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Strong one on Voyage Direct from Rotterdam's Benny Rodrigues...TIP!

The label say "Benny Rodrigues seems to delight in confounding critics. Since making his debut alongside Darko Esser with 2007's Underwater Records-­-released 'Paradox', the Rotterdam-­-based DJ has surprised and excited at every turn.

Variously delivering woozy tech-­-house, rave revivalism, stripped-­-back minimal, jackin' acid, wide-­-eyed deep house and, under his occasional ROD alias, shirts-­-off warehouse techno. Along the way, he's released music on some of Europe's most prestigious labels, including Desolat, Soma, EC Records, Be As One and Wolfskuil Records.

Here, he makes his debut for Tom Trago's Voyage Direct imprint with two undulating, hypnotic, heads-­-down tracks that blur the boundaries between house and techno. Rhythmically loose but impressively tough - like all of Rodrigues' best productions - both cuts are built around mesmerising late night grooves and intoxicating chords.

'Master French' kicks things off, lacing nagging shakers, subtle synth strings and fluttering chords over a robust, shuffling tech-­-house groove. Rodrigues works the mix like a master, bringing elements to the fore before sliding them into the background. It's a simple, heads-­-down, 4am groove, but it's executed brilliantly.

'Z', on the other hand, is an altogether breezier affair, with repetitive, new age-­- inspired synthesizer melodies seemingly drifting over a rock solid house groove. Notable ride cymbals and warm beats proper the track forward, giving it a humid, tropical feel. This is music to move the body, mind and soul. "

On his debut album “Scattered Memories”, the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran.

Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLE at the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental / technological aspect in his electronic / electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation “Girih: Iranian Sound Artists” that he had curated.

In 2018, ALIZADEH self-released his debut “Scattered Memories” on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP and DL. Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded “world music” audience as well as fans of current streams like ambient or drone in its most subtle forms.

Repress!

Second Phase (aka Joey Beltram and Mundo Muzique) are 2 legendary producers whose output shaped an entire generation of ravers, DJs and producers minds.
'Mentasm / Mind To Mind' is one such influential release, literally creating new styles, new directions and impacting on dance music for decades to come. Unique programming and fresh sounds made their records stand out head and shoulders above everyone else's output. 'Mentasm' particularly broke ground with it's now infamous 'hoover sound', influencing house, techno and trance music to come and even spilling over into the nascent hardcore, jungle and D&B scenes where it was often imitated or sampled by producers who wanted that ruff, visceral feel for their own tracks, but didn't know how to create it themselves. A new energy was born and it emanated from this milestone 12". 'Mind To Mind' on the flipside is equally as deadly, but in a deeper, more spaced out realm it maneuvers and pulls into a trippy early morning space, the yin to 'Mentasm's yang. This is a quintessential techno record, a glimpse of innovation from back in the day. File under 'classic'.

This special 2021 edition is reissued by R&S Records from original master sources, remastered by Curve Pusher.

CAY unveils his personal side on Another Life, a debut album rich in melancholic euphoria

The expressive, multi-faceted 10 tracker comes on Mind Against's HABITAT label in January 2026

Cologne-born producer CAY explores beyond the dancefloor with Another Life, a debut album that trades peak-time pressure for an ambitious and artful exploration of self. Far from being rooted in one genre, the record weaves his own honest vocals with a wide range of powerful rhythms that pull from progressive, broken beat, techno and trance.

For CAY, making music has always offered refuge and a place to calm his mind, process life’s chaos and channel personal experiences into sound. His journey started in the clubs of Cologne, in illegal forest raves and with trips to Berlin to soak up big room techno. His search for more purpose, away from mental demons and the darker side of the party lifestyle, led him to production. DJing followed after a push from his brother turned Manager, and while those experiences around Europe shaped his understanding of dance floor dynamics, he was never in a rush to release his early experiments.

Instead, CAY took private time to evolve into an accomplished artist with his own musical voice. Label heads Mind Against were so impressed when they heard what he sent to their demo inbox, they both reached out to collaborate, and he has since released on their label HABITAT.

With Another Life, he is making music that is multilayered and rich in narrative, rather than defined purely by big moments. It is drawn from years of writing, with more than 60 tracks whittled down to one concise, impactful statement. "There wasn't one big concept,” says CAY “but there was direction. It's a big risk for me, but I wanted to introduce people who like club music to something deeper. I want the music to say something real.”

Because of that, Another Life introduces CAY the vocalist. For the first time, he sings on several tracks. The subjects are real, whether that's an important friend, a moment with his girlfriend or, on 'Runaway', the thought of giving up and escaping everything. The lyrics are honest but often slightly oblique, so they invite your own readings rather than spelling everything out.

Sonically, the album moves between optimistic grandeur and introspective reality. It's cinematic but personal and bridges the gap between dancefloor drive and vulnerable storytelling. There is a grand scale to many of the tracks, with arching synths reaching and heavyhearted drums anchoring a groove: you'll dance, you'll cry, maybe both at the same time.

Another Life is the sound of a producer granting himself permission to sing, turn inwards and risk audience expectations. It’s intimate without being insular, club-capable without being confined, and a compelling first chapter for an artist who has spent years building toward this moment of truth.

Oakland's DJ Mes returns with a fresh dose of jacked-up house in the 'D3w W3rk' series. Volume three blends gritty funk and rawness into fun, functional sounds. The EP opens with 'Detroit Ratchet City,' a bold, chunky anthem for pumping up the sweat before moving into the loopy 'For The People' where slinky percussion and soulful vocal hooks build a bristling arrangement. 'Look at Ya Shine' turns up the heat with a sleazy, slamming low end and then 'Peace of Mind' closes on a steamy, old-school tip with filtered synths, hooky male vocals and a retro charm that proves DJ Mes knows how to work the floor by joining the dots between the past, present and future.

For its 25th anniversary, Cocoon Recordings returns to its roots with an elaborate vinyl LP box set, marking the first part of a two-volume anniversary project. 25 Years Cocoon Recordings – Volume
One brings together exclusive contributions from international artists who have defined the sound and diversity of the label over the past two decades, complemented by fresh talents who are helping to shape its future.
Over the span of 25 years, Cocoon Recordings has created a catalog that now comprises hundreds of releases, 12-inches, albums, mix CDs, and iconic compilation box sets, always bridging past, present, and future. While firmly rooted in techno and house, the label has also provided space for electronica,
ambient, and other evolving genres.
25 Years Cocoon Recordings – Volume One is more than just a compilation. It is both a homage to the label’s history and a glimpse into what lies ahead. With exclusive tracks that embody the Cocoon sound in all its depth and complexity, this release marks a milestone in the legacy of one of electronic
music’s most influential labels, arguably the strongest compilation in Cocoon’s history. To mark this special occasion, Sven Väth’s label presents the first of two carefully curated volumes, uniting 15 exclusive tracks from international artists in celebration of nearly three decades of Cocoon
Recordings. The luxurious 5x12" box set features a spectral-reflective foil finish and includes contributions from renowned names such as Butch, Robag Wruhme, Josh Wink, Guy J, and Dino Lenny, alongside longtime companions of the label including Extrawelt, Harvey McKay, Johannes
Volk, and Raxon. New discoveries of recent years, Jonathan Kaspar and Riccardo De Polo, enrich the release in their own distinctive ways. The compilation is completed by the unmistakable talents of Damiano von Erckert, Fedele, and ja:ck, who provide the perfect conclusion to the first of two parts.
This release sets the stage for what's next: a daring diptych where musical voices emerge, shining with originality and passion, carrying the spirit forward. The story is just beginning. Something special is on the horizon. One can only wonder which artists will shine on the second chapter.

On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology.

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other.

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors.

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

The 2 Smooth World Vol. 1 Album broadcasts a highly addictive tale of electronic frequencies. A whole universe of musical explorations, ranging from twisted electro to more dubby compositions, beatless ambient ballads, classic house nostalgia - naturally flowing into oceans of acid & bass.

Childhood Drop Out’z - compiled by Childhood Intelligence (Tokyo/Berlin) & Tone Drop Out (London, UK). Timeless 2x12 featuring traxx by E-Control, Konerytmi, Soft Pioneer, Basement Space, Alphonse & Sween, Skywave Transmission vs. XOTR, Kostas G, DAWL, ZOTS and Electrodefender. A solid time travel into the early ages of Uk Bleep, Acid, Breakbeat, Techno and House - born in 2022.

