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Am 21. August 2026 veröffentlichen Weezer mit Weezer ( The Gold Album) ihr 20. Studioalbum.

These sounds were not made for comfort. They were carved from late-night static, broken machines, and restless hearts.

This record marks the beginning of a catalogue for those who seek meaning in the shadows.

For those who understand that music is not just heard, it is endured, inhabited, and shared.

Use this work to channel the anger and dissonance born from today’s chaotic world, with responsibility, awareness, and resilience.

Franc Fala & Benja land Crosstown Rebels debut with hypnotic collaboration, ‘Dirty Dancing’.
Out on 31st July 2026, the Dutch pair unite for a dark, groove-led first appearance on Damian Lazarus's label, backed by two distinct reinterpretations from Brazilian artist Malive.

Anchored in a heavy groove that never loosens its grip, Crosstown Rebels’ latest release, ‘Dirty Dancing’, brings together two Dutch artists whose ideas have been shaped by a shared creative language built over time. Amsterdam’s Franc Fala continues to build on what has been a rapid rise onto the global house circuit, with a run of notable releases coupled with a growing touring schedule, ensuring his records and name have been the talk of the town for many. Alongside him, regular collaborator, fellow countryman and close friend Benja has also ensured his approach to music has also landed with impact, leaning on energy and atmosphere to shape records designed to resonate beyond the dancefl oor. Here, the pair reunite for their biggest collaboration to date as they make their debut outing on Damian Lazarus’s revered imprint with a record crafted for the peak hours.

Everything revolves around a vocal hook that doesn’t sit in the background; it emerges to take over the track, keeping listeners locked into the groove beneath. Rather than pushing in obvious directions, it circles and tunnels deeper, drawing listeners in until it becomes the only thing that matters. On remix duties, Brazilian DJ/producer Malive delivers two contrasting interpretations that take command of the B-side. His ‘Noturno Mix’ pushes into shadowy, late-night territory, extending the track’s hypnotic pull through melodic textures and tension, whereas his ‘Goes To Rio’ mix takes a more fluid direction, loosening the groove and introducing bright keys alongside a slick rhythmic swing.

Kino Disk presents a snapshot into the current state of electronic dub music in America

The Third Room launches its new curator-led series with Oscar Mulero, one of techno's most uncompromising and influential voices. Through decades of releases, DJ sets and his work with PoleGroup, Mulero has helped shape a sound defined by tension, reduction and depth, leaving a lasting mark on contemporary techno culture. For this first chapter, he brings together artists who reflect that same discipline and sonic clarity. Rather than focusing on solo authorship, Mulero shifts towards dialogue - connecting with producers who operate within a shared language, while bringing their own distinct perspectives to the record. He opens with Sonic Synergy, the only solo track: restrained, dub-influenced and immersive, built on warm low-end and gradual development. The centrepiece of the record follows with Reaction Pair, a collaboration with DVS1. Bringing together two of the scene's most established voices, the track unfolds as a fluid, open construction: a rolling, slightly woobly bassline meets evolving chords that build and dissolve tension in continuous cycles, creating a sense of forward motion without obvious peaks. Seven, with Luigi Tozzi, introduces a more spatial dimension, merging Tozzi's atmospheric depth with Mulero's steady drive. Closing track Between the Stars, with Isabel Soto, leans into a timeless, understated energy - functional without ever becoming forceful. Across all four tracks, the EP remains consistent in tone: spacious, spheric and focused on long-form movement. As the first entry in the series, it sets a clear direction - reduced, hypnotic techno built for longevity. ? 2026 The Third Room A1 Written and Produced by Oscar Mulero | A2 Written and Produced by Oscar Mulero & Zak Khutoretsky | D1 Written and Produced by Oscar Mulero & Luigi Tozzi | B2 Written and Produced by Oscar Mulero & Isabel Soto Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".

Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.

Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.

Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.

One original mix, never before released on vinyl, alongside three brand new remixes from Claptrap Allstars.

Francisco D’Argento may not have been a pioneer of the Italo Disco movement that emerged in the late 1970s and early 1980s, but his sun-soaked, refined approach captured the spirit of the era with unmistakable charm.

While D’Argento received critical attention from local press and music journals, his work unfortunately never connected with a wider audience. In later years, his output gradually slowed, and his early recordings slipped into obscurity.

With the support of the D’Argento estate, this forgotten gem has been lovingly restored and remastered from the original ½-inch tape, bringing new life to an overlooked piece of Italian electronic music history.

This release presents the original version, an uptempo, high nrg direct italo cut featuring D’Argento’s own vocals, alongside the voice of his second wife, actress and model Eleanora D’Argento.

Donald Dust delivers a powerful and thumping rework for the A2 the “Squish Mix”, a stretched-out, dubbed-out interpretation built for those late-night, hot and heavy dancefloors.

Dr Valentine takes things into the cosmos with the “Nello Spazio Mix”, slowing the tempo and drifting into hypnotic space.

Closing out the EP, Vanity Project presents a darker Robotalo Remix, stripping away the original’s outer layer and revealing a shadowy, dark-disco driven version.

Buon ascolto!

A deep and sophisticated addition to the catalogue of one of Germany’s oldest House labels. With Rhythm Puzzle, Bass Cab returns to Cabinet Records, one of Germany’s longest-standing and most respected House labels, continuing a legacy that has shaped underground dance music with quiet confidence and unmistakable identity for decades. Few labels have managed to preserve such a clear artistic vision over such a long period of time. Cabinet Records has always stood for depth over trends, substance over spectacle, and a deeply rooted connection to the essence of House music.

Archaic Vaults is proud to present »Ley Lines«, the debut album by St Circul.

Concise collection of folkloric grime instrumentals to rise from a new moniker taken on by the elusive First Circle. A breadcrumb trail of effortlessly crafted early 2000s-era grime, trap and drill instrumentals can be found on a fairly sparse Soundcloud account and numerous NTS shows spanning the last ten years, on which he is known to play almost entirely his own material. Now a different energy takes hold on »Ley Lines«: ten tracks by the enigmatic producer to be released both on a label and in physical format for the first time.

»Ley Lines« was born from a meandering quest through South London’s more leafy dwellings. These cherished regions became a place of refuge in which to ruminate on the hopes that love and community can outlast the dwindling state of Britain’s social and political climate. Photo documentation was made which would later form the genesis for each track, and a return to the studio resulted in something which could not be fitted into the existing First Circle discography.

Harpsichord and brass samples (»A Plan Is Formed«, »Hilly Fields«) are underpinned by murky bass loops and tight militaristic percussion – motifs recognisable amongst white label grime’s most influential producers (Wiley, Skepta, Lewi White etc.) that push the formula into far more rapturous territories than any of FC’s previous productions. The more introspective moments of the album (»Wares at the Ivy House«, »Blythe Vision«) put local field recordings and devotional reverberant ambience to the forefront, alluding to St Circul’s proto-dungeon synth influences and giving the whole album a unique world all its own.

Archaic Vaults is proud to host an album which shares intrinsic roots with the label’s own South London birthplace. »Ley Lines«’ ten tracks of psychogeographic drifting are available in digital and limited cassette format via Archaic Vaults.

Mastered by Owen Pratt Design by Severin Black Artwork image by St Circul

"Black & 'Pearlescent Transcendent Future'"-farbiges Vinyl. Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

In ein paar Jahren kann viel passieren. Für Jarred Beeler von DJ Plead bedeutet das, ein ganz neues Album aufzunehmen, es dann wegzuwerfen und schließlich etwas völlig Anderes zu veröffentlichen. ,Please" wurde zusammengestellt aus einem Ordner mit 120 Demos und Skizzen, die zwischen 2023 und 2025 entstanden sind, und präsentiert die unverwechselbare musikalische Palette des libanesisch-australischen Produzenten, die Techno, House und Dub aus dem Club mit den Dabke-, Mijwiz- und Shaabi-Klängen eines levantinischen Tanzkreises verbindet. ,Please" folgt auf ,Relentless Trills" aus dem Jahr 2020. Veröffentlicht als Teil von Boomkats ,Documenting Sound"-Reihe war diese Veröffentlichung eine Offenbarung, die über die hochintensiven Hard-Drum-Kracher hinausging, die über Livity Sound, Nervous Horizon und sein eigenes Label Sumac erschienen waren, hin zu einem eher ambienten Ausbruch seiner markanten Percussion und gewundenen Maqam-Melodien. ,Please" ist ein noch intimeres Werk, dessen Cover eine Nahaufnahme von Beeler zeigt , der in der einen Hand eine Tasse Kaffee hält, in der anderen seine Habseligkeiten. Handy, Schlüssel, Tabletten, Tiger Balm. Es ist eine zutiefst persönliche Darstellung des Alltags, die die gemächliche emotionale Resonanz der Trackliste des Albums widerspiegelt. Ein melancholischer Ambient folgt auf das verzierte Dahintuckern von ,Seven Eight, Too Late", das von Downtempo-Atmosphären heimgesucht wird. Das sanft groovende Klavier, die Gitarre und der Bass des Abschlussstücks ,Traffic" verschmelzen mit dem organischen Nachhall und Verklingen von Raum und Zeit. ,Ich fühle mich nicht ganz wohl dabei, diese Tracks zu veröffentlichen. Ich fühle mich verletzlich", sagt Beeler, der Smalltown Supersound-Labelchef Joakim Haugland als entscheidend für die Verwirklichung von ,Please" würdigt. ,Ich bezweifle, dass diese Demos jemals von jemandem gehört worden wären, wenn er sie nicht aus dem Ordner geholt hätte." Aber haben wir nicht Glück, dass er es getan hat? Die schwülen Keyboard-Improvisationen des Albums bei Höhepunkten wie ,Right On Time", ,Pa700" und ,Open Era" sind eingebettet in eine Mischung aus schwankenden Found Sounds und mikrotonalen Läufen. ,Bei einigen Songs spiele ich auch einfach nur Keyboard über einem Loop, den ich erstellt habe. Da gibt es nicht viel Produktion oder Glanz, hinter dem man sich verstecken könnte", erklärt Beeler. ,Gerade diese Tracks wirken ziemlich roh." Diese behutsamen Schritte außerhalb von Beelers ästhetischer Komfortzone aus Kontrolle und Funktion hin zu ungefilterter Offenheit erzeugen eine spannende Spannung. ,Please" nähert sich gekonnt jenem schwer fassbaren Punkt zwischen Distanziertheit und Sentimentalität, wo das Alltägliche, das Spezifische und das leicht Absurde auf das Tief empfundene und aufrichtig Bewegende treffen.

Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

At the Moers Festival 2018, OXBOW got together with Peter Brötzmann to deliver a memorable performance, bringing out the best of two legends in their very own genres while playing old and new Oxbow songs together. Oxbow, formed in 1988 in San Francisco, plays a blend of noise rock, avant garde jazz, musique concrè te and blues, creating intimate soundscapes, with overtones of paranoia, revulsion and exaltation. They released a couple of cult albums, eg. on. Neurot, Hydra Head. Peter Brötzmann , active since the 60s with his distinct saxophone sound, is one of the key musicians in European Free Jazz. ,I think we have at least one thing in common: a certain kind of energy, which we could share and where we will meet." Peter Brötzmann *** Peter Brötzmann -saxophone / Eugene S. Robinson - vocals / Niko Wenner - guitars, piano / Dan Adams - bass guitar / Greg Davis - drums

Santa Cruz native Oliver Tree is gearing up to release his much-anticipated sophomore album Cowboy Tears on February 18th. The internet based vocalist, producer, writer, director and performance artist has 12M+ TikTok followers and an overall social reach of 20M+. He writes and directs all of his colourful and eccentric music videos, which have received over 400M+ views to date.

Oliver Tree has collaborated with Lil Yachty, Marshmello, Trippie Redd, Ski Mask The Slump God, blink-182, Dillon Francis, grandson, Whethan and more. His hit single “Life Goes On” has over 575M+ streams, 160M video views, 25M+ TikTok creates and 30M+ TikTok video views. His debut album Ugly is Beautiful has gained over 1 billion global streams and broke into the Top 40 in the UK album chart.

Miles Davis embraces yet another form of modern music: Hip-Hop in collaboration with Easy Mo Be

2026 Repress

WRWTFWW Records is extremely excited to announce the first ever vinyl release for Pizza Hotline’s brilliant 2022 full-length Level Select, originally only released on cassette and digital. The liquid drum & bass meets Y2K era video gaming aesthetics monster is now available in a limited edition transparent vinyl double LP with a glorious 45rpm cut, packaged in a heavyweight 350gsm sleeve.

Entirely written and composed by UK producer Pizza Hotline (apart from "GLACIER ZONE", a collaboration between Pizza Hotline and DJ Total 90), the stellar 8-song album was initially released as a limited cassette in January 2022 and quickly gained cult status - making a full-on vinyl release quite the necessity. It’s here now with the the previously unreleased track "POLYGON DREAMSCAPE" (which sounds as magical as its title) and 45rpm cut for louder, bigger, deeper bass rumbling.

Spellbinding, atmospheric, and beautifully melodic, Level Select is a large scope dreamy adventure of liquid DnB filled with ambient escapades, ethereal jungle, high vibe breaks, and a heavy loving dose of late 90s / early 2000s video game influences. Hypnotic late night hype and pensive chill moods mesh with ease in a cinematic soundscape that re-contextualizes and gives a new life to a beloved music genre - LTJ Bukem, Peshay, the Wipeout OST or Soichi Terada's Ape Escape come to mind, and sounds and soundtracks from the Sony Playstation, the Nintendo 64, and the Sega Saturn resonate from the speakers. It’s all fresh with a subtle nostalgia and so much heart. An instant classic.

We're proud to present our second release: Contemplation EP.

This release sees label owner Cavilla deliver a sound that reflects the label's vision. Blending Goa and psytrance with tribal influences, Contemplation EP represents the style and direction that Mind Racer Records is all about.

Cavilla is a DJ and producer from Gibraltar whose music combines progressive trance with psychedelic, goa and psytrance influences. A passionate vinyl collector and co-founder of Creatures of the Night EU, he has developed a distinctive sound built around hypnotic melodies, raw basslines, and driving energy.

Contemplation EP is Cavilla's debut release and his first EP on vinyl, introducing the sound that defines his artistic vision.

A1 Don't Sweat It focuses on ever-building energy, combining a rolling bassline with Goa-inspired leads and acid synths. Driving from start to finish, it pulls you deeper into the trance. A2 Danger Zone blends psychedelic textures with tribal influences, creating a dark and moody atmosphere.

B1 The Truth combines acid synths with psy influences, bringing a trippy and immersive feel to the release. Psychedelic details and evolving elements shape its distinctive character. B2 Catch Me If You Can" rides on ethereal textures, raw growling basslines, warping elements, and a hypnotic melody, laced with a seductive vocal layer perfect for late-night settings.

Following their eponymous 2023 debut, Chestnut People once again emerge from the Wood to deliver Volume 2, a lichen-scented batch of blissed IDM and crackling tech. While retaining the filtering step of its predecessor, Volume 2 plunges deeper into the honey pot with rich melodic density, recalling the gentle pluckings and starry-eyed glitch of 00s Icelandic electronica. The music unfurls in programmatic detail like a misted forest dream–winged creatures buzzing as brush collapses under our feet.

"aethermead", das neue und 20. Studioalbum von Of Montreal, lässt die Sounds der frühen Jahre wieder aufleben, während es gleichzeitig die künstlerischen Grenzen ihres unverkennbaren Indie-Pop/Rock-Stils erweitert. Frontmann & Songwriter Kevin Barnes, bekannt für seinen einzigartig-produktiven Output und großartigen Kollaborationen mit Künstlern wie Solange, Janelle Monáe und Jon Brion, nahm die LP mit Toningenieur Drew Vandenberg (Faye Webster, Toro y Moi) in seinem neuen Heimatort Brooklyn auf. Die Grundspuren wurden live mit Barnes’ langjähriger Live-Band auf einer 16-Spur-Bandmaschine eingespielt. Das Ergebnis schimmert mit Indie-Pop-Elementen ihres 2004er Albums "Satanic Panic In The Attic" sowie der rohen, energiegeladenen Live-Atmosphäre von "Lousy With Sylvianbriar" (2013). Wunderschön-melodische Akkordfolgen wechseln sich mit Rock'n'Roll-Krachern ab, auf eingängige Hymnen folgen surreal-experimentelle Klangwelten. Mit einer neuen Tour am Horizont (erstmal durch Nordamerika) feiern Of Montreal weiterhin ihr Vermächtnis und gehen gleichzeitig mutig in die Zukunft.

2026 Repress

Armada Music and PDD are proud to welcome a new series to their ever growing roster of releases with “A State Of Trance Volume 1”. Kicking things off is the legendary Armin van Buuren with one of his classics “Communication” originally released in 1999 on Cyber Records this trance anthem was an instant hit, known for its driving bassline and signature piano melody it served as his breakthrough hit and the lead single from his debut studio album 76. It reached number 18 on the UK Singles Chart and number 2 on the UK Dance Singles Chart.

On the flip are The Thrillseekers (Steven Helstrip) with “Synaesthesia (En-Motion Extended Remix)”. The Thrillseekers have been at the forefront of the global trance scene for 20 years from releasing his first ever single “Synaesthesia” which is now being brought back to life on fresh vinyl for the first time in over 20 years.

Last but not least is “Lange feat. Skye - Drifting Away (Extended Mix)” originally released in 2002 on VC Recordings. Stuart Langelaan, renowned as Lange, has many achievements under his belt such as 20 UK top 40’s and mixing the return of the legendary Trance Nation series for Ministry of Sound.

This release is for any fans of trance new and old, make sure to give trance a chance.

2026 Repress

For Fuse's fifth release, Brussels' Altinbas returns for a whirlwind of meditative and harmonious techno. Solidifying his identity of focused yet vibrant club music, the Fuse resident and label co-curator offers his second contribution 'Sustain' as a dancefloor-enveloping take on modern techno. Known for rich chords, whipping pads, and dry percussion, Altinbas proves once again that his touch as a producer revolves around balance and calculated effect.

'Trail of' kick starts the EP with flourishing synthwork and a taste of dub as has become the Belgian artist's signature. Dotting toms as rhythmic accents and a low to the ground shaker make for a swaying introduction with an infectious groove. Breaking things up in the second track, 'Life Force' presents Detroit style chord stabs and playful rhythmic work. With a mental synth at the foundation, the track presents 909 drums to reinvigorate atmospheric synths that make 'Life Force' a subtle hybrid of classic club genres. With a wink at Fuse's heritage and a peak into its future, Altinbas' focus on enduring music can be felt throughout 'Sustain' and truly understood in the Brussels club. As a fitting follow up, 'Purpose' opens the B-side with illuminating chords and rounded sound design and a pulsating low-end. With almost a lighthearted tone, the record fits across genres and rooms, claiming movement instead of mood as its sole medium. The title track 'Sustain' proves just that - a melodic sequence and progressive arrangement make for an intensely euphoric closing. Evolving melodies, opening filters, and big but calculated buildups sum up Altinbas's work for Fuse's fifth release on the new label. The record brims with warmth and yet it finds its way on darker dance floors with ease, providing a refined style of music that belongs only to him across the international scene.

100 COPIES ONLY! Chicago... Chicaaago: If you ever felt House Music in your bones, chances are you stumbled across the windy city. From Ron to Frankie and the other Ron - from Larry to Boo & GU, from the Smart Bar to Gramaphone Records - the city has left an undeniably mark on dance music culture for decades. With his "Chicago" release Johannes Albert pays a little respect to this legacy, dragging out the bass, the 303 on top and some vocals chanting (what else?) "Chicago, Chicaaaago". 12" comes with proper 45 Cut and classic round US sleeves. Now? Let's head go the south side and boogie.

From euphoric rave and disco-infused house grooves to deep, emotional deep house. With the third installment of the „Any Second Now“ series, the label once again delivers a versatile and cohesive various-artists record that unites different facets of electronic club music. Offering everything discerning DJs and dancers look for, from euphoric rave and disco-infused house grooves to deep, emotional deep house. It is a versatile record rich in atmosphere and highly re-listenable.

Boston’s Vermillion Sun Records has returned with its second offering, featuring Gummies Records boss and Steep co-founder Cutty (aka Cutwoes). As a child, Cutty was allergic to most common pets, prompting him to explore the world of amphibians, mainly…frogs. Each night as he dozed, his room was filled with the chirping of his slinking brothers and sisters. He has been immersed in sound ever since. Since traversing the deepest ravines of local music as a clubber, DJ, producer, label head and promoter, his productions, like his DJ sets, consistently bring unexpected twists and turns. Bouncy and psychedelic techy house goodness, beautiful ambient moments, downtempo groovers in the perfect time and place, breaks to make you dance and shake. VSR 002 encapsulates Cutty’s whole approach, delivering propulsive and tasteful tech house with ambient, dubby, tribal, and progressive influences.

Lillies in October sets the stage, book ended by gorgeous ambient waves before breaking into rolling tribal infused grooves. The Machine God delivers psychedelic wonk and circumstance providing the tech to soundtrack your deviousness. The B-side, Cutty provides a hypnotic and heady groove to sway away in Wooden Rollercoasters, while Wiersma delivers a remix full of funk and swing, showcasing how years on the dance floor can meld mind, movements and music. Whether as tools to assist the discerning DJ, or a journey for eyes closed and head down dancing, this is your gateway to hear what’s happening in the Boston underground.

Keyboardist/composer Doug Carn was the
biggest star on the legendary Black Jazz Records
label, with four releases to his credit (all reissued
by us at Real Gone Music), and remains a
touchstone for spiritual jazz fans and musicians
alike. But very, very few folks have heard his
debut record, cut for the venerable Savoy label
back in 1969. In fact, it’s so rare that we couldn’t
even find a copy to use for artwork, so, with
Doug’s help, we enlisted his daughter Eroniffa
Ibrahim to create illustrations for our reissue
based on the original cover photos. But you know
what we did find? That’s right…the original master
tapes! So, not only is this the first LP reissue for
The Doug Carn Trio, but it’s an all-analog edition to
boot, pressed at Gotta Groove Records with their
proprietary GrooveCoated stampers to minimize
high-frequency loss with each successive pressing.
And, we’ve added an insert with liner notes by Aaron
Cohen based on an exclusive interview with the man
himself. As for the music, it’s a tight organ trio set
that starts cooking right from the get-go with a groovin’ cover of Gus Cannon’s “Walk
Right In,” which became a folk hit for The Rooftop Singers. Carn’s fluid, forward-thinking
playing anticipates Larry Young’s future keyboard forays, and originals like “Butter from
the Duck” and “Yna Yna’s Delight” presage the compositional prowess he flashed on the
Black Jazz releases (note: that’s Don Hales on guitar, not Gary Starling as credited on the
original record). The opening salvo from a scintillating career, finally available again!

Severed Heads reattach themselves to Dark Entries for an expanded reissue of their 1991 opus Cuisine (With Piscatorial). As originary Aussie industrial legends – although founder Tom Ellard would balk at being branded as such – Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and infectious nursery-rhyme-esque melodies. Cuisine (With Piscatorial) was the long-running project’s ninth album, and is a commentary on the state of music. Ellard explains: “The whole food joke is really about what music's about and how disposable it is; people have records like they have cups of coffee.” The album also presents a turn away from the dancefloor formalism of the era, which Ellard dismissed as already sufficiently explored. Cuisine brings us punchy pop kernels of the prime Heads variety, all clocking in around three minutes. Cuts like “Pilot in Hell” and “Ugly Twenties” rank among the band’s best through their deadly skewering of synth pop tropes. But the album also offers us a Piscatorial section, where Ellard felt free to “go fishing for ideas.” Here we get a taste of the project’s demented cut-up sensibilities, like on the “Quest for Oom Pa Pa” suite, where vintage jazz records are collaged into an angular nightmare. This double-LP reissue is the first time that Cuisine (With Piscatorial) will appear on vinyl, with a previously unreleased early version of “Seven of Oceans.” Also included is a 6-page booklet with liner notes, lyrics, and press clippings.

Special gatefold LP + 12-page booklet attached to the sleeve, featuring in-depth essays, archival photography and historical material. Fully licensed from the Soliano family.

Habibi Funk’s new sister label Audible Beauty Records debut release: A landmark collection retelling the untold story of Malaysian jazz featuring 11 songs from the legendary composer, arranger and pianist Alfonso Soliano, originally recorded for Radio Television Malaysia (RTM) and only released in a run of a few dozen copies for radio broadcast. Widely regarded as one of the foundational figures of Malaysian music, Soliano blended jazz, Latin influences and traditional Malay musical forms into a uniquely local sound of all original compositions. The recordings also feature contributions from some of Malaysia’s most important musicians and composers of the era, including Johari Salleh and Ahmad Nawab. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co. The release includes extensive liner notes and previously unpublished archival photographs documenting Soliano’s life and legacy.

Special gatefold LP + 12-page booklet attached to the sleeve with extensive liner notes and previously unpublished archival photographs documenting Salleh’s career. Fully licensed from the Johari Salleh.

Habibi Funk’s new sister label Audible Beauty Records second release: A landmark collection retelling the untold story of Malaysian jazz featuring 9 songs from the legendary composer, arranger and trumpet player Johari Salleh. Salleh played a crucial role in shaping the sound of modern Malaysian music across radio, television, film and live performance and has composed dozens of popular songs in his decades long career. His personal musical passion always was jazz, reflected in this deep selection of jazz works that were previously unavailable unless you had one of the few dozen copies pressed locally in the 1970s. The album doesn’t only highlight his musical statue as a composer but also as a outstanding trumpet soloists bringing together jazz, spiritual undertones and Malaysian folkloric themes balancing slower pacing deep, modal grooves with more upbeat jazz funk leanings. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co.

Bogota's finest producer returns with his second EP on GAMM...

Across three tracks, Felipe delivers a musical journey ranging from deep organic house to various shades of Latin American dance rhythms.
The EP opens with 'If You Get Lonely', a bumpy deep house affair featuring live bass, psychedelic synths, and vocals from Felipe himself.
On the flip side, we get two Latino jams: 'African Carter' bumps along a mid1tempo Latin groove with lovely salsa vocals, while 'Tucosa' seamlessly blends Latin soul with classic 4/4 rhythms.

