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Music On Vinyl celebrate their 100th 12" release by releasing a classic!

Greece 2000 is a classic international house tune by Dutch progressive trance duo Three Drives. It peaked at number 12 in the United Kingdom and number one on the UK Dance chart.

The original 1997 extended mix defined an era with its hypnotic melody, warm groove, and Balearic vibes.

Vintage Culture deliver a deep, melodic, and emotionally charged club weapon. The Max Styler rework elevates the original theme into a 2026 peak‑time banger. KREAM brings their signature big room future‑progressive sound. The Sebastian Davidson & Melosense remix is a warm, organic, and melodic downtempo mix.

This release celebrates nearly three decades of dance music history.

The title of Ghost Bridge, the East-Coast-spanning chamber ensemble Hour's fifth record, is less metaphorical than one might expect. Bandleader Michael Cormier- O'Leary repurposed it from an unrealized movie concept about a bridge that inexplicably starts disappearing. On the nearly-ten-minute title track of this richly imaginative suite of songs_written for a 13-piece ensemble that includes woodwinds, strings, and vibraphone as well as a rock rhythm section_Hour conjures up this central image with spectral string harmonics and free-time percussion gestures. While writing the keyboard pieces that became the takeoff point for the album, Cormier-O'Leary also found himself reflecting on the loss of loved ones or even his own mortality. The six kaleidoscopic instrumental pieces on Ghost Bridge, though, feel more cosmically inquisitive than straightforwardly elegiac, sketching a progression from existential doubt toward understanding and acceptance. Ghost Bridge forms a contrast with Hour's art-rock-informed, more improvisatory early releases, representing a step further into intricate chamber orchestration. Known for his work with Friendship, Wendy Eisenberg, and 2nd Grade, Phillybased multi-instrumentalist and Dear Life Records founder Cormier-O'Leary has made Hour a home for increasingly cinematic instrumental compositions since the mid-2010s. With dazzling production by Lucas Knapp, Ghost Bridge delivers plenty of the live ensemble's trademarks, especially cyclically developing guitar and keyboard melodies. However, even more than on Hour's last studio album, unconventional harmonies and sophisticated counterpoint take center stage here. These emotionally multifaceted compositions feel as rooted in contemporary classical and film soundtrack music as in indie rock. One of the most striking elements of Ghost Bridge is the more significant developmental role the orchestral instruments assume in each piece. Instead of underscoring Cormier-O'Leary's central hooks, there is a new mesmerizing level of detail to the group's conversational interactions and kinetic energy. "Centralia" is a stately and idiosyncratic fugue built from repeated and overlapping phrases, while Ghost Bridge's compositions are full of unexpected pivots in harmony that allow recurring melodic motifs to sound continually reshaded. On "Pearls," the chords modulate drastically around Cormier-O'Leary's inviting central melody in a way that emulates cuts in a film telling several parallel stories. There is an unsettled quality to the chords on Ghost Bridge, with Cormier- O'Leary's progressions avoiding firm grounding in either clearly sunny or melancholy tonalities. This mood is made more concrete by the record's sole vocal track, the jazz-inflected "Sky is Blue," featuring an uncannily gorgeous performance by Heeyoon Won. The song seems to be a communication from a person who has departed, offering consolation or perspective to someone left behind. Though its sonic palette is often tranquil, Ghost Bridge explores heartbreak, grief, anger, and helplessness in a distinct and pretense-free way. The project represents a bold step forward for Cormier-O'Leary as a composer and arranger, and on Ghost Bridge Hour reaches its most fully realized form to date, connecting soaring themes with an inventiveness that perfectly suits the searching nature of the subject matter.

repress 2026

not many artists are able to develop a distinct sonic identity releasing just 5 solo records. through his selective output in the course of 5 years on nina kraviz's Trip, vladimir dubyshkin gained not only an army of loyal fans analysing his live sets for new music, he also inspired many who followed and continued to develop his unique sound.

his tracks, many of which became underground hits like "lady of the night", "ticket to childhood" or "russian porn magazine", always stand out and are immediately recognisable. be it weird syncopated euro dance reminiscent bangers with crazy vocal snaps or haunting hypnotic beauties on a techno side. his music always has that genius dubyshkin groove, a pinch of irony and the ability to make just anyone dance, from a small underground club to a huge festival dancefloor. this universal appeal ensures his tracks resonate across sound systems of all sizes, embedding themselves in the listener's consciousness long after the music stops.

on "ivanovo night luxe", his first double ep on Trip, vladimir sounds as amazingly unhinged as ever embarking on a surreal journey, from the eerie echoes of a haunted funfair ride to the core of a peak-time set.

"ivanovo night luxe" continues to captivate and intrigue, solidifying dubyshkin's standing as an artist of unwavering integrity and reminding us that sometimes 'less is more'.

“Paradigm of Tomorrow” is the representation (or sound) of concepts related to an innovative future and the radical changes brought about by technology in society that is, a way of thinking that redefines the present and opens up new possibilities. Published by Biometric-Audio (DE) Mastered by Paul Mac (UK) Lacquer cutting by Simon Exchange (UK) Release Management: Daniele Angelo (IT) Distribution: Triple Vision (NL) Artwork: Yuki Raw (DZ) A3 – She Spoke in a Detached Way Voice recorded by Hamza (Zahham) in Algiers (DZ) Mixed by Basic in collaboration with Punchlines Room (IT) Recorded at Neoromatik Studio (DE)

Repress 2026
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.

Dream Police is the fourth studio album by the American rock band Cheap Trick, originally released in 1979 and produced by Tom Werman. Following the huge success of At Budokan, the album arrived at a time when Cheap Trick had become one of the biggest new rock bands of the late 1970s.

The album is best known for its memorable title track, "Dream Police", alongside the popular tracks "Voices", "Way of the World" and "Gonna Raise Hell". The songs range from straight-ahead rockers to more melodic and atmospheric songs. Dream Police reached number six on the Billboard 200 and became one of the band's most successful studio albums. It remains a much-loved record from Cheap Trick's classic period and an important part of their 1970s catalogue.

Dream Police is available as a limited edition of 2000 individually numbered copies on red vinyl and comes in a gatefold sleeve. The package also includes an insert with lyrics.

All Shook Up is the fifth studio album by the American rock band Cheap Trick, originally released in 1980 and produced by legendary producer George Martin, best known for his work with The Beatles.

The album followed the huge success of At Budokan and Dream Police and found the band working with a new producer for the first time in several years. George Martin gave the recordings his own touch, while Cheap Trick remained true to the sound and songwriting that had made them popular. The album features memorable tracks like "Stop This Game", "Just Got Back", "Baby Loves to Rock" and "World’s Greatest Lover". All Shook Up reached number 24 on the Billboard 200 and was certified Gold in the United States. It remains a strong album from an important period in Cheap Trick’s career and a great addition to their classic catalogue.

All Shook Up is available as a limited edition of 2000 individually numbered copies on magenta vinyl and includes an insert.

Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack and was originally released in 1972.

Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members. For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes.

The album opens with a ferocious cover of B.B. King's "Crying Won't Help You." In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge, followes by the folkie "If I Were a Carpenter". "Daughter of the Hillside" & is Webb's most impressive contribution to the album. This straight-ahead rocker is an ideal trio effort recalling the intense instrumentality of Cream or early Led Zeppelin. The closing number "The Loser" is upbeat and almost pop-oriented, again displaying the immense strength of this Chicken Shack line up.

Imagination Lady is available as limited numbered edition of 1000 copies on red vinyl and comes in a gatefold sleeve.

Year Of The Spider is the third studio album by American rock band Cold, released on May 13, 2003. It became the band’s most commercially successful record, debuting at number three on the Billboard album charts and selling over 101,000 copies in its first week. The album also marks the final appearance of guitarists Terry Balsamo and Kelly Hayes. One year prior to the album’s release, the mellow ballad “Gone Away” appeared on the WWF Tough Enough 2 soundtrack.

Produced by Howard Benson, Year Of The Spider presents a noticeably more commercial sound than its darker predecessor, 13 Ways To Bleed On Stage. The album incorporates a wide range of guitar styles, as well as violin, viola, cello, digital effects, and several powerful ballads. While Cold continues to explore themes such as drug abuse and troubled relationships, the album also expands into new territory. “Cure My Tragedy” reflects Scooter Ward’s emotional struggle during his sister’s battle with cancer, while “The Day Seattle Died” addresses the deaths of grunge icons Kurt Cobain and Layne Staley. According to Ward, “Kill the Music Industry” is not aimed at any specific label or individual, but comments on the broader state of the music business.

Year Of The Spider is available as double vinyl album, features the hidden bonus track “Gone Away” and contains an insert with lyrics.

Mit Glimmerence veröffentlicht die Berliner Sängerin und Songwriterin Mirna Bogdanovic ihr drittes Album - eine eindringliche Sammlung poetischer Songs zwischen Jazz, Art-Pop und emotionalem Storytelling. Der eigens geprägte Titel beschreibt einen Schwebezustand zwischen Liebe und Illusion und bildet den roten Faden dieser zutiefst persönlichen Musik. Gemeinsam mit einigen der profiliertesten Musiker der Berliner Jazzszene entstehen fein nuancierte Klangwelten, in denen Stimme, Text und Arrangement untrennbar miteinander verschmelzen. Bogdanovic verbindet vokale Ausdruckskraft mit erzählerischer Tiefe und macht jeden Song zu einer atmosphärischen Momentaufnahme voller Nähe und Intensität. Mit einer eindrucksvollen Neuinterpretation von Chris Isaaks "Wicked Game" setzt das Album einen kraftvollen Schlusspunkt. Glimmerence ist ein vielschichtiges, emotionales Werk über Sehnsucht, Verletzlichkeit und Selbstermächtigung - und ein starkes Statement einer der spannendsten Stimmen des zeitgenössischen europäischen Jazz.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Cologne based DJ and producer Barnt has been bottling his own weather system since 2010: captivating techno where melodies flirt, rhythms evaporate, and structure is something to tease rather than obey. An attitude, that pierces the average definition of techno. With an album and endless EP’s, he turned club orthodoxy inside out. Barnt has sent his tracks out via labels like Cómeme, Mule Musiq, Hinge Finger, Hivern Discs, Kompakt, or Magazine from Cologne, the enterprise he co-runs with a bunch of friends.

After his 2014 debut album on Magazine, that came out as catalogue number 13, Barnt is back with number 25, a new album, titled “After completing the Hex”. Eleven tracks, each grinding lowkey skewed. This is techno for dramatic entrances. Dance music for confusion. Freely played chords oscillate with intention. Alluring melodies glide across stoic beats. Peaktime vibes stripped to the bone. An album that provides Barnt’s most complete release until today, displaying his unique sound world effortless assembled. Mastered by longtime accomplice, producer Matt Karmil, it features playful, seemingly unintentional, meandering club spirits. There are melodies made from 100 notes and hooklines fashioned from just one. In-between calmer electric enchanters, minimal, free-spirted, tempting. His slinky madness occasionally presents sublimely embedded environmental sounds or oral samples, taken from sources like Torn Hawk’s “Trustfall” TTT cassette album. There is a touch of sadness, that veils the recordings at times, always defied by lightness and optimism. A record made with true inspiration, that overrides all fears. Drawn frankly from emotions, bringing the ultimate flow state, that unlocks a new techno gate.

A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room.

It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures.

But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.**

It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good.

It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

** See Jack Halberstam in Fred Moten & Stefano Harney, The Undercommons (2013): “…we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening."

It took a long time – ten years – for his talismanic song, ‘Ça ira tu verras’, to prove his prophecies right, at a time when, everywhere else in the world, nothing seems to be going right. And if everything is going well for Séverin, it’s because he’s managed to build himself a bulwark, an impregnable citadel, and his records now exude a whiff of simplified idealism, with the influence of Souchon and Voulzy never far from his pen and guitar as he brings his bittersweet moods to life in verses and choruses.


