Cerca:music music

^°Michigander Music again sets the pace with another future classic, D Send to Asend, a powerful 4-track EP from Canada's Greg Gow and Detroit's Brian Kage. Rooted in Detroit techno at its finest hour, this release is strictly for the true heads combining Gow’s techno sensibilities and driving textures with Kage’s raw, soulful energy. Together, they break down borders and deliver a timeless, late-night sound that feels both refined and uncompromising.

Nothing Under Heaven is the third full-length album from Scottish ambient and drone multi-instrumentalist Yulyseus.

It follows 2022’s In the Dark Palaces of Both Our Hearts, an introspective and immersive work shaped by travel, displacement, and unfamiliar surroundings. Where that release explored darker and more inward-looking terrain, Nothing Under Heaven opens outward into broader, more expansive soundscapes. Drawing on years spent moving between Glasgow, Berