nautic navigations.

Dublab resident, LA-based DJ and producer Dor Wand invites us to practice ‘deactivation through music:’ a softening art he describes as guiding energy down gently, so the body can rest, the heart can open, and the mind can return to stillness. The album creates a space where movement turns inward, where rhythm becomes breath, and where sound holds us as we land.

A mix of mellow synths, live harp and tuned percussion, the album oscillates softly between tension and relaxation, a harmonizing journey that gradually brings together mind and body, inhale and exhale, a unifying yogic tool for heightened self-understanding.

Milkcrate Mondays always deal in unabashed dancefloor fun, but that never comes at the expense of style and quality in celebration of the party of the same name's open-minded ethos. On the A-side, Spinobi delivers a dancehall-leaning refix of 'My Boo', reshaping the familiar hook with punchy rhythm and bass weight. The flip belongs to Palomo, whose 'My Boo' cumbia edit turns the freestyle classic into a rolling Latin groove built for late-night sets. Mastered by resident DJ Satin, this is another gem that continues the collective's tradition of crate-digger creativity and genre-crossing selections aimed squarely at moving the room.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Eine Sammlung von 21 Titeln mit Klassikern aus „Mister Rogers’ Neighborhood“.• Gepresst auf opaken gelben Vinyl.• Begleittext von dem mit einem Oscar und einem Grammy ausgezeichneten Regisseur Morgan Neville und dem Fernsehkritiker Robert Bianco aus Pittsburgh.„Mister Rogers’ Neighborhood“ feierte vor über fünf Jahrzehnten seine Fernsehpremiere. Auch wenn es manchen noch wie gestern vorkommt, als die Sendung brandneu war, ist es doch herzerwärmend zu wissen, wie sehr sie Teil des Lebens unzähliger Kinder und Erwachsener war, die die Sendung über die Jahrzehnte hinweg erlebt und daraus gelernt haben.Obwohl seine Popularität nie nachließ, hat der 2018 erschienene Dokumentarfilm „Won’t You Be My Neighbor?“ des Oscar- und Grammy-Preisträgers Morgan Neville unsere Liebe zu Fred Rogers neu entfacht und ihn einer neuen Generation vorgestellt. Mit dem bevorstehenden Kinostart von „A Beautiful Day In The Neighborhood“ (mit Tom Hanks als Fred Rogers) im November werden der geliebte Mister Rogers und seine Nachbarschaft wieder einmal im Mittelpunkt der Herzen, Gedanken und Ohren aller stehen.„It’s Such A Good Feeling: The Best Of Mister Rogers“ versammelt 21 Lieder des beliebten Moderators (begleitet von seinem langjährigen Partner und Pianisten Johnny Costa, Carl McViker am Bass und dem Percussionisten Bobby Rawsthorne). Neben Klassikern wie „Won’t You Be My Neighbor“, „You Are Special“ und dem Titelsong enthält diese Veröffentlichung auch fünf bisher unveröffentlichte Titel, darunter den ursprünglichen Schlusssong der Sendung, „Tomorrow“.Diese LP ist auf opaken gelben Vinyl gepresst und die Verpackung enthält Fotos, eine Einleitung von Neville sowie einen Essay des Fernsehkritikers aus Pittsburgh (und langjährigen Mitarbeiters von USA Today) Robert Bianco. Also, steigt in den Trolley zum Land Of Make Believe, denn es ist wirklich so ein gutes Gefühl.

For the first time in its 27-year history, Defected compile its greatest hits, underground anthems and bonafide house music classics into a five volume triple vinyl collectors series.

Volume One collects twelve of Defected’s most established and sought after releases.
Featuring arguably ‘the' Defected anthem; Kings of Tomorrow ‘Finally’ alongside Solomon’s huge Noir & Haze remix, Ibiza anthems ‘Guitarra G’, ‘At Night’ and ‘Coma Cat’ plus productions and remixes from Louie Vega, Dennis Ferrer and Dimitri From Paris.

An essential addition to your record collection.

Mit The House Session setzt die renommierte Electronic Music Anthology von Wagram ihre stilprägende Reise durch die elektronische Clubkultur fort. Nach erfolgreichen Ausgaben zu Deep House und Techno widmet sich diese Edition dem Herzstück elektronischer Musik: House Music. Kuratiert vom französischen Electronic-Aushängeschild FG Radio versammelt die Compilation zeitlose Klassiker, moderne Favoriten und inspirierende Genre-Perlen. Mit dabei sind zentrale Namen wie George Morel, Cassius, Motor City Drum Ensemble, Mézigue, Moloko, Soha, Bob Sinclar, DJ Gregory, Joe Smooth und St Germain - Artists, die House in unterschiedlichen Epochen maßgeblich geprägt und weltweit auf die Dancefloors gebracht haben. Zwischen funkigen Grooves, soulful Vocals, pumpenden Basslines und eleganten French-Touch-Momenten entfaltet The House Session ein breites Spektrum an Sounds, das sowohl Sammler als auch DJs anspricht. Eine hochwertige Anthologie, die den Spirit von House Music - warm, energiegeladen und zutiefst euphorisierend - perfekt einfängt.