The Return of 'The Nightstalker', a Childhood Intelligence endeavor written/produced by Dan Piu & Gary Rich (2022). The second album «Genetic Constitution» is the sequel of «The Tragedies Of A High-Tech World» (2020), in which the Nightstalker continues to manifest its mystic dystopian electronic prophecies. Full of haunted melodies, cinematic compositions and passages of hope and despair.

«In a damned world
dystopian and mad
we create our own sound
of the positive apocalypse

with bizarre characters
we feel connected
with the outsiders,
strangers and forgotten

in the darkest hour
the crazy sounds arise
standing on the edge
a delight for the senses

when all are gone
we have stayed
in the endless desert
good and evil at the same time

for us it is true
always to nail down
when everyone can have it
we do not want it»

Childhood Intelligence’s 18th release by ADSR aka. Todd Nickolas & Dominic Paterson from Toronto, Canada. The 2x12” album presents mostly tracks written and produced by Todd, with A1/D1 being in collaboration with Paterson. "Give a teenager in a rural Canadian setting an analog synthesizer, a drum machine and a four-track cassette recorder and feed him a steady diet of 80s EBM, Post-Punk, Synthpop, Electro, Dub, Acid, Hip Hop and House, and you’ll get the kind of genre melding electronic-based music that Todd Nickolas has been known for since his early days of writing and producing." The end result is a versatile one, with “Passive Articulation” presenting abstract Techno - House - Electro visions, and fusing all the elements of vintage Intelligent Dance Music that we cherish so much: warm basslines, beautiful chord progressions, diverse and surprising arrangements infused with haunting melodies, hypnotic cyber sounds, detached vocal cuts and dubbed percussion.…Overall fresh & timeless classiness for the present, past & future.

Recorded various locations New Hamburg, Kitchener-Waterloo, Ottawa, Toronto, San Francisco and Los Angeles. ADSR greatly thanks those who were there from the start, those who joined along the journey and those here now.

El Elektro Compilado Padrísimo Vol. 1 is a double 12” compilation curated by Spanish artist Elektro’s Grandfather, Dark Vektor featuring his personal selection from today’s scene. A fearless snapshot of the Spaniard national electro scene. Established figures stand shoulder to shoulder with new blood, generating a current where tradition and innovation collide in sparks. Every track is a charged fragment of a collective identity, soldered into one unstoppable groove. A declaration that the Spanish electro underground is alive, mutating, and absolutely padrísimo. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Alpenglühen starts 2026 with two close friends working together in the 11th one
Atàvic is the collaborative project between Estrato Aurora and Absis, merging two distinct yet complementary approaches to electronic music. The project is rooted in texture, atmosphere, and subtle narrative, allowing sound to evolve organically and without excess.
They together bring a refined sense of space and detail, working with ambient layers, restrained rhythms, and melodic fragments that unfold slowly. Here is a 4 track release with a more tactile and material approach, focusing on timbre, resonance, and sonic density, blurring the line between abstraction and structure.
The alignment between Atàvic and the label lies in a shared appreciation for subtlety, patience, and sonic storytelling, where each release is conceived as a complete and meaningful statement.
With this reference, Atàvic contributes a work that resonates with alpenglühen’s aesthetic ethos while reinforcing the collaborative project’s own identity: music that invites close listening and reveals its nuances slowly.
If you’re looking for a peak-time, dancefloor-driven banger to keep you moving until sunrise, this is not that record.
But if you’re after a mind-blowing experience that challenges and expands your listening (and dancings), this one’s for you. Don’t overthink it.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

A box of this limited 7” showed up in the post, The Dahlmanns’ new single.. Norwegian power pop masterminds scoring dues from their whole rock and roll journey, Suzi Quattro, Dictators, Stooges, and all the great Scandinavian power pop / garage rock scene. Its been 15 year ssince their debut, and they still have a knack for perfect pop tunes wit ha hard edge. The A-side is a classic power pop, clap along to this… Line says ”the lyrics are inspired by the images of Finland’s Touko Laaksonen. It’s about a ”Tom of Finland” type character meeting up with his gang to attend shows at Max’s Kansas City in New York”. And on the flip, the Dahlmanns have turned a Prince classic into one of their own, Line explains, ”In my early teens, around the time of the release of his ”Sign O’ The Times” album I was obsessed with Prince. I never cared much for the over-the-top, experimental funk stuff but I liked ”Controversy” and ”Dirty Mind”, the latter includes another pop gem, ”When You were Mine”. ”Dirty Mind” was released on October 8th 1980, Johnny Ramone’s birthday and also mine. Such coincidence in life makes me happy”. A new album is pending, but jump in quick to get ahold of one of these 7”s.