The Womack Sisters – Kucha, Zeimani und BG Womack – sangen schon, bevor sie laufen konnten. Ihr gleichnamiges Debütalbum „The Womack Sisters“ aus dem Jahr 2026 ist der musikalische Höhepunkt der langen und kurvenreichen Reise der drei Schwestern auf der Suche nach sich selbst. In einer Sammlung von Stücken voller intensiver Soul-Power, die an eine Zeit erinnert, als Popmusik noch Substanz, Atmosphäre und Sinn hatte, kommt jede ihrer unverwechselbaren Stimmen im Rampenlicht zur Geltung.
Die Schwestern wuchsen auf der Straße auf. Ihre Schulen waren Bühnen und Studios auf der ganzen Welt, wo sie hinter ihren Eltern, Zekkariyas & Zeriiya (ehemals Womack & Womack), zusammen mit ihren vier Geschwistern sangen. Nirgendwo waren sie lange zu Hause. Egal, wo sie lebten – London, Thailand, Amsterdam, Kenia, Paris, Sydney, Zürich, Wien, Tansania, New York, Miami, West Virginia, die Bahamas – sie waren immer von Musik und Familie umgeben.
Als Enkelinnen des legendären Sam Cooke und Nichten von Bobby Womack stammen die Schwestern aus einer Soul-Dynastie, die tief in ihrem musikalischen Wesen verwurzelt ist. Das Album „The Womack Sisters“, das am 14. August bei Daptone Records erscheint, blickt nach vorne, indem es zurückblickt: Es ist eine Hommage an die Tradition ihrer Familie und schafft gleichzeitig einen Sound, der ganz und gar ihr eigener ist.

Sweeping Promises wurden der weltweiten Punk-Underground-Szene durch ihr Debütalbum "Hunger for a Way Out" bekannt, das sich während des Pandemie-Lockdowns zu einem der größten Überraschungserfolge der Musikszene entwickelte. 2023 legten sie mit ,Good Living is Coming for You" nach, einer satirischen, hyperkritischen Abrechnung mit dem Kapitalismus, die es auf die ,Album des Jahres"-Listen von Pitchfork, NPR, Paste und der BBC schaffte, um nur einige zu nennen. Bassistin/Sängerin Lira Mondal und Gitarrist Caufield Schnug beschlossen, ihren Ansatz auf ihrer dritten LP ein paar Grad weiterzuschrauben. Das große Thema von "You Say I Romanticize" wird bereits im Titel angedeutet. Ausgehend von einer Textzeile aus dem Album-Closer ,Write Lightly" - einer Erzählung darüber, wie die Bedeutung des Selbstausdrucks beim Schreiben durch ,professionelle" Bedenken zunichte gemacht wird - sind viele der Charaktere, die Sängerin/Bassist Mondal hier ausarbeitet, Ausgestoßene, von der Gesellschaft an den Rand gedrängt und zu Fanatikern für eine Fülle spezifischer Anliegen geworden. Das viszerale Songwriting auf You Say I Romanticize wird von einem ebenso viszeralen musikalischen Ansatz begleitet. Sweeping Promises holten den Live-Schlagzeuger Spenser Gralla in die Aufnahmesessions, um den Songs eine ähnliche Dringlichkeit wie bei ihren Live-Auftritten zu verleihen. Die Raserei der Ausführung zeigt sich auch in Mondals Gesangsdarbietungen. Neben der Liebe von Sweeping Promises zu ihrer künstlerischen Gemeinschaft existiert auch eine Schattenseite - entstanden aus Sonderlingen, die ihren ,Ausgestoßenen"-Status in lebendige Kunst und Punkrock-Musik umwandeln. "You Say I Romanticize" greift das Ethos auf, das Mondal und Schnug entwickelt haben, und erforscht die obsessiven, fanatischen Aspekte des Ausgestoßenseins und der Isolation durch die Mainstream-Gesellschaft.

Es sind fünf hektische, chaotische, zermürbende, völlig durcheinander gewirbelte Jahre. Es sind all die mühsamen Missverständnisse einer fünfjährigen Beziehung, verzerrt und zu einer absurden schwarzen Comedy-Miniserie auf Vinyl gedehnt. Es ist der Klang all unserer Streitgespräche, die gleichzeitig erklingen. Es sind mehrere aufeinanderfolgende Sprachnachrichten, die nicht angehört, sondern stattdessen als Transkript gelesen wurden. Es sind fünfzehn Songs des ikonoklastischen Rappers Mike Eagle und des innovativen Produzenten Kenny Segal. Es ist das weltweit erste halb skurrile Trennungsalbum. Es ist "DOOMED!", es ist auch LA. Vielleicht nicht in erster Linie, aber Los Angeles ist tief in der Gegenwart und der Geschichte dieses Albums verwurzelt. Die Geschichte jeder Großstadt ist auch eine Geschichte von Zugezogenen. DJ Premier in New York, Tupac in Kalifornien. Wenn man es aufbaut, werden sie kommen. Mike und Kenny kamen beide als junge, aufstrebende Künstler nach LA, angezogen von der Szene rund um die bahnbrechende Rap-Crew Project Blowed. Sie sind seit fast zwanzig Jahren befreundet - und arbeiten gelegentlich zusammen. Trotzdem ist "DOOMED!" das erste Mal, dass die beiden ein komplettes Werk gemeinsam geschaffen haben. Aber alles geschieht zu seiner Zeit, und das Schicksal hat sie genau in dem Moment zusammengeführt, der es dem Duo ermöglichte, etwas Außergewöhnliches zu schaffen. Mike, der gerade eine Reihe von Alben mit mehreren Produzenten hinter sich hatte und das Ende einer turbulenten Beziehung verarbeitete, brauchte eine kreative Katharsis. Kenny hingegen hatte sich nach einer Reihe von hochgelobten Kollaborationen - nicht nur mit Rappern wie billy woods und K-the-I??? - sondern auch mit dem Jazz-Trio Human Error Club und dem bluesigen Indie-Rocker Benjamin Booker - auf seine nächste Herausforderung festgelegt. "In den letzten Jahren machte Kenny sehr deutlich, dass er nicht einfach weiterhin ein oder zwei Beats für meine Projekte beisteuern wollte; er wollte etwas aufbauen", erklärt Open Mike Eagle. "Ich konnte ihn davon überzeugen, mir ein paar Beats für Neighborhood Gods Unlimited zu überlassen, mit der Maßgabe, dass wir uns als Nächstes auf unser gemeinsames Projekt konzentrieren würden. Dann zerbrach meine Beziehung, gerade als wir mit der Arbeit begannen, und ich dachte mir: Perfekt, dazu habe ich eine Menge zu sagen."

