Search:mor

"Recoiled" is a rambunctious alchemy, of magikal Coil sensibilities and hi-tech home circa 90s mixing technique, all fused in the cave-like early studios of Danny Hyde / Peter Christopherson. These were the unrestrained PRE- BIG studio- mix downs, of four songs which long time Coil admirer / collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde / Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. "Recoiled" includes a fuller, more opulent version of the track 'Closer', which eventually made it onto the opening credits to the movie "SE7EN". These 5 lengthy compositions are pre-Ableton / laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumoured to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Black vinyl LP+, printed inner!

Daniel Steinberg debuts on Rekids the Berlin-based Arms & Legs boss drops the ‘Free Living’ EP

Berlin-based producer and DJ Daniel Steinberg lands on Rekids for the fi rst time with the ‘Free Living’ EP, 13th March 2026. Active for over two decades and emerging at the height of the stripped-back, funkier end of minimal house, Steinberg has built a reputation for pairing infectious hooks with tightly programmed grooves, and has ploughed his path via his label, Arms & Legs Records, as well as labels like NuGroove, Front Room, and Southern Fried.

The title track of Daniel Steinberg’s ‘Free Living’ EP sets the tone with slow-slung, dusty House pressure, where restraint and subtlety shape a deep, immersive groove. Blues-tinged vocal fragments sit low in the mix alongside understated trumpet motifs and tender chords, forming a warm-up cut that gradually raises the energy. ‘Concrete Master’ shifts gear entirely, delivering raw, in-your-face house driven by sleazy rap snippets and snarling hits, built for peak-time impact. ‘Seven Sense’ follows with turbo-charged momentum, pairing vamping piano lines with gospel-leaning vocal stabs for hands-in-the-air release, before ‘Perfect Catch’ closes the EP with loopy chords, chopped grooves, and a playful, party-starting sensibility, delivered with characteristic precision. Founded in 2006, Radio Slave’s Rekids expanded with the techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as sole A&R, Rekids continues to champion emerging and established artists alike, remaining a trusted home for house and related sounds, with recent releases from DJ Minx, Echonomist, Tal Fussman, and more.

Originally released 40 years ago, the album spent 17 weeks in the UK album charts and spawned hit singles "Christian", "African & White" and "No Blue Horizons".

Will Wood's very first LP displays a variety of genres, with a chaotic homemade anti-folk feel and an experimental edge. "Everything is a Lot" began its long production in 2014, when the singer-songwriter was still 20 years old and performing drunken alt-comedy at open mics. With no funding, Wood led a slapdash band into the studio to bring songs mainly from his teenage years to life, and the unstructured production process and youthful experimentation gave it a uniquely loose and chaotic feel. The debut LP's sound is defined by Wood's Jay Hawkins-esque vocal delivery, an out-of-tune old upright piano, wailing wind instruments, jangly guitar, high-powered yet loose drums, and sardonic overdriven kazoo solos. Delivering everything from swing jazz and twee indie pop to pseudo-mariachi and waltz, these sounds and their accompanying bizarre lyrics come together to match the existential title, "Everything is a Lot." Will Wood's early career can be primarily defined by his experimental vocal delivery, honky-tonk piano smashing, and darkly edgy songwriting. While his stylings have matured and taken on a more precise approach, his refusal to conform to expectations and constant shifts in the genre have continued to be hallmarks of his songwriting and production. In his "Will Wood and the Tapeworms" releases (Everything Is A Lot in 2015, SELF-iSH in 2016), audiences can see the first glimpses into what would eventually become his signature style, presented in a uniquely raw and chaotic state of potential.

Our next release is a superb funky Latin double by Mr percussion Candido “Candido’s Funk” is great bass driven groove loaded with samples and latin horns, a perfect dancer for the dance floor. On the flip is “Soulwanco”, A very long awaited 7” delight uplifting percussive groove, more killer horns and bass lines, with a famous bongo sample at the start – a B-Boy / B-Girls delight. A MUST HAVE 45 for the collection

“There’s something about sitting there—just me, the keys, and the silence. No beats, no drops. Only raw emotion.”

Containing 15 intimate piano songs, this album shows a different side to the world-famous DJ and producer:

more personal, more emotional. First recorded on his Steinway, then arranged into proper scores alongside piano teacher

Geronimo, this body of work is saturated with the vulnerability of stepping beyond his comfort zone.

Piano is available on a 2LP set, complete with 16-page booklet including pictures and liner notes by Armin.

Undun is the story of a man, Redford Stevens, dying in reverse, rewinding from the moment he became a statistic and hitting the points in his life where he's at his most self-aware. That he's a criminal who got caught up in the familiar street-hustle trappings that the modern media's documented countless times is a pivotal detail-- it's hit at an angle that seems to emphasize the futile inevitability of it all. His life could be any number of misdirected narratives that ends with a toe tag, and what details listeners learn about him are hazy, buried under archetypal turns of fate and decisive struggles. That this protagonist is a fictionalized composite of a handful of real people, filtered through a matter-of-fact narrative that splits character ambivalence with journalistic impartiality, only makes his lack of direction and the failure of any real closure stand out even more. "Lotta niggas go to prison," Dice Raw states on "Tip the Scale", "how many come out Malcolm X?"

So the Roots' latest album isn't a sprawling, rise-and-fall crime story, not a condemnation or a veneration of a man living outside the law, not a bullet-riddled grand guignol heavy on explicit details of soldiers getting cut down. It's a character study of a man whose existential crisis ends only with his death-- a death gone largely unspecified, the glamor and tragedy washed over with a doomed resignation. That's a hard thing to pull off, even for a band as given to deep-thinking concepts as the Roots are. And when your main lyrical catalyst is Black Thought-- a man more given to allusions than direct statements-- it's likely that it'll take a while for the full scope of Undun to really sink in.

If and when it does, it might strike listeners as a bit skeletal: omit the mood-setting instrumental bookends, including a brief, four-part orchestral suite that builds off Sufjan Stevens' "Redford (For Yia-Yia and Pappou)", and you've got maybe a half hour's worth of material. By ?uestlove's accounts, writing Redford's story introduced the headaches and challenges that come with scriptwriting into their songwriting, and what's left on Undun is the end result of frequent revisions and rewrites that attempt to reconcile character, theme, and continuity. If it comes at the expense of nuance, it's not always obvious: There's an easy-to-trace narrative line from Redford's acceptance of his fate ("Sleep") to his acknowledgement of how close it's approaching ("Make My"), back through declarations of aggravated toughness ("One Time"), and celebratory fatalism ("Kool On"), along ups and downs that juxtapose motivation ("Stomp") and helplessness ("Lighthouse"). When the vocal portion of the album ends with two of the bleakest sets of verses in the Roots discography, peaking with the estrangement of "I Remember" and the desperation of "Tip the Scale", Undun reveals itself as a story where a man's actual death isn't quite as tragic as the circumstances that pushed him to it.

London-based, Wrexham-raised artist and producer Art School Girlfriend announces her third studio album 'Lean In', due March 11th 2026 via Fiction Records. She also shares new track 'The Peaks', and announces a 2026 run of headline dates. Armed with the freedom and space to experiment, 'Lean In' was self-produced in her own East London studio and sees Art School Girlfriend set to move from cult bedroom artist to one of the UK's most vital artist/producers operating at the moment, tackling alternative rock, electronic pop and experimental ambient sounds in her most cohesive work to date

Tim Maia’s second album, published in 19671, deepened and refined the Brazilian artist’s groundbreaking fusion of soul, funk, R&B, and MPB, firmly establishing him as a unique voice in Brazilian music. Compared to his 1970 debut album (HE70014), this second album features more sophisticated arrangements, tighter grooves, and a stronger command of American soul influences, reinterpreted through a distinctly Brazilian sensibility. The alcum features Tim Maia’s most widely recognized hit “Não Quero Dinheiro (Só Quero Amar)”. This vinyl edition is the first after 10 years and the first European one.

Audience’ was a 14-track record that signalled a shift back to Hayes Bradley's dancefloor roots. It was a collision of breakbeats, trip-hop, and ambient textures that perfectly balanced nostalgia and forward-thinking sounds, and now it gets spun into all new worlds by some of the scene's most acclaimed contemporary stars.

Special Request, aka UK powerhouse Paul Woolford, has shaken up the scene with his thrilling mix of jungle, bass, techno, rave, and hardcore in recent years. The hugely prolific producer knows exactly how to blow up the club and does that here with two reworks of '& I Love U'. The Special Request Extended Mix is a meticulously crafted jungle workout, featuring precision drums, rising synth tension, and gorgeous melodies that dart throughout and will appear on the vinyl release only. The VIP version focuses more on celestial memories for a heavenly escape.

Next is Shanti Celeste, a house and garage favourite who crafts emotional, high-impact sounds on her own Peach Discs. Her remix of 'Play It As It Lay' is a bubbly, soft-focus, late-night sound with earworm synth motifs and rich bass that sinks you in deep for a nice, heady trip.

Piori is an alias of Canadian musician Francis Latreille, who has built a sprawling discography full of hyper-detailed techno steeped in science fiction and fantasy. He flips 'Awareness' into a zoned-out affair, with broken beats and cosmic synth waves over a bold bassline that shows, once again, why his productions are in such demand.

Last but not least is Kaifeng-born sound artist, DJ, and producer Yu Su, whose truly unique sound has made her a cult underground star. She flips 'Dear Treasure' into a slow motion and sleazy chugger with dark disco energy and raw live drums, shady vocal loops and otherworldly melodies that seep into your consciousness.

Stine Janvin & Morten Joh unveil "Or Gare," a stark and deeply atmospheric excavation of funeral-processional music from Ryfylke, Norway. The release marks the debut collaboration of both artists, recasting a near-forgotten tradition into ghost-lit contemporary form. Rooted in the bygone custom of "Liksong" (literally "corpse song") that was once sung by small groups of singers who guided rural funeral processions, Janvin and Joh tap into its uncanny, unbearably slow intervallic structures, reanimating the practice as a kind of ancient electronic microtonal devotional music.

Ladyhawke is the debut studio album by New Zealand singer-songwriter Pip Brown, originally released in 2008. The album is rooted in synth-pop and new wave, drawing clear influence from 1980s electronic pop through its use of synthesizers, programmed drums, and guitar-driven arrangements.

This re-issue faithfully replicates the original 13 track UK version with its gatefold sleeve and lyric booklet, and is pressed on 180g vinyl

The long-awaited reissue of Another Song by Music Service, one of the finest Italo-Disco tracks goes to Antony Soumas, the amazing Greek DJ owner of Disco Time Records in Athens. Tony's passion for Italo-Disco style is known worldwide and is worth further amplifying. Among the spin-offs conceived by Amin-Peck (editor's note: in strict Bolognese dialect means "I hang myself!"), Another Song turns out to be the favorite of the "purists" of Italo. The synthesizers of George Fyron and Leonard Parker are excellent as always, but here we also find awesome sauce male voices! In a certain sense you have the sensation of listening to Big In Japan, but perhaps it is just a suggestion of the dee-jays who push one record after another. One last curiosity dictated by the sagacious dj-writer Antonio Stanzani, better known as Ciancio DJ: the Music Service band proposed to Luca Zanarini to sing Another Song, but the lyrics of the song did not yet existed His friend Gianni Ruberti made himself available and by isolating in a room for two hours he made the lyrics that all of us after more than 40 years enjoy.

2026 Repress

Bosconi Records, the Florence-based imprint run by Fabio Della Torre, is back with something truly special. Over the years, the label has built a reputation for pushing house, funk and electro in all their shades, always keeping a strong link between the local scene and international legends. And when it comes to legends, there are few names that shine brighter than Alexander Robotnick.

The Italian electro pioneer – aka Maurizio Dami – has already collaborated with Bosconi on The Hidden Game and Italcimenti Under Construction. Now he returns with My La(te)st EP, a vinyl-only release that pulls five standout cuts from his 2007 CD My La(te)st Album and finally makes them available on wax. All tracks have been remastered for the vinyl format, enhancing their depth and dynamics to deliver the best possible experience on wax.

The EP opens with “Jette Le Masque (Extended Version)”, driven by a pumping bassline and jagged sawtooth synths, with whispered French vocals by Robotnick himself. Stretched out and more DJ-friendly than the original, this version is tailor-made for the dancefloor.
On “We Love The Music” things get fun and funky: vocoder vocals, an electro-funk bounce and that unmistakable Robotnick irony. A killer cut to start a set on the right foot.

Flip the record and you dive into the acidic depths of “I’m Getting Lost In My Brain”. Old-school Chicago vibes, a hypnotic groove and basslines that just don’t quit – a peak-time weapon that feels raw and timeless.
Then comes “A Coffee Shop in Rotterdam”, one of those secret gems: melodic, laid-back and warm, built on a slapping bass and dreamy arpeggios. It has that Riviera house touch from the ’90s, but with Robotnick’s unmistakable twist.

Closing the EP is “Addio” – a track that wears its heart on its sleeve. Romantic, emotional, and driven by a bassline that nods back to Robotnick’s all-time classic Problèmes d’Amour. A perfect goodbye track, the kind that leaves a smile on your face as the lights come on.

This is a must-have for vinyl lovers and Robotnick fans alike – five cuts carefully remastered for the vinyl format, pressed exclusively on wax and ready to work the floor from start to finish. Don’t sleep on it: limited copies, vinyl only.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Solo 500 delivers another irresistible donut that takes the form of this 2-sided celebration of afro-latin & jazz-funk classics. GSC dusts off 2 deep catalog selections here — & part of the appeal is that neither side is a played-out sample cliché. This one is for heads who already burned through the obvious joints.

Side A digs into Manu Dibango beyond the endlessly flipped “Soul Makossa” universe. “The Panther”, from the 1973 album “Africadelic”, isn’t one of his commonly sampled tracks — & that’s exactly why it hits so hard. Low-slung Afro-funk, stalking bass & suspense-building horns that feel like a break record even if they haven’t been rinsed by every golden-era producer. Selectors who chase texture over recognition will understand the power here immediately. It’s the kind of cut hip-hop heads love not because they’ve heard it before — but because they haven’t.

Side B moves into Latin jazz-funk royalty. Ray Barretto is one of the most sampled percussionists of all time, but “Together” (from the 1969 album of the same name) sits slightly off the obvious break-beat path. Instead of a clean, isolated drum loop, you get rolling congas, warm keys & a communal groove that’s been DJ-tested far more than it’s been sampled. This is the type of Barretto cut that crate-diggers pull when they want rhythm to breathe — bridging jazz floors, disco-leaning sets & hip-hop selectors who think like musicians, not beat miners.

Developer returns to his personal vinyl imprint Developer Archive with the label’s 17th release, continuing a focused exploration of raw, hypnotic techno built for physical spaces. Known globally as the driving force behind Modularz, Developer uses the Archive series as a more direct and uncompromising outlet—stripped back, functional, and deeply immersive.

This latest release locks into groove-based cuts powered by tension and restraint, where repetition becomes ritual and subtle shifts create sustained drama. The rhythms are dense and forward-moving, designed to work equally well in the pressure of a warehouse or the precision of a darkened club.

With Developer Archive 17, Developer reinforces his commitment to vinyl as a medium and to techno as a tool for controlled intensity—music that doesn’t chase trends, but instead sharpens its purpose with each release.

2026 Repress

A.Wild plots the course.

Goes Without Saying.

4 intricate signals for late-night movement. Remix from Eversines.

Club Blanco steps into a more finely wired zone with CBR004, a tightly detailed transmission from young Bristol producer A.Wild – a record that reveals itself slowly, layer by layer, like a signal sharpening in real time.

Still anchored with a raw, restless pull, A.Wild works with a more intricate palette here: interlocking rhythms, delicate textural shifts, and micro-melodic flickers that shimmer beneath weighty, rolling low end. These are tracks that breathe, evolve, and reward close listening just as much as late-night movement.

If previous releases moved through the static in broad strokes, CBR004 traces its own circuitry — precise, hypnotic, and quietly complex – mapping new routes through the Club Blanco continuum.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.