Buscar:mode one

SPEED und Hardcore sind zwei Worte, die zu einem Synonym geworden sind: Die in Sydney, Australien, ansässige Band hat das Genre durch
berauschende Live-Auftritte, Musikvideos und die Treue zu sich selbst für sich beansprucht.
Die fünfköpfige Band hat den Begriff ONLY ONE MODE geprägt, und so ist es keine Überraschung, dass er auch den Titel ihres ersten Albums darstellt
Das Debütalbum ist ein Beispiel für das Wachstum der Band, ohne dabei den SPEED-Ethos zu vernachlässigen. Das ist es, worum es ihnen geht:
Hardcore, hart gespielt, schnell gespielt, "für uns, von uns" - explizit, unmittelbar, definitiv - in Anspielung auf all die entscheidenden Bands, die vor
ihnen gekommen sind.
Im Juni sind Speed auch in Deutschand live zu erleben

SPEED und Hardcore sind zwei Worte, die zu einem Synonym geworden sind: Die in Sydney, Australien, ansässige Band hat das Genre durch
berauschende Live-Auftritte, Musikvideos und die Treue zu sich selbst für sich beansprucht.
Die fünfköpfige Band hat den Begriff ONLY ONE MODE geprägt, und so ist es keine Überraschung, dass er auch den Titel ihres ersten Albums darstellt
Das Debütalbum ist ein Beispiel für das Wachstum der Band, ohne dabei den SPEED-Ethos zu vernachlässigen. Das ist es, worum es ihnen geht:
Hardcore, hart gespielt, schnell gespielt, "für uns, von uns" - explizit, unmittelbar, definitiv - in Anspielung auf all die entscheidenden Bands, die vor
ihnen gekommen sind.
Im Juni sind Speed auch in Deutschand live zu erleben.

Very limited white label VIP mixes of Glimmerman's Step Mode featuring a cut from the artist himself and fellow Dublin native Sputnik One.

Dublin’s Glimmerman impresses with his debut release on First Second Label. 3 subbed-up modern club weapons b/w a remix from the on-form Sputnik One.

Step Mode gets stuck in, pairing twitching junglisms with a feverish techno dancehall pulse. Proper awe-inspired club music for the now. Oxygen Sum is up next, layering submerged sound design with a heaving broken beat-ed thud. A slippery aquatic stepper.

Cutlass is on the flip, an absolute no-nonsense Dubstep wobbler in the finest modern style. Expect rewinds on this one. Our curtain call is with fellow Dubliner Sputnik One, as he remixes Step Mode in his exquisitely supple psychedelic sub-tech style.

Carlos Benedetti, a Colombian house producer and live performer from Cali, has steadily become one of the standout names in today’s underground dance scene. Following multiple vinyl releases on the acclaimed German label Disco Disco, Benedetti’s productions have earned widespread praise and support from respected figures including deep house icon Cinthie.

Specialists, selectors and collectors alike have described his records with comments such as:
“fabulous 12-inch”
“This is the most wild dance record to come out this year so far”
“Cannot formulate the words to capture how this one sounds and makes me feel”
“Listen close and behold.”

With this latest EP for SUPREME STRIKER, Benedetti once again delivers a collection that feels destined to become a future underground classic.
The record opens with Nostalgia Blues, a soulful and deeply textured piece channeling the spirit of Larry Levan’s legendary dancefloor energy, somewhere between disco’s emotional golden age and modern club functionality.
On Bellavista, Benedetti dives deeper into high-energy territory, layering powerful black grooves, hypnotic rhythmic tension and rich percussive movement into something both vibrant and timeless.
Pyramid follows with soaring arpeggios and delicate melodic flourishes, recalling the euphoric sophistication of Todd Terje at his most inspired, while maintaining Benedetti’s raw dancefloor sensibility.
Closing track How High The Moon nods toward Patrick Cowley’s pioneering synth work, injecting the EP with cosmic disco pressure, futuristic funk textures and a strange late-night sensuality.

More than a simple collection of tracks, the EP unfolds as a fully coherent journey through house, disco, Italo and high-energy mutations, balancing emotional depth, machine-driven grooves and timeless dancefloor instinct with remarkable naturality.

Juxtaposition brings together two masters of hardware-focused electronic music for a split LP that explores the boundaries of texture and rhythm. Featuring one side dedicated to each artist, the record serves as a definitive showcase of modern modular synthesis and intricate beat-work. From the cinematic, voltage-controlled landscapes of Halfgeleider to the rhythmic complexity of Electric Bear, this LP is a essential acquisition for fans of IDM, braindance, and experimental electronics.

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

Nu Vision is a modern salon for visionary leaders, fighting for their art, standing by truths, defending voices, honoring progenitors, whilst pushing forwards towards a new paradigm. The band all have their own stories and extensive discographies, records released on labels you might know, gigs played in places you might have attended but none of that matters. This is a new beginning. A group. A collective.A movement. Nu Vision is a band in the classic do-you-believe-in-alchemy sense. Equal parts rhythm, damage, and deep feeling. Their friends at DFA noted that the album “sounds like Depeche Mode scoring a Michael Mann montage: brooding,motorik, and shot through with black-and-blue beauty.” this idea is taken further in the first video from the album for track one / side one “Time” that launches the project publically along with the albums announcement. The palette of ‘The Seed’ is defined and refined in the best way. It’s an album that opens up many pathways. Brisker, freakier tracks like “Shadow In The Dark,” “R U Serious?” and “Humanity” run towards a softer finish with “Somedays” and the seven-minute, eyeliner-smearing closing ballad, “Lullaby Garden.” These are proper songs made with vintage machines, with a sound that carries obvious influences. ’ The Seed’ pulses forward as the body of the beast is turned inside out, wearing a beating heart on its sleeve, honoring those who left us too soon - DAF’s Gabi Delgado, Nitzer Ebb’s Douglas McCarthy, Depeche Mode’s Andrew Fletcher, and Sandwell District’s Juan Mendez. It’s important to note the emotional core of ‘The Seed’ album is the song ‘Synchronicity’ that is filled with both love and regret, the story of losing a friend without properly making amends. It is unquestionably heartbreaking, but is also delivered with a pang of hope, the feeling that with so many sunrises caught, so many additions and subtractions in life, a perspective has been gained. This is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A New Vision

The Soft Chaos captures the essence of music “in the moment “ - the interaction of three musicians within the improvisation. It embodies the true spirit and essence of “jazz” - music created spontaneously, yet within the boundaries of an art form that has influenced the sound of modern music and many genres for nearly a century.

A collaborative, improvisational, and free-form trio project led, produced, and mixed by Nathan Haines with Joe Kaptein (keyboards) and Elijah Whyte (drums), recorded in just one day at Auckland Lab Studios.

The Soft Chaos showcases live, in-the-moment, top-quality musicianship with a vintage vibe reminiscent of classic 1970s experimental jazz rock, but with a modern jazz-house aesthetic, featuring live human lead drums and synthesisers rather than programmed beats.

Repress 2026
The Visions EP is the debut release from London based DJ/Producer duo Suburban Architecture. Drawing heavily on influences from one of Drum & Bass' most innovative and rapidly changing eras, the mid to late 90s, the duo's productions place a contemporary spin on sounds rooted in this golden era of dance music.

This 4 track EP explores a selection of sounds that meet at the intersection of nostalgia and modern production: "Visions '96" fuses atmospheric jazz samples and haunting horns with fractured drums in a manner reminiscent of Source Direct, Photek et al. "Equilibrium" meanwhile gives a modern take on the classic roller, complete with lush synth pads and rolling Amens. On the flip are a pair of jazzy steppers: "Cubic Nature" delivers more lush pads, this time paired with subtle vocals and deep atmospherics whilst "Pulses" brings some bounce to proceedings fusing 80s soul style keys and jazzy horn licks giving stylistic reference to material by the likes of Alex Reece.

2026 Repress

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

GRAMMY® Award-winning reggae icon Buju Banton returns to familiar ground with renewed purpose, setting the tone for a bold new era. Officially reunited with longtime partner VP Records, this full-circle moment reconnects one of Jamaica’s most influential voices with the label that helped define a pivotal chapter of his career. “Butterflies” serves as the first offering from his upcoming al bum, arriving Summer 2026. Produced by internationally acclaimed hitmaker Supa Dups (Rihanna, Drake, Bruno Mars), the track delivers a vibrant, feel-good sound anchored on a re-lick of the ‘Answer rhythm.’ Buju’s unmistakable cadence glides effortlessly across the track, blending classic dancehall energy with a modern sonic edge. The single exemplifies a confident return, one that bridges legacy with evolution while reintroducing the essence of dancehall to a new generation!

Led by Samantha Martin's unmistakable powerhouse voice, Samantha Martin & Delta Sugar deliver an explosive blend of soul, blues, gospel and rock 'n' roll Backed by an 11-piece band featuring a three-piece horn section and soaring vocal harmonies, Martin commands the stage with equal parts grit, grace and emotional force. Two-time JUNO Award nominees and internationally recognized as one of Canada's most compelling live acts, the band has built its reputation through electrifying performances and a catalogue that carries the classic soul DNA of Mavis Staples, Sharon Jones and Otis Redding, delivered with the urgency, volume and energy of a modern rock 'n' roll revue. Released in May 2026, A Beautiful Buzz captures Samantha Martin & Delta Sugar at full flight during the Love Is All Around tour. The album generated immediate international attention, topping the Euro Americana, Big Blues and UK Independent Blues Broadcasters Association and Roots Music Report charts. Rolling Stone France Editor in Chief selected A Beautiful Buzz as one of its "10 Albums to Listen to, "With blazing horns, gospel- charged harmonies and Martin's commanding voice at the centre, A Beautiful Buzz recalls the joyful abandon of Joe Cocker's Mad Dogs & Englishmen while remaining unmistakably their own. Blue Matters described it as "the front row experience, bottled with warmth, fire and unmistakable soul," while Blues in Britain placed Martin "up there with the best of contemporary female vocalists." Building on the album's international momentum, Samantha Martin & Delta Sugar will bring their show to Europe and the UK in May 2027, followed by a second run in November.

Probably the most respected and sought-after producer of the European reggae scene of the last ten years, Spanish genius Roberto Sánchez (Willi Williams, Earl Zero, Alpheus, Keith & Tex, Milton Henry,...) takes place behind the microphone to deliver a new album as a singer under his pseudonym LONE ARK. Soberly titled Showcase Vol. 1, this album is a collaboration between Sánchez and the Swiss band THE 18TH PARALLEL, whose playing is well known to reggae fans, since its musicians have recently played and produced some remarkable records, including I've Seen by Oku Onuora, Roots I Vision by Micah Shemaiah or Wonderland of Green by The Silvertones and Burro Banton.

Faithful to the Jamaican roots reggae tradition, Showcase Vol. 1 offers six vocal tracks followed by their dub counterparts where all the creativity of the sound engineer and the musicians is freely expressed. On instrumentals at the same time heavy and irresistibly dancing, with a modern production but deeply rooted in the roots reggae sound, Lone Ark and The 18th Parallel push their listeners to critical reflection. A strong message + powerful music = a must-have album!

Repress

Introversion, one of our most prominent discoveries, joins the golden side of the label with a stunning release that confirms his great skills. He vigorously continues to deliver this very unique 90's rave sound melted to some modern aspects of hip-hop and Techno with 3 Original cuts, on the flip side the debut of a duo that doesn't need much of an introduction, Obscure Shape & SHDW remixes Onryo, taking this already amazing record to a bigger and wider space.

American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.

Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.

The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.

Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.

Texan beatmaker Flobama continues his Astrophonica journey with the four-track EP ‘Soundboy’s Return’, exploring fuzzy Jungle/Hip-Hop crossovers with the help of the now-iconic Amigo software. The results so far have been full of character and depth, marking the emergence of a distinct artistic identity. Now more than ever, a unique sonic palette feels essential—and Flobama has one in bucketloads. From the first pad, chord or whiff of a breakbeat, his sound is instantly recognisable: a fresh, modern take on a classic formula.

2026 Repress

Even if Ancient Greek isn’t part of general knowledge anymore, the word mega is. Hence, you might admire our modesty to say that Roman Flügel’s first outing on Running Back in 2022 is perfectly headed. Greta, large, mighty and somewhat the love- or brainchild of his earlier Garden Party and the previous D.I.S.C.O., Mega pulls out all the stops: hi-nrg melodies, circus bells, cowboy funk and honey hooks at 140 beats per minute. While it is nearly impossible not to take this bait or decorate it with the Bobby-O medal of honor, Roman proves one more that you can be catchy and classy at the same time.
Rules on the other hand, puts some of these stylistic devices in reverse or down-tempo mode and feels like brushing your teeth after an extended feast or the perfect hors d’oeuvre.
Completing the picture with Film 1, Film 2 and Film 3, Flügel flexes his freethinking muscles and lands in-between art school new wave bands and soundscape science. Music that is masterly made, magical in its impact and perfectly described with a misquoted line from Get The Balance Right: it’s never predictable.