There is an ecstatic melancholy in Dent May’s music. The bedroom pop auteur’s songs are both bittersweet and exuberant, breaking your heart while you can’t help but sing along.

Over six albums, May has built a wildly diverse discography spanning 17 years. He has typically worked alone, assembling perfect pop gems on his laptop, playing nearly every instrument himself. But when he began preparations for his new album, May’s tried and true process suddenly felt stale.

The Big One brings together both the scrappy DIY ethos of Elephant 6 Collective and early The Magnetic Fields with May’s lifelong affinity for the great ’70s singer-songwriters like Harry Nilsson and Ram-era Paul McCartney. The songs balance a clear-eyed view of the world with a cautious optimism, looking at the everyday experiences of disappointment and heartbreak with a sense of possibility for the good that may still come. Things might seem bleak, May tells us, but that doesn’t mean we can’t be thankful for our brief time here on Planet Earth.

The title track is the beating heart of the record. Over a steady drumbeat, piano, and accordion, a melancholy May sings, “The big one’s coming, the big one’s on its way,” promising disaster. But May won’t wallow in the misery: “Thank the Lord for all my friends/We can make it ’til the end/No we can’t stop now/Who knows? Tomorrow it all could turn around.” For May, hope comes in the form of others.

It’s with this joyful melancholy Dent May draws in the world. Everything might be ending, the planet could be careening off into chaos, but tonight there’s a party down the block and you’re invited. Be sure and bring your friends.

BARAJA BENDITA out August 14, is Becky G fully unleashed - an artist with no ceiling and no apologies, in complete command of her sound and her story. Weaving between Spanish and English with effortless fluidity, this 17-track album channels a liberated, sensual energy that is both deeply rooted in her identity and entirely her own.

Becky G is a multi-platinum global superstar who has spent over a decade shaping the sound of contemporary pop across languages, cultures, and borders. A six-time Latin GRAMMY® nominee and Academy Award nominee, she has amassed more than 28 billion career streams worldwide and earned recognition from the American Music Awards, Billboard Music Awards, Latin AMAs, and TIME100 Next.

Heaven Tonight is the third studio album by the American rock band Cheap Trick, originally released in 1978 and produced by Tom Werman. Building on the success of their earlier releases, the album further refined the band's signature blend of power pop, hard rock and melodic hooks.

The record features some of Cheap Trick's most recognizable songs, including the massively popular "Surrender" and the single "California Man", both of which helped establish the band's growing international reputation. A Platinum-certified release that enjoyed considerable international chart success, Heaven Tonight is considered one of the standout releases from Cheap Trick's classic late-1970s period and played an important role in shaping the sound that would make them one of the most successful rock acts of their era.

Heaven Tonight is available as a limited edition of 2000 individually numbered copies on violet vinyl and includes an insert with lyrics.

Crossing borders between traditions, sonic territories, and instruments, musicians Tomáš Niesner and Aldana Duoraan created their first collaborative album Plot. The sound of khomus meets guitar melodies simplified into pentatonic scales, intertwining in a dialogue that remains playful while moving between meditative passages and bewitching, hypnotic moments. Solid yet ever-changing, these melodies explore a delicate relationship between the present interactions, their past, and possible futures. “I feel that the essence of our collaboration is not to close the songs off, but to leave them open so that they can develop and be interpreted a little differently each time, depending on the circumstances,” Niesner explains when describing the duo’s artistic approach. The recording therefore captures only the most essential moments and ideas, which continue to unfold in new directions during live performances.

Each segment of Plot, word meaning “fence” in Czech, while also referring in English to a narrative structure or hidden plan, represents a different constellation shaped by the pairing of specific khomuses and guitar tuning. The track titles, such as The Key of Radiance or The Key of Humbling, are inspired by the ancient Chinese text I Ching (usually translated as Book of Changes). Like the classical cosmological text itself, the compositions meditate on similar fundamental principles. The ideas explored in the chapters of the I Ching are thus loosely translated into musical language. Themes of Radiance, Attending, or Nearing thus loom over the reflective realm of Aldana and Tomáš.

The two musicians first met in 2021 through a collaboration organized by Konektiv, an event series that aims to create new connections between genres and musicians with diverse backgrounds. Aldana Duoraan is a Prague-based artist born in the Sakha Republic, whose experiments with the khomus (also known as the jaw harp) draw on the traditional music of her homeland. Tomáš Niesner, a sound artist and guitarist based in Brno, navigates the realms of American primitive guitar while incorporating influences ranging from folk to drone. Because the duo rarely finds themselves in the same city, an important moment in the development of Plot was a showcase at Cafe OTO, organized by mappa. The album, capturing the fleeting energy of this encounter and several others, has now been released on the Slovak experimental label, which helped bring the collaboration to life.