[g] 7Cheek - Venus (Sunshine People) [DJ Gregory Remix]

Die renommierte Electronic Music Anthology-Reihe von Wagram kehrt mit einem neuen Kapitel zurück - diesmal voll und ganz gewidmet den feinsten Perlen des Deep House. Kuratiert vom französischen Electronic-Aushängeschild FG Radio, präsentiert The Deep House Session eine sorgfältige Auswahl zeitloser Tracks, die die stilistische Breite und emotionale Tiefe dieses Genres perfekt einfangen. Die Compilation vereint international gefeierte Künstler wie Ben Böhmer, nTO, Bonobo, Solomun, Fritz Kalkbrenner, Kaytranada, Masters at Work, Dennis Ferrer, DJ Deep, St Germain, Môme und Soha - Namen, die sowohl im Club-Kontext als auch über Genregrenzen hinweg einen exzellenten Ruf genießen. Ob atmosphärische Synth-Texturen, organische Grooves, warme Basslinien oder hypnotische Melodien: Diese Edition destilliert alles, was Deep House seit Jahrzehnten zu einer der elegantesten und gefühlvollsten Spielarten elektronischer Musik macht. The Deep House Session ist eine hochwertige Sammlung für Liebhaber, DJs, Sammler und alle, die elektronische Musik zwischen Wärme, Groove und subtiler Eleganz schätzen.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Ezra Collective’s Chapter 7, now celebrating its tenth anniversary, captured the restless energy of a young band finding its voice - spiritually curious, rhythmically fearless, committed to community as compass. Built on grooves made for sweat-slicked basements and late-night communion, its seven movements reveal a blueprint forming: jazz as a living expression of where you come from and who you stand with.

The forthcoming Chapter 7 (10th Anniversary Edition) reissue revisits that formative statement from a band that would soon become trailblazers as both the first British jazz act to win the Mercury Prize, and then a BRIT Award. Remastered for vinyl and expanded with new incarnations - live cuts from NPR's Tiny Desk and the band’s landmark Royal Albert Hall performance - the reissue presents Chapter 7 not simply as an early document, but a living manifesto: rhythm as ritual, youth culture as sanctuary, and jazz as an open invitation.

Pressed on black vinyl, housed in a single sleeve jacket with printed inner sleeve, featuring credits and a message from the band.






k B3. Chapter 7 Live at NPR's Tiny Desk
[m] B4. I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[k] B3. Chapter 7 [Live at NPR's Tiny Desk]
[m] B4. I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[k] B3. Chapter 7 [Live at NPR's Tiny Desk]
[m] B4. I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
The album's lead single and sole vocal track, ‘In Touch’, showcases Beatrice M.’s split UK-France upbringing. The track unites French MC Kaba and UK MC Jinnal for a bass-driven anthem that seamlessly trades French and English lyrics. Next up is a vinyl exclusive track: the ‘Remedy Mix’ VIP of ‘Poison’, a rolling, bass-driven tech house/techno crossover version of a track originally released on the Tectonic Sound collection from last year.
‘Here’ sees Beatrice M. collaborating with Jay Carder to create a soulful broken-beat flavoured track as ‘Years’ rounds off the journey with contemplative melancholy, providing a deep and dubby closer.

Bliss Point is proud to welcome the Bogotá born, New York based Matük to the label with Sendero, a collection dripping with life, with lust, with joy in the face of it all.

Birthed from weekend-long studio sessions in the heat of New York summer, Sendero is luscious and visceral party music, crackling with the spontaneous possibility that runs through city streets as temperatures peak, asses throw and emotions run high.

Hailing from Colombia and deeply immersed in the New York underground, Matük’s influences collide into an ecstatic tapestry on Sendero, blending the rich traditions of Afro-Caribbean musics with experimental and club sonics, long the sounds of joy as defiance from deep within the imperial core.

Many paths cross on Sendero. “Ricotta” features vocals from BRAVA, the Basque DJ and MC whose raw, infectious spirit has injected new energy into the international bass and footwork scene. She is joined by Argentinian-Colombian artist FEDRA on synth and vocals, transforming voice notes the trio sung into their phones over a long weekend of dancing into a party anthem of their own. “Lio”, the EP opener, pairs Mexico’s Renn Loop with Matük himself, trading sultry, heated frustrations over latinx futurist production. Things slow down on “De; Dioses y Pantallas”, a yearning, introspective plea to the night sky, before returning to the party with the bouncing, acid-fueled remix of “Ricotta” from Mexico City’s Soos.