[GER Seit ihrer Gründung im Jahr 2014 haben sich These Wicked Rivers zu einer der fesselndsten Bands der aktuellen Rock-Revivals in Großbritannien entwickelt. Die aus Derby stammende Gruppe schöpft aus dem reichen Erbe von Rocklegenden und Blues-Größen und hat sich mit ihrem unverwechselbaren, vom Blues geprägten modernen Rock einen Namen gemacht. Dank ihrer Live-Auftritte, die oft eine fast spirituelle Tiefe erreichen, und ihres zeitlosen Songwritings hat die Band in den letzten Jahren enorm an Fahrt aufgenommen. Ausverkaufte Konzerte in Großbritannien, den Niederlanden, Frankreich und Deutschland sowie der große Kritikererfolg ihres zweiten Studioalbums "Force of Nature" (Platz 3 der UK-Rockcharts) haben ihren Ruf als Live-Act, den man unbedingt gesehen haben muss, gefestigt. Das Jahr 2026 verspricht ein Meilenstein für das Quintett zu werden: Im Herbst erscheint ihr mit Spannung erwartetes drittes Album "Fire and Folklore". Aufgenommen wurde das Werk in der Heimatstadt der Band, Belper in Derbyshire, im Heimstudio von Andy Sneap. Unter der Regie des Grammy-Preisträgers Sneap (Judas Priest, Saxon, Megadeth) und Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) ist das bisher ausgereifteste Album der Band entstanden. "Fire and Folklore" geht über den typischen ,Wizard-Blues-Rock"-Sound hinaus und erschließt neue klangliche Territorien; dabei werden Country-Einflüsse und Southern-Rock-Flair integriert, ohne den für die Band charakteristischen Groove und Soul zu verlieren. Zudem ist die aus Derby stammende Country-Hoffnung Kezia Gill als Gastmusikerin auf dem Album vertreten. Geliebt von einer rasant wachsenden Schaar von Fans und ausgestattet mit einem Album, das den Sprung auf die großen internationalen Bühnen anvisiert, stehen These Wicked Rivers bereit, neue Höhen zu erklimmen. Seid dabei, klingt klasse. CD mit zwei Bonustracks, LP als Purple oder Black Vinyl! Established in 2014, These Wicked Rivers have emerged as one of the UK's most compelling forces in the recent rock resurgence. Hailing from Derby and drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years. Sold-out shows across the UK, the Netherlands, France and Germany have cemented their reputation as a must-see act, bolstered by the critical acclaim of their second studio album 'Force of Nature' (#3 UK Rock Chart). 2026 is set to mark a landmark chapter for the quintet, with their hotly-anticipated third album 'Fire and Folklore' set for release in autumn 2026. The record was recorded in the band's hometown of Belper in Derbyshire, at Andy Sneap's home studio. With the Grammy-winning Sneap (Judas Priest, Saxon, Megadeth) and Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) at the helm, it's the band 's most accomplished record to date. Expanding beyond their signature wizard-blues rock sound, Fire and Folklore pushes into new sonic territory, blending in shades of country and Southern spirit while retaining the groove and soul that defines the band. The record also features a special guest appearance from fellow Derby artist, country starlet Kezia Gill. Loved dearly by a rapidly growing "Family" of fans, and armed with a homegrown record with its sights set firmly on the global stage, These Wicked Rivers are poised to reach new heights. Jump on in and enjoy! CD contains two bonustracks, LP comes in Purple or Black Vinyl!

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

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

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

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

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

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

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

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

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

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

Duality makes his debut on Up Ya Archives with a single rooted in the foundations of 90s jungle but shaped distinctly by contemporary sound design, epitomising his unique take on modern junglism. Intricate breakbeats and classic jungle textures are anchored by weighty 808s that guide the flow of the track, while influences from footwork, hardcore and drum & bass sets the track firmly into the space of progressive junglism. When asked on the single, Duality said

“R U Mine is the lead single from my latest project, Brainstorm. It balances luscious pads and playful synth lines with relentless drum breaks and 808s. Topped with ethereal vocals, this is one to open a set with or close out the night”.