William Onyeabor self-released this record in 1980, before he gave up his life as the greatest Nigerian funk artist to become a devout Christian. This is a limited color edition of William Onyeabor"s ATOMIC BOMB. 10 years later, the music still EXPLODES.

GAVIAL sind zurück. Deutlicher. Verletzlicher. Größer als je zuvor. Fast drei Jahre sind vergangen, seit Gavial mit "VOR" ein kraftvolles Statement abgegeben haben. Drei Jahre voller politischer Brüche, gesellschaftlicher Abgründe und persönlicher Erschütterungen. Drei Jahre, die Spuren hinterlassen haben - hörbar, fühlbar, unausweichlich. Jetzt kehrt das Quartett aus Dresden/Leipzig/Berlin mit einem neuen Album zurück. Hier prallen Soul und Gospel auf Country, Psychedelic-Blues auf pure, unverstellte Emotion. Gavial erschaffen Klangwelten, in denen Gitarren, Bass und Stimme zu etwas Größerem verschmelzen. Melancholie, die nachhallt. Hypnose durch Klang. Energie, die nicht mehr loslässt. Mit Vehemenz präsentieren sich Gavial so roh und kompromisslos wie noch nie. Ihre Songs sind Spiegel - von allem, was brennt: Eine Welt, die sich selbst zerfrisst. Gesellschaften, die verlernt haben zuzuhören. Technologien, die uns überholen. Militarismus, der zurückkehrt. Menschenrechte, die zu Worthülsen verkommen. Institutionen, die versagen. Und Egoismus, der gedeiht. "Thanks, I Hate It" ist keine Kapitulation. Es ist ein Soundtrack zu einer Zeit, die uns täglich prüft. Gavial sind hier, um uns zu erinnern: Wir sind noch da. Wir fühlen noch. Wir hören noch zu. Und manchmal lautet die einzig ehrliche Antwort auf diese Welt: Thanks, I Hate It.

The Chambers Brothers are four biological brothers who cut their teeth in church choirs and on the gospel and folk circuit around Southern California. But, things really picked up halfway the 1960s when they started performing in New York and in 1968 scored their only hit “Time Has Come Today”. This 11-minute opus spent five consecutive weeks at #11 (yes, really!) on the Billboard Hot 100 and really showcased the progressive mindset of the brothers; the group combined American blues and gospel traditions with the effects-laden sound of psychedelic rock that was very much in-vogue around that time. If you’re fan of psychedelic soul such Rotary Connection, you can’t miss this. The Time Has Come is available as a limited edition of 1000 individually numbered copies on red coloured vinyl.

Ray Charles (1930–2004) was a groundbreaking musician who fused gospel, blues, jazz, and country to create the sound of soul music.
A master pianist, singer, and songwriter, he delivered timeless hits like “What’d I Say,” “Georgia on My Mind,” “I Got A Woman,”
“I Can’t Stop Loving You,” and “Hit the Road Jack.” Known as ‘The Genius,’ Charles transformed American music and influenced countless artists across every genre.

**2010 Grammy Award Winner: Best Traditional Folk Album **

‘Marvelous…exuberant’ - Rolling Stone

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drop’s 2010 Grammy Award-winning album Genuine Negro Jig, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson. The reissue includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of ‘City of Refuge’ and a 2025 mix of ‘Memphis Shakedown’. This release marks the album’s first time on vinyl since its original pressing in 2010.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by The Carolina Chocolate Drops/ Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. And that Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

The members of Carolina Chocolate Drops, who came from diverse musical backgrounds, shared singing duties and swapped instruments throughout their sets. The band recently reunited for a single show at Rhiannon Giddens’ Biscuits and Banjos festival in Durham, North Carolina in April 2025. In celebration of the 20th Anniversary of the Black Banjo Gathering, the documentary Don’t Get Trouble In Your Mind: The Carolina Chocolate Drops’ Story by Filmmaker John Whitehead was released on Amazon Prime, Apple TV, and YouTube Free4all streaming platforms.