Sendero is a snapshot of a scene in motion, a document of serendipity and collaboration, music made in the long tradition of enjoyment as a revolutionary act.

BASIC - das Trio aus Chris Forsyth (Gitarre), Mikel Patrick Avery (Percussion, Drumcomputer, Elektronik) und Douglas McCombs (Fender Bass VI) - hat sein neues Album mit sieben Titeln innerhalb von zwei Tagen in den Electrical Audio Studios in Chicago aufgenommen und die Overdubs sowie den Mix zusammen mit Je Zeigler in Philadelphia fertiggestellt. Die Aufnahmen sind groovig, aber leicht und locker, wobei die Songs viel größer klingen, als man es von einem Trio erwarten würde. Für reichlich Detail sorgen die ineinandergreifenden Gitarren und Averys einzigartige Kombination aus elektronischen Beats und akustischer Percussion, die er live mit verschiedenen selbstgebauten elektronischen Prozessoren bearbeitet und manipuliert. Kurz nach der Veröffentlichung ihres Debüts (This Is BASIC, 2024) stieß Bassist McCombs (Tortoise, Brokeback) zu der Gruppe, und zusammen mit den in Philly ansässigen Kernmitgliedern Forsyth (Solar Motel Band) und Avery (Natural Information Society) tourte die Band mit dem Album die Westküste rauf und runter sowie durch den Nordosten und Mittleren Westen der USA und machte Halt bei einflussreichen Festivals wie Sound & Gravity und Big Ears. Die Chemie zwischen den dreien führte fast sofort zur Entwicklung von neuem Material, und die ,Dream City"-EP erschien im Frühjahr 2025.

To Cherish zeigt Northcote, das Projekt des kanadischen Singer-Songwriters Matt Goud, in einer Phase persönlicher und kreativer Erneuerung. Seit 2008 bekannt für seine warme Stimme, seine aufrichtigen Texte und energiegeladenen Live-Shows, hat Northcote durch Touren in Nordamerika und Europa sowie gemeinsame Auftritte mit Künstlern wie The Gaslight Anthem, Frank Turner und Hot Water Music eine treue internationale Fangemeinde aufgebaut. Das Album entstand in den Rain City Studios in Vancouver unter der Leitung von Produzent Jesse Gander, der den Songs eine kraftvolle, unmittelbare Klarheit verleiht. To Cherish spiegelt eine Zeit des Umbruchs wider - das Ende einer langjährigen Beziehung, eine wichtige spirituelle Übergangsphase und die kreative Aufbruchsstimmung nach der Rückkehr auf die Bühne. Musikalisch knüpft das Werk an die intime Dynamik der Duo-Tourneen an. Langzeitpartner Stephen McGillivray trägt mit seinem charakteristischen Gitarrenspiel maßgeblich zur Atmosphäre bei, unterstützt von Paul Rigby, Percussionist Mike Battle und Bassist Eric Paone. Die Songs vereinen lyrische Tiefe mit emotionaler Intensität und laden dazu ein, die Höhen und Tiefen des Lebens bewusst wertzuschätzen.

You can't put Bebe Rexha in a box. From her Grammy-winning songwriting roots on Eminem's "The Monster" to global chart-toppers with David Guetta and Florida Georgia Line, Rexha has established herself as a premier musical chameleon. With her latest project, Dirty Blonde, she officially enters a new era as an independent powerhouse. Now signed to EMPIRE, the Brooklyn-born star has crafted a 13-song "genre kaleidoscope" that serves as her first-ever visual album, representing a total creative rebirth and a departure from the major-label system she's known since she was a teenager.

Recorded across London, Tokyo, and Europe, Dirty Blonde captures the energy of Rexha's global travels. The project seamlessly blends heavy-hitting dance floor anthems with deep, personal storytelling. With the lead single "New Religion" she takes us straight to the club by reimagining the iconic dance record "Insomnia" by Faithless. On "Tokyo," she explores a drum & bass pulse inspired by a late-night rendezvous in Japan, while "Cike Cike" (produced by long-time collaborator DJ Snake) sees Rexha embracing her Albanian heritage by mixing traditional linguistic roots with modern 808 basslines.

At the emotional core of the album is the lead single, "I Like You Better Than Me." The track strips away the pop-star veneer to tackle themes of insecurity and self-scrutiny, blending raw lyrics with a pop-rock edge. From the Jersey-bounce-meets-country vibes of "Drink and a Little Love" to her vulnerable reflections on fame, Dirty Blonde is a celebration of an artist who is finally playing by her own rules. As Rexha firmly asserts, "The old Bebe is dead," leaving behind a focused, stronger creator who is making the music she truly loves.

This release is the new 2024 Classic Jungle Repress EP by Aphrodite & Amazon II showcasing the original and highly influential tracks from between 1994 and 1996 produced by DJ Aphrodite.