A rising star in Bristol’s underground dance scene, Duality is staking a claim within the new wave of jungle.

“‘Brainstorm’ is exactly what the name suggests. A glimpse into the ideas that occur in my brain as a producer. Each track is a different element of my jungle inspirations, from raregroove sample-based production to 4x4 rave stabs. Ready and waiting for the dancefloor!”

Aside from his own productions, he also runs Bristol-based record label and events crew Intaception, which has hosted parties across the UK with iconic figures including Source Direct, Tim Reaper, Double O, and many more. Moving fluidly across production, promotion and musical direction, Duality continues to push the sound and culture of contemporary junglism forward.

Following the successful return of Cyberfunk Records, Frequency Damage EP showcases four brand-new productions from DJ Quest, blending over 25 years of breakbeat experience with modern production techniques.
From old-school funk influences and rolling basslines to heavy club grooves and precision-engineered drums, the EP demonstrates the versatility that has made DJ Quest one of the pioneers of the Bassline Breaks movement.
Each track brings its own identity while remaining unmistakably Cyberfunk—music written for DJs, built for powerful sound systems and inspired by the underground dancefloors that shaped the label's legacy.

Feelin’ Love returns to Soulfuric Deep with a fresh remix package built around one of house music’s most recognisable vocal anthems, bringing new energy to a timeless dancefloor favourite.

Originally released by Soulsearcher, the track has remained a staple across house and disco sets for decades, celebrated for its uplifting vocal, infectious groove and enduring crossover appeal.

This new edition pairs the original Soulsearcher Club Mix with a selection of contemporary reinterpretations, including brand-new remixes from RUZE & Chesster and Dr Packer, alongside the Ian Carey Main Mix, offering a versatile package for both modern and classic house DJs.

Blending soulful vocals, groove-led rhythms and contemporary production touches, the release bridges generations of house music while retaining the feel-good energy that made the original such a lasting success.

Back on fresh 12" vinyl, Feelin’ Love continues to resonate with both long-time collectors and a new wave of DJs, making it a strong addition to any house-focused record selection.

A highly recognisable and DJ-friendly release for stores supporting house, deep house and soulful dancefloor sounds.

If you've yet to succumb to the charms of Children of Zeus - and there can't be many out there who haven't - then this "odds and ends" LP offers a neat introduction. Five of the seven tracks have been plucked from the Manchester crew's previous full-length excursions, while the other two - seductively soulful two-step garage reworks of "Vibrations" and "Slow Down" by fellow Manchester resident Zed Bias - have previously been almost impossible to get hold of. Setting aside the club-ready remixes, what "Excess Baggage" proves is that Children of Zeus are one of British music's most essential outfits right now, delivering sensual and life-affirming cuts that brilliantly blend the best aspects of hip-hop, R&B and modern soul.

Greg Freeman was barely done making his breakthrough album, Burnover, which was released to wide critical praise and landed in The New York Times Best Albums of 2025 list and received the coveted 'Best New Album' distinction from Pitchfork, when he started writing his new record All Set The Bone On All Set The Bone, he embraces friction instead of refusing it, using scant rehearsal times and urgent, self- appointed deadlines, which was finished quickly, in a real Hollywood studio with one of rock's best modern architects, John Congleton.

Greg Freeman was barely done making his breakthrough album, Burnover, which was released to wide critical praise and landed in The New York Times Best Albums of 2025 list and received the coveted 'Best New Album' distinction from Pitchfork, when he started writing his new record All Set The Bone On All Set The Bone, he embraces friction instead of refusing it, using scant rehearsal times and urgent, self- appointed deadlines, which was finished quickly, in a real Hollywood studio with one of rock's best modern architects, John Congleton.

Underpinned by spoken folktales stretching from Indonesia to Poland, a new collaborative EP from Warszawa/Berlin-based Jerzy Mączyński and London-based Flora Yin-Wong arrives via Accidental Meetings. Demons rising from the wind, unknown beings lurking in the forest — the record conjures a landscape built from heady layers of saxophone and the tormented strings of zither, harp and kemence.