After last year's widely acclaimed third full- length album "Bloem" found its way into the hearts and minds of many listeners, it did not take long for the duo of M. Koops and B. Mollema to return to the studio and record an immediate follow up. But do not be fooled by this quick succession of releases; "Gegrepen door de Geest der Zielsontluiking" is in many ways a polar opposite of what "Bloem" had to offer. Guided by a spirit of self- transcendence, Fluisteraars sought to indulge in a deep current of animalistic urge. From murky depths to the high towers of the soul, "Gegrepen..." is an exaltation of a new language, a breaking down of barriers and revaluation of underlying routine. Utilizing a minimalist and spontaneous recording style proved fruitful in this endeavor: only doing one take of every instrument, only recording the natural acoustics of the room instead of the close- up registration of sound so ingrained in modern production. The duo recorded exactly one song each studioday. No overdubs, no synths - they started every day by setting up a new sound palette for each song.

The follow-up to 2024’s "Perpetual Eden" sees Bloody Head stretch out and capture the cosmic sprawl of their live gigs on record. Available on limited-edition LP with spot-varnished sleeve.
After finding their Perpetual Eden and then seeing it violently retrograde, Bloody Head return with a new transmission devoted to the pendulum’s swing and the big wheel’s turn.
The big wheel turns and the seasons turn and we turn and it all just keeps on spinning away… elliptic, off kilter, centres not holding, the whole merry-go-round whirling and dissolving and coagulating, perpetually.
The CHILDREN OF THE DUSK and the sundry weirdoes and creeps depicted on the cover painting, channelled by Danny Roberts 777, all spinning and singing and sinning as they rattle along… in some sort of strange, discordant VIBRATORY AFFINITY with themselves/each other/it all.
Stay a while and take the time to BEND DOWN AND KISS THE GROUND/smell the roses/find your Eden, in and amongst the nooks and cracks and crannies and in the thin, strange places.
TIME AS VEILED ETERNITY is a microcosm of the whole merry Shambala, pushing and pulling and coming together and falling apar
Recorded, mixed and mastered by James Atkinson at the Stationhouse, Leeds. The session almost kiboshed by Storm Éowyn. A sprawling mass/mess which oozes and lurches from bloody minded heaviness to meditative reflection to unsettling delirium and back again, ending in total sonic breakdown. More focused and restrained, more reckless and chaotic. There is No time, to every season some sort of purpose.

The new DIEVERSITY album "IV" can only be described in superlatives! The songs on "IV" definitely set a new benchmark in songwriting and production for DIEVERSITY! The new album "IV" is modern metal par excellence, that easily stands up to any international comparison and operates entirely at the pulse of the times. DIEVERSITY from Germany – as sharp-edged as ever, but with a new razor-sharp blade! Listen to the album and you will get addicted immediately"! Be prepared for something BIG!

With her new album, Spira (Sprout), Olof Arnalds has found her joy in writing songs rekindled. In many ways it harkens back to her debut: it is exclusively in Icelandic, the arrangements are markedly stripped back compared to her last two records, and it is mostly recorded in single takes in the control room of Sundlaugin, much like Vio og vio. Although a classically trained singer and violinist, Olof has been an active practitioner of popular music for thirty years, the watershed moment was the 2007 release of her debut solo album Vio og vio (Now and Again, wider international release in 2009), produced by Sigur Ros' Kjartan Sveinsson in the band's converted swimming-pool studio Sundlaugin. It seemed to appear fully formed out of the ether, and became a local classic almost overnight, winning accolades such as 'Best Alternative Album' at the Iceland Music Awards, named 'Record of the Year' by Iceland's principal daily newspaper and recognised as one of the decade's 100 best albums by eMusic. Spira is produced by Skuli Sverrisson, who also contributes bass and guitar. His mind-melting resume includes musical direction for Laurie Anderson, recordings with Blonde Redhead and work with artists such as David Sylvian, Jon Hassell, Ryuichi Sakamoto, Bill Frisell and Arto Lindsay. Davio por Jonsson contributes piano and guitar to the record-much as he did during Olof's busiest touring schedule nearly fifteen years ago when the two of them toured the world for months on end. There is hardly a jazz musician in Iceland he hasn't played with but lately he is perhaps best known for his close collaboration with Ragnar Kjartansson, one of this century's most celebrated visual artists.

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony. While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy” , a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present.

Limited Plum Colored, Full colored Vinyl 12” Jacket 12 Inch Release

Hot on the heels of the recently released Divine Harmonics – From Then Until Now (Part One of Two) the limited orange vinyl edition that sold out within weeks, we are thrilled to announce the arrival of the highly anticipated Part Two of Kuniyuki and Joaquin “Joe” Claussell’s Divine Harmonics imprint.

This next installment is expected to surpass the excitement of both earlier releases, especially as it comes as a plum colored vinyl packaged in a stunning full-color jacket designed by the incomparable Akemi Shimada. As with all Divine Harmonics editions, this is a strictly limited full 12-inch package, created with collectors in mind.

About the Record

Recorded in a fully equipped studio in Brooklyn, New York, this project was born from the idea of gathering musicians who deeply admire Kuniyuki’s work and inviting them to contribute to the composition.

do not listen it in 2 minutes please !

this is Music... Oscillating between Mental Tribe, some XP breaks and a trance feeling...

A travel into time as tunes were selected in 2024... Mastering issues and pressing fevers... And finally... this project took 2 years to come out.

It's a different way for Acid tribe music...
This is a Present.

If you like C.Ysme, Verdure, Moanda and before Tettsuo, 25ème dimension, Win and before again Curley, Pure or Somatics...

if you really open you mind : you can catch it !

Do not fall into the Format-trap for this kind of production.

Enjoy o/

Experimental tape loop jungle from Oxford’s Battery Operated mad scientist duo. Deep, sumptuous hazy textural loops (with a slammer of an A1) driven by heavyweight percussive bliss. Supported regularly by Dead Man’s Chest on SWU/Kool FM

PRESTO (MUKATSUKU, GROOVIA, CONCRETE GROOVES, is back from the (beat) lab with this new 10 track instrumental album. This beat tape was mixed while living in NYC and is a tribute to 90s hip hop with a blend of jazz and soul. 2 tracks were previously released on a 7" from MUKATSUKU. For fans of “MUSHROOM JAZZ”-styled downtempo. These are some serious head nodders, ‘nuff said. Pressed on limited edition blue vinyl. Full pic sleeve.

Two legends. One record. Light-Years sees Nas link with DJ Premier for the legendary Hip Hop release that fans have been anticipating for years. A must have addition for any serious collection

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

Vinyl release of the album from 2023. Black vinyl in a standard sleeve. “out of love in the face of a shadow” is the new album from Credit Electric. Exploring the human unconscious through impressionistic pop vignettes, the album represents a significant evolution of the band’s sound that originally stemmed from limitations put in place by the global pandemic, before blossoming into something altogether new and unexpected. What started to emerge was a body of work that drew upon lo-fi jazz, dub, post-rock, ambient music, 70’s studio experimentation, and 90’s indie rock as much as the rustic folk of their past releases. The resulting album “out of love in face of a shadow” calls to mind influences as disparate as Hiroshi Yoshimura, American Football, Scientist, and Magnolia Electric Co, all the while inhabiting a world completely of their own design. Highly anticipated sophomore album from Credit Electric. Press coverage on recent releases includes reviews and features in New Commute (Albums of the Year), Various Small Flames, Raven Sings the Blues, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “…the band crafts American hymns that peer through fogged glass, tracing the lines of lament in hazy relief…” - Raven Sings the Blues // Albums of the Year - New Commute

2026 Repress

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”

As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

‘Pilot’ is the debut album from London quintet Miniseries. Channelling the epic sweep of TV themes and movie soundtracks into resplendent space rock they explore themes of youth and ageing, heartbreak and paranoia, euphoria and existential dread.

Songwriter Doug Morch (Longview) had been working on largely acoustic folk songs when he met Angela Gannon (The Magic Numbers) at Glastonbury 2017. Romance and musical collaboration ensued. The band coalesced in the hallowed environs of Farringdon's The Betsey Trotwood pub – a musical nexus where burgeoning indie and Americana scenes collide – where they met fellow songwriter and guitarist Dermot Watson (from Brighton's The Dials) and drummer Danny Abbasi and were joined by Doug's former bandmate Aidan Banks on bass. When they came together, their indie folk mutated into motorik art rock, with their first single being an eight-minute jam called "Road".

When it came to capturing their sound, the band reached for maverick musician and producer Sean Read. They recorded tracks at Read's Famous Times studio in Clapton, London, as well as at Edwyn Collins' Clashnarrow in Helmsdale, Scotland – one of the world's most breathtaking and idiosyncratic studio locations, adding unquantifiable magic to the proceedings.

For the closing track "May You Always", they headed to another studio imbued with tangible inspiration: Blueprint Studio in Salford with producer Craig Potter (Elbow) at the helm. For the song, Dermot drew cinematic inspiration from the Withnail & I line "I'll never play The Dane", the song is about realising that the things you aspired to in youth will never come to pass and being at peace with that realisation.

The recurring themes of youth and ageing are apparent in the resplendent lead track ‘You're Gold’ – a heartfelt call for young people to reject materialism and exploitative influencer culture in search of life's deeper meaning, with stylistic nods to The Pixies and early Stereolab.

On the opposite end of the spectrum, "Sepia" explores old age and fading memories through dementia, where the ending descends into chaos like a fragmenting mind. Elements of "Sepia" are foreshadowed in the album's opening track, the instrumental "Pilot Theme", which pays homage to TV theme music, invoking spy thrillers or perhaps something otherworldly from science fiction.

“Offcumdens” is a Calder Valley, Yorkshire term for people who live in the area but come from somewhere else. Hailing from Bury, Lancashire, Morch wrote the song while living in Hebden Bridge (and watching too much Happy Valley) and found himself being an offcumden. It’s a pop at the kind of local nativism which breeds intolerance and an illustration of the sinister rise of wider political populism.

Miniseries' Pilot is just the beginning of the story. Enthralling and atmospheric, the London quintet have created something familiar yet timeless. As singer Doug Morch says, "It's the Miniseries Pilot episode. Like the TV episode a studio makes to test whether it's viable.” In the age of streaming and box-sets, this is an album to truly binge on. We can’t wait to hear what happens next.

Gluecifer, the undisputed "Kings Of Rock" from Norway disbanded in 2005 after a farewell tour and in November 2017, the band announced their reunion for 2018. After 7 years it was time to record a new album and it will be the first one since 2004. The fans are waiting with impatience and the band fulfill all their dreams with an apocalyptic piece of Rock music.

Gluecifer, the undisputed "Kings Of Rock" from Norway disbanded in 2005 after a farewell tour and in November 2017, the band announced their reunion for 2018. After 7 years it was time to record a new album and it will be the first one since 2004. The fans are waiting with impatience and the band fulfill all their dreams with an apocalyptic piece of Rock music.

„Deadline Season“ ist das Debütalbum von Lucy Liebe. Einigen könnte sie bereits als Gründungsmitglied von Bokoya sowie durch Konzerte mit douniah und Gianni Brezzo bekannt sein. Lucy ist Multiinstrumentalistin: Sie spielt Schlagzeug, Keys, Flöte, Trompete, Gitarre und Bass – und singt. Unterstützung erhält Lucy zudem von Sänger*innen AKA Kelzz, Coco Elane, garrrog, Giaa, Laíz und Rosa Landers sowie Trompeter Pachakuti.

Das Album entstand nach Lucys Umzug von Köln nach Berlin. „Ich war neu in der Stadt und wusste, dass ich nicht einfach weitermachen wollte wie zuvor", erinnert sie sich. „Also wurde ich sehr aktiv: habe Leute angeschrieben, Ordner mit Beats verschickt, Kontakte geknüpft. Parallel bewarb ich mich bei verschiedenen queeren Organisationen auf Forschungsstellen – ohne Erfolg. Was aber klappte, war eine Albumförderung. Und ich hatte ohnehin schon viel Material in Arbeit. Die meisten Songs sind während Sessions von Grund auf entstanden, mit Gästen, mit denen ich mich einfach treffen und gemeinsam etwas Neues schaffen wollte."

Musikalisch bewegt sich Deadline Season in viele Richtungen, bleibt dabei aber immer punktgenau und zu 100 Prozent Lucy Liebe. „Ich nenne es gerne Alternative R&B – vielleicht die 2025er-Version von Neo-Soul? Meine Jazz-Einflüsse sind auf jeden Fall noch da."