Bei HIGHSIGH - dem Trio aus Ro(b)//ert Lundberg (JOBS), John Dieterich (Deerhoof) und Matt Mehlan (Skeletons) - geht es genauso sehr um den Entstehungsprozess wie um das Endergebnis. Auch wenn der Bandname neu ist, wächst HIGHSIGH aus jahrelanger Freundschaft und Zusammenarbeit des Trios in anderen Konstellationen heraus - dem Zusammentreffen von Deerhoof und Skeletons in der Supergroup Congotronics International, Ro, der bei den Tour- und Aufnahmebands von Skeletons am Bass spielte, John und Matt, die beide auf verschiedenen JOBS-Alben mitwirkten und diese als Toningenieure begleiteten, sowie vielen gemeinsamen Kaffeepausen, Mahlzeiten und Wanderungen. Ihr Debütalbum ,Once Bend" präsentiert sich sowohl als entwaffnend vertraut als auch als seltsam undurchsichtiges Patchwork aus mutiertem Pop und abstrakten polyrhythmischen Klanglandschaften. In einer collageartigen Weise entstanden, brachte jedes Mitglied täuschend reichhaltige musikalische Fragmente ein, die aus anderen Projekten beiseitegelegt worden waren - fast wie kleine Fragezeichen, die die anderen Mitglieder entschlüsseln und interpretieren sollten. Diese Fragmente wurden frei und ohne konkretes Ziel unter den Mitgliedern ausgetauscht; jeder spielte damit herum und bastelte an dem, was er bekommen hatte, fügte Phrasen, Klänge und Texturen hinzu. Die musikalischen Schichten, die dabei entstanden, waren durchweg unerwartet und mitreißend. HIGHSIGH hatte nicht mit einem festen Schema begonnen, doch innerhalb jedes Songs entwickelte sich ein zusammenhängendes Patchwork - geschichtete Gitarren und gestrichener Bass stehen neben träge treibenden Synth-Klängen und knackigen, treibenden Akustik-Drums. Die Band erweiterte ihren Austauschkreis und schickte Tracks an Tim Barnes, Ben LaMar Gay, Max Jaffe, Lia Kohl, Booker Stardrum und Jon Starks, um Schlagzeug-, Cello- und Kornett-Parts einzufügen. Diese rohen Klangteppiche fanden ihre endgültige Struktur und Ordnung durch Texte, von denen einige von der Band selbst geschrieben wurden, andere von Macie Stewart (Finom) und Paige Alice Naylor. ,Textlich interessieren mich einfache Momente der Erkenntnis", sagt Matt Mehlan. ,Wie ist die Umgebung, wie ist das Gefühl?" Dieses Thema zieht sich durch das gesamte Album und verbindet die unterschiedlichen Stimmen, die mitgewirkt haben. Auf ,Once Bend" präsentiert HIGHSIGH ihre selbstgemachten musikalischen Patchwork-Decken - zusammengenäht aus Saiten, Schaltkreisen und Servern auf ganz Turtle Island.

After the wild Afro-jazz fusion of Trancedance (reissued as BT118) and the meditative solo Christer Bothén Donso n’goni (BT133), legendary Swedish multi-instrumentalist Christer Bothén returns to Black Truffle as part of a dream quartet completed by the three members of Ghosted: Oren Ambarchi (guitar), Johan Berthling (bass) and Andreas Werliin (drums). Recorded at a rustic studio built by Werliin and Hans Fredriksson in the sylvan surrounds of Hamburgsund, Sweden across a few days in September 2023, Serpentine offers up four generous slices of hypnotic repetition and shimmering resonance, cut through with wild bursts of Bothén’s bass clarinet.

The depth and ease of the quartet’s rapport is evident from the first moments of the opening title-track. Berthling’s resonant upright bass locks into a head-nodding ostinato that makes sensitive use of a prominent end-of-phrase rest, opening spaces through which Werliin’s continually shifting statements of the pulse shine through. Having worked together in various groups for many years, Berthling and Werliin are masters at playing subtle games of difference and repetition, creating a driving rhythmic flow animated by perpetually changing details: here, you can never step in the same groove twice. Weaving through it all is Ambarchi’s now-signature Leslie-cabinet guitar tone, sounding out long chords at times strikingly close to a Hammond, while also creating intricate cross-rhythms through the play of his tremolo modulations against the bass and drums. When Bothén enters five minutes in, the growl of his bass clarinet at first works deep in the collective brew, carving off brief staccato phrases and twisting them into fragmented melodies. As he moves into the instrument’s higher registers, Bothén’s playing becomes wilder, twinning with Ambarchi’s guitar in shimmering arcs like a 21st century update of the Garbarek-Rypdal pairing immortalised on Sart.

Each of the four pieces explore different possibilities of a shared language. On ‘Antigorite’, another hypnotic bass riff emerges gradually from an atmospheric haze, eventually developing into a frenetic rhythmic workout propelled by Werliin’s cowbell. Berthling sits out for ‘Lizardite’, while Bothén moves from bass clarinet to the Donso n’goni, the sacred Wassoulou hunter’s harp he has studied for half a century; the resulting performance streamlines the approach heard on other tracks into pure modal propulsion, sparkling with harp-like arpeggios from Ambarchi’s guitar. On the closing ‘Chrysotile’, the bottom drops out, leaving a swampy, churning mass of wavering organ-like chords, roaming bass runs, and distant toms, over which Bothén floats bass clarinet figures by turns bluesy and abstract, the whole thing landing somewhere between classic ECM and the most blasted freeform moments of early Amon Düül II. Bearing a delicate calligraphic abstraction by Bothén on its cover and beautiful documentation of the recording sessions on its inner sleeve, Serpentine is a powerful reminder of the magic that can happen when inventive musicians just get together and play.