Recorded across two intense studio sessions, the EP also features idiosyncratic contributions from London-based guest vocalists and musicians Aga Ujma and Laila Sakini.

Flora Yin-Wong is a London-born experimental sound artist and writer of Chinese and Malaysian heritage, known for weaving field recordings and traditional instruments. Her album Holy Palm (Modern Love) and book Liturgy (PAN) cemented her as a singular voice in experimental music today.

Jerzy Mączyński is a Polish saxophonist, producer and composer whose jazz training feeds into genre-melting work spanning kosmische, prog, industrial techno and minimalism. One of his collaborations being a record of free jazz and rhythmic cubism with Chicago's Hieroglyphic Being.

RAWAX welcomes Vlad Arapasu to the artist family!
We re very happy to present you his outstanding debut for us on the famould RWX series!
4 brilliant minimal monster here on one record. Highly recommended!

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

STAR TREK: STRANGE NEW WORLDS is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series will feature fan favorites from season two of STAR TREK: DISCOVERY: Anson Mount as Captain Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock, and follows Captain Pike, Science Officer Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy. Drivers: * Focus track scored written, produced and conducted by Emmy Award winner, and 3 time nominee, Jeff Russo (The Man Who Fell To Earth, Legion, Fargo, Oslo, The Night Of, Umbrella Academy, Altered Carbon, Star Trek: Discovery, Short Treks, Strange & New Worlds, Picard series, Love & Death) * Jeff is a founder, lead guitarist and songwriter of 2x Grammy Award nominated, multi platinum rock band, Tonic. * Russo's main theme is a modern adaptation of Alexander Courage's original Star Trek theme, and includes a theremin as a way to foreshadow Courage's vocal arrangement of the theme. * Tracks taken for Season 2, episode 9, titled, Subspace Rhapsody

Erweiterte Deluxe-Jubiläumsausgabe von "The Fallen By Watch Bird", das neben dem Originalalbum auch das Kompendium "The Watchbird Alluminate" enthält, alternative Versionen und Neuinterpretationen von u.a. Demdike Stare, The Focus Group, Anworth Kirk und Emma Tricca. Seit der ursprünglichen Veröffentlichung vor 15 Jahren hat sich Jane Weaver zu einer der markantesten und experimentierfreudigsten Stimmen aus UK entwickelt und eine Reihe von gefeierten Alben veröffentlicht, darunter "The Silver Globe", "Modern Kosmology", "Flock" und "Love In Constant Spectacle". Es ist ein psychedelischer Femme-Folk-Rock-Teppich, der Einflüsse aus dem osteuropäischen Kinderkino, deutschen Kunstmärchen, der TV-Musik der 70er Jahre und elektronischen Soundtracks der 80er Jahre aufgreift. Dieses konzeptionelle Album, das von Synths und Mystik durchdrungen ist, verwebt Bilder von abwesenden Seeleuten, Telekinese, Tierbotschaften und weißer Magie mit heidnischen Themen wie Tod und Wiedergeburt. Ein prägendes Meisterwerk aus ihrer ständig wachsenden Diskografie, das ihre Reise von ihren folkloristischen und poporientierten Anfängen bis hin zu den psychedelischen Synth-Pop-Experimenten von heute dokumentiert. Das Album umfasst sieben Kapitel und enthält Beiträge von Septième Soeur Wendy Flower vom Folk-Pop-Duo Wendy & Bonnie, das 1969 das Album Genesis veröffentlichte, Lisa Jen, der walisischen Sängerin auf Gruff Rhys' Candylion, der verstorbenen amerikanischen Folk-Pop-Sängerin Susan Christie und dem bosnischen Folk-Musiker und Violinisten Behar. Als Extra setzt "The Watchbird Alluminate" die Reise fort, indem es in Drone, Psychedelia, Folk und weitere Klanglandschaften eintaucht. Einzel-CD oder limitierte 2LP-Edition in Marineblau und Cremefarbenem Vinyl, Gatefold-Sleeve + Obi-Streifen & DL-Karte.

Building up from his multiple appearances on the label, one of our closest producers, Luca Durán, makes his full studio album debut on TraTra. This work is meant to showcase the vast world of influences the diasporic experience comes with: his rhythm-driven tracks coexist in high contrast, but fluidly, with the experimental and textures of his european school of sound. The title itself works amongst these two edges of Luca's aesthetic existence, the softness from the flight of a Mariposa with the harsh hit of a death blow.