But above all, he knows how to invent new settings for himself, push back the boundaries, step beyond the walls of his Parisian studio to go and see how things sound elsewhere. Recorded at Chale Abbey Studios on the Isle of Wight (UK), Séverin once again wanted to let the collective spirit of his regular collaborators take centre stage. Ambroise ‘Sage’ Willaume and Jérémie Arcache, who featured on the previous album *Nouveaux Dinosaures*, once again form the backbone of the band, on guitar and keyboards respectively. Bassist Théodora Delillez (Astral Bakers) and Canadian drummer Robbie Kuster complete the band’s core line-up, which, in just six days at this electric priory, went on to achieve – judge for yourselves – nothing short of miracles.


Whilst all around us the war on falsehood rages – from AI to post-truth, all these fake debates, hypocrites and false values – here is an album that doesn’t cut corners when it comes to emotions, nor in the way it sets them to music.

YL Hooi returns with 'Running Around (83)', the project's first release since 2019's Untitled. Valya Ying-Li Hooi and Tarquin Manek finally commit a long road-tested live favourite to tape, welding together engine room doom, disembodied vocals, cryptic lyricism and a smouldering dub-techno bassline, recast and overdriven.

The hand-stamped white label 12" honours its roots with three heavyweight remixes. After corrupted audio files erased YL Hooi's recent live collaboration with Mad Professor, the Ariwa boss gives their encounter lasting form with a percussion-dripped halftime stepper featuring veteran Black Steel and new blood Karmelody.

The flipside immediately detours with Ulla's full-scale tear down and rebuild, layering woodwind, keys and subtle percussion into an improbably elegant convergence of ambient, minimal jazz and modern classical. John T. Gast's Midas touch then drags it into bardo dancehall territory, a rugged soundsystem destroyer that's scuzzy, screwed and wired with punk instinct.

Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own. Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.

‘I’m So Happy’ is the debut album from the beloved children’s show Ms. Rachel. It features 23 beautiful new recordings of favorites from the show, with lush orchestration and vocals from Ms. Rachel, Mr. Aron and friends. The album includes popular songs such as ‘I Love a Rainbow,’ ‘Hop Little Bunnies’ and ‘Icky Sticky Bubblegum.’

Monolink and CIOZ bring a stripped-back electronic edge to Crosstown Rebels with ‘Don’t Talk To Me’. The German multi-instrumentalist makes his Crosstown Rebels debut alongside Italy’s CIOZ, with OMRI. also returning to the label on remix duties. There are few artists in electronic music quite like Monolink. Moving naturally between singer-songwriter, producer and live performer, his music gives as much weight to voice, melody and narrative as it does to electronic production. For ‘Don’t Talk To Me’, he joins Bergamo-born, Berlin-based CIOZ, whose own work is driven by rich musicality and a willingness to move beyond convention. The link-up makes for an intriguing signing to Damian Lazarus’ Crosstown Rebels, bringing together two different approaches to electronic music without either losing their identity.

‘Don’t Talk To Me’ is deliberately pared back, pairing Monolink’s voice and songwriting with sparse textures and gently shifting melodies. Rather than building towards a conventional dancefloor payoff, the track unfolds with a quieter sense of tension, sitting somewhere between alternative songwriting and electronic voyage. An artist whose productions and remixes have quickly made him a recurring presence in the Crosstown Rebels universe, OMRI. takes the track deeper with his remix, adding darker, hypnotic qualities while preserving the original’s restraint. ‘Wasting Time’ closes the release with another sweeping collaboration, built around subtle melodic details and captivating synth flourishes.

The collaboration marks Monolink’s first outing on Crosstown, adding to an impressive career that has seen him craft his distinctive sound via Berlin-based imprint Embassy One and on labels like Cercle Records. Performances have taken that music from Burning Man and Montreux Jazz Festival to Day Zero Bali, where he joined Damian Lazarus for its first edition, as well as sets alongside Lazarus at Club Space, Zamna and more around the world. Meanwhile, CIOZ brings his own expansive approach back to the label, with material also landing via Monaberry, Frau Blau and Stil vor Talent, plus remixes for Diplo, Oliver Koletzki, Patrice Bäumel and the Crosstown head honcho. With both artists comfortable moving between emotional depth and dancefloor function, ‘Don’t Talk To Me’ gives that shared instinct plenty of room to breathe.

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

Anlässlich des fünfjährigen Jubiläums des gefeierten Debütalbums "Space 1.8" (2021) von Nala Sinephro, erscheint dieses als neue und einmalige Doppel-Vinyl-Edition, erstmals auf zwei Schallplatten geschnitten, im Gatefold mit gefütterten Innenhüllen.

„Wer behauptet,es gäbe keine neuartige Musik mehr, kann entdecken, wie falsch dieses Urteil ist.“ – stern, Heft 21.09.2021‘Space 1.8’ is Nala Sinephro’s debut album; each contributing piece is part of a connected,
collaborative and deeply personal body of music.
Performed and recorded at Pink Bird Recordings in Wanstead and in the comfort of Sinephro’s bedroom, tracks one through eight allow experimentation to breathe and borrow from jazz, electronic and folk influences.

On the LP, Sinephro invites a host of talented musicians to enjoy its confines, providing a quiet place to dissolve the edges of London from the senses.

‘Space 1.8’ is a record for healing, which could not have arrived at a more needed time.

After fifteen years of shaping dancefloors around the world, Mele is set to release his long-awaited debut album Alive On Arrival via Defected Records Far from an introduction, the album marks the arrival of an artist operating with complete creative clarity, bringing together the sounds, collaborators and influences that have defined his journey into one cohesive body of work.

"Alive On Arrival draws inspiration from what feels like my entire life as a producer, a DJ and a music fan, bringing together everything I love about house, hip- hop, UK music, soulful R&B and wider global sounds. The name comes from Wu-Tang Clan's C.R.E.A.M., which felt fitting to where I'm at in my musical journey. It's been 15 years as Mele, but I'm still alive and feel like I've got so much more to give. I've finally arrived at this point with my debut album. The album was made in, and heavily influenced by, London, Miami and Liverpool - three places that are close to my heart. Sonically, it's inspired by some of the best: Jungle, The Neptunes, Gorillaz and Masters At Work." - Mele aka Krissy Peers Set for release on 25 September, Alive On Arrival is Mele's most expansive project to date. Across fourteen tracks, he draws together house, hip-hop, soul and R&B into a record that reflects a lifetime spent moving between genres rather than being limited by them. Created between London, Miami and his hometown of Liverpool, the album captures the energy and musical history of three cities that have shaped both his sound and perspective. At the heart of Alive On Arrival is collaboration. Rather than simply assembling a list of featured artists, Mele has curated a cast of voices whose individual perspectives deepen the emotional and cultural narrative of the album. Long-time collaborators sit alongside new creative partnerships, each contributing to a record built on shared musical language and mutual respect.

Southern Fried Records return with the second instalment of Refried & Tested, a three track EP built for peak time festival business. Bass heavy and attitude driven, this one brings together friends old and new for a run of dancefloor tracks that don't let up. It's Southern Fried doing what it does best - club ready energy with real personality behind it. Elado opens Refried & Tested 002 with 'Don't Stare' - a bass-heavy, attitude loaded cut built for the dancefloor. It's peak time energy with a real sense of swagger, setting the tone for the rest of the compilation. Jordan Peak takes on Elado's 'Don't Stare' and delivers a whopping remix, reworking the original into a festival ready peak time weapon. A standout moment on Refried & Tested 002. lau.ra teams up with Bag Raiders for 'back2back', bringing dance floor energy and attitude to Southern Fried's Refried & Tested 002 - a collaboration between friends old and new that delivers exactly where it counts. Van Damn closes out Refried & Tested 002 with 'Hit You', a bass driven cut that keeps the compilation's dancefloor energy running right to the last track.

Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.

Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.

One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.

The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.

With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.

Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.

Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.

Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.

His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.

A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.

Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.

‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

Familiar. Usually reserved for things we think we know. A face, a place, a feeling, a record perhaps. Until, of course, they aren’t quite the same anymore. Or maybe you aren’t.
Jennifer’s debut album lives somewhere around there.
It’s a record about time, which is already a fairly ambitious subject considering nobody seems to have figured that one out yet. More specifically, it’s about what
time does to a person. The old versions, the new versions, and all the ones in between that you only notice when something suddenly brings them back. Someone you
haven’t seen in years. A room you used to know. A certain way the light falls. That sort of thing.

There’s a bit of a doppelgänger situation going on, too. Finding something completely new and somehow recognising it. Meeting yourself again without immediately realising who you’re talking to.
Which can be nice. Or strange. Usually both. The songs on Familiar sit comfortably with that contradiction. Looking backwards without wanting to go back. Missing things without necessarily wanting them
returned. Realising that people who once occupied most of your waking hours can become people whose address you don’t know. Meanwhile, some tiny, seemingly irrelevant detail from fifteen years ago remains perfectly intact.
Memory has its own filing system. Not a particularly sensible one.
Jennifer wrote a series of poems alongside the album. In them, familiarity appears in melting snow, rough coastlines, a kitchen already warm in the morning, somebody’s hands fitting into yours. Elsewhere she wonders about someone she
once knew everything about and now knows nothing about. They could live around the corner. They could live on another continent. They could, technically, be dead. Probably not. But that’s time for you.
Maybe Familiar is less about remembering who you were than realising you never entirely stopped being them. Things get added. Things disappear. Things come back looking slightly different.
And somehow, you recognise them.

Dieses Reissue würdigt das 50-jährige Jubiläum eines der wegweisenden Alben des Heavy Metal. Original-Master von 1976, Half-Speed-Mastering, farbiges Vinyl, Original-Artwork, ursprüngliche gewünschte Tracklist. Diese zum 50. Jubiläum erscheinende Ausgabe von Sad Wings of Destiny wurde von den analogen Original-Masterbändern aus dem Jahr 1976 restauriert und stellt die definitive Version des Albums dar. Das ursprünglich 1976 veröffentlichte Album gilt als eines der einflussreichsten Alben in der Geschichte des Heavy Metal und prägte das Genre maßgeblich mit Klassikern wie "Victim of Changes", "The Ripper" und "Tyrant". Die in Zusammenarbeit mit Judas Priest entstandene Ausgabe wurde im Half-Speed-Mastering-Verfahren speziell für Vinyl bearbeitet. Dieses Verfahren bewahrt die Kraft und den Dynamikumfang der analogen Aufnahmen und sorgt zugleich für außergewöhnliche Klarheit und Tiefe. Die Wiedergabe erfolgt in der von der Band vorgesehenen Reihenfolge, beginnend mit "Prelude", wodurch das ursprüngliche Hörerlebnis wiederhergestellt wird. Die LP kommt dabei im ikonischen original Artwork als Galaxy Yellow/Orange Mix Vinyl, auch als klasse klingende CD wieder erhältlich. "Sad Wings of Destiny, ...simultaneously took heavy metal to new depths of darkness and new heights of technical precision. [...] Three songs rank as all-time metal classics, starting with the epic "Victim of Changes," which is blessed with an indelible main riff, a star-making vocal turn from Halford, explosive guitar work, and a tight focus that belies its nearly eight-minute length. "The Ripper" and "Tyrant," with their driving guitar riffs and concise construction, are the first seeds of what would flower into the New Wave of British Heavy Metal movement." -

JUNO & Jamek Ortega link up for ‘Deep Breath’ on Crosstown Rebels.

Following an impressive label debut earlier this year alongside Alex Wann on ‘Allo’, crowned Pete Tong’s Essential New Tune, Germany’s JUNO returns to Crosstown Rebels with ‘Deep Breath’ in collaboration with longtime production partner Jamek Ortega. Immediately drawing listeners into a hypnotic, percussive world, snaking rhythms and rattling cowbells build steadily beneath an atmospheric backdrop, before a commanding vocal emerges to anchor the groove. The release continues a relationship that has seen the pair produce across labels including Arodes’ Unreleased Records, Wired World, and more, as well as regular back-to-back performances. On the flip, ‘Sloppy Disk’ sees JUNO step up solo, locking into a driving four-to-the-floor groove where a rolling bassline provides the foundation for pensive chords to drift alongside subtle melodic flourishes, steadily expanding the track’s atmosphere before tumbling into a sweeping, cinematic finale.

JUNO has accelerated onto the scene with hits like ‘Last Dance’ on Magnifik Music and a Hot Mix for Pete Tong on BBC Radio 1, firmly earmarking him as one to watch. Meanwhile, DJ/producer Jamek Ortega continues to connect with audiences worldwide with outings on Three Six Zero, MoBlack, Abracadabra, Madorasindahouse, and more, picking up heavy rotation from the likes of Keinemusik, Solomun, Tiësto, and Black Coffee. Here, the pair show no signs of slowing down as they join forces once again, stepping onto Damian Lazarus’s imprint and marking a major milestone in their respective trajectories.

Chloe Slater’s debut album ‘Riot Youth’ unfolds in the fleeting, chaotic moments before doomsday – a coming of age record fit for the modern world. Arriving right on time in an era when hopelessness and nihilism run rife, painting the truest portrait of what it is to be young, British, and brave enough to be hopeful today. Across 10 tracks, she departs her signature, succinct commentary on the issues plaguing her generation: social divide, toxic internet culture, our dwindling sense of community, the climate crisis and, ultimately, the vampirish billionaire class cashing in on our collective misery. She playfully shifts from these frank descriptions of society to moments of gorgeous, gut-punching poetry, crafting anthemic choruses and intoxicating one-liners from the gripes many of us can barely muster the words for.

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

"Born from frontman Alex Biro's journey through addiction, loss, and recovery, Receptivity is the most honest record Selfish Things has ever made. After years of touring with the likes of Jimmy Eat World, Simple Plan, and Don Broco, a 2020 hiatus gave way to a personal unravelling - and eventually, to the songs that would become this album. Written alongside longtime collaborator Michael Ticar and producer Mike Tompa (Silverstein, The Devil Wears Prada) in the early months of Biro's sobriety, Receptivity is a record about facing the wreckage without flinching. It's about accountability, community, and the quiet work of putting yourself back together."

John Coffey built a reputation as one of the most explosive live bands in Europe - even becoming an internet sensation with the legendary “beer catch”. From Graspop to Sziget, Wacken to Pinkpop, Vainstream to Jera On Air, 2000trees and Hurricane/Southside - the Dutch group has played several of the biggest festivals, sold out the Melkweg in Amsterdam and even launched their own punk rock festival - Coffey Fest - to celebrate community and uncompromising music. Never shying away from the world around them, John Coffey actively uses their platform to speak out on social justice and political urgency. The new studio album "Not Alone" is about the power of connection. About discovering that there are other people who feel what you feel. Whether you find that connection through a partner, a friend, a helpline, or a room full of people feeling the same music. Talking helps. Singing helps. Screaming along helps. Armed with new music, a fierce activist ethos, and upcoming European tour dates, the band proves that engagement and heavy rock ’n roll are a perfect match.

This album is a glimpse into the creative outpouring from Todd in September and October of 2025. He returned to the Purple Building in East Nashville to perfect what he called “the sound of country music 10 years from now”. This meant taking his favorite country music tropes, dismantling and reassembling them over stretched-out, swampy grooves with New Orleans-style horns. He was so sure of this sound, feel, and his studio band's pliability that he insisted on recording his vocal and guitar first, with no accompaniment or click track. Todd wanted the band to record after him, so they would HAVE to follow his lead wherever it went. In his mind, he was attempting to write and record a double album. His excitement over the recordings and the push to capture that much material meant that by mid-October, Todd had recorded his vocal, guitar and the band's rhythm section for at least an album’s worth of material, with plans to continue recording. Sadly, Todd passed away before the remaining overdubs and additional songs could be completed. Fortunately all the notes, directions and encouragement he left behind in the form of emails, voice memos and demos provided an extensive roadmap for his band. Following that roadmap as closely as possible, his band was able to complete Todd's last work, My Second Rodeo, Part 1.