Killing Mariposas is filled with seemingly clashing techniques, field recordings, acoustic instruments, and analogue synthesis, which converge with modern and forward-thinking production tools to build heavily layered music. Constructing an emotional narration from the contemplative to the euphoric. A sort of contextual shapeshifter, with hints of cumbia, grasps of reggaetón and dembow, but always submerged deeply in a windy and fragmented memory.

This whole project gets rounded up by the packed lineup of collaborators, both vocal features and production partners. Astute minds from distinct internet niches: Kelman Durán, Gavsborg, Iceboy Violet, Debit, Rosa Pistola, BEBE YANA, Kamohelo & Kacha.

One true reflection of Luca's production abilities and sonic poetry.

Celestial Echo proudly present an official reissue of this highly sought after Modern Soul classic. If you’re lucky enough to find an original copy it will set you back more than £300. Finally a chance to own this holy grail anthem! Remastered and presented in a reimagined sleeve. Essential! Repressed on Limited Edition Blue vinyl

Melbourne producer Jordan Brando releases his new Fixation EP today via DJ Tennis’ Life and Death. The four-track project marks Brando’s debut on the label and arrives as he continues to establish himself as one of Australia’s top new club exports.

Fixation is built around raw, bass-driven grooves, moving between the shuffling percussion and hypnotic vocal hook of the title track, the tougher techno edge of “Vibration,” and the classic house influence running through “The Bassline.” “After Dub” eases the pace without losing that foundation, closing the EP on a warm, melodic note.

The release extends a growing connection between Life and Death and the current wave of Australian producers making an impact worldwide. It follows recent projects from Brando’s Not Without Friends collaborators Luke Alessi and William Kiss, who both joined the label at the end of 2025. Together, the three have built momentum around a shared strain of forward-thinking club music and recently reunited in New York City for a Raw Cuts event this summer.

Born and raised in Melbourne, Brando has developed a reputation for the breadth of his productions and DJ sets, with his original music and remixes appearing across dance charts around the world. While his solo work has earned support from international tastemakers such as Pete Tong (via his BBC Radio 1 show), he’s performed with Kiss and Alessi at Heide Museum of Modern Art, Beyond the Valley, London’s Night Tales and Rippon Lea Estate.

After a run of performances spanning Australia, New Zealand and Europe—including Lost Village, Beyond the Valley, Night Tales and Melbourne’s Collingwood Town Hall—Fixation finds Brando entering his next chapter with one of electronic music’s most respected labels, further cementing his place among a generation of Australian artists reshaping the international club landscape.

Muyei Power or Orchestre Muyei (muyei means 'our country') was one of the top dance bands of the1970s in Sierra Leone. Soundway Records' first collection of music from this West African country ('Muyei Power: Sierra Leone in 1970s USA') is an album of rock-infused, 'afro' music from a group that traveled the world throughout the mid 1970s. Fusing elements of electric Congolese and Nigerian music with fast, syncopated, uptempo modernised arrangements of traditional music, Muyei Power produced a series of unique single-only releases that have been unavailable for 35 years. The rare recordings featured here are a glimpse of a dynamic and powerful band at the very height of its powers.

Even though lyrically Orchestre Muyei focused on traditional themes and songs, the arrangements and formulation of the instrumental side of things still very much reflected the mixed nature of urban Sierra Leone music, exemplified by a small collection of bands that also included Afro National, Sabanoh 75 and Super Combo.



For the early part of 1970s the band toured extensively throughout Sierra Leone, Liberia and Côte d'Ivoire before making a handful of 45s in local TV and radio studios. The recordings featured here however come from a period of touring the college circuit in California during late 1975 and early 1976. Later that year, as they played the colleges of the east coast, they gave the tracks to the owner of the African Record Centre in Brooklyn, New York. He initially released two of them on his in-house Makossa Records label as 7-inch 45rpm singles in 1976. The tracks from 1975/6 were then not heard of again until 1979/80 when the African Record Centre released many of them on a series of Makossa Records 12's that sounded far superior than the records that had been released a few years earlier.


Orchestre Muyei Power finally split up in 1979 leaving no proper album releases and only a handful of recordings for us to enjoy all these years later.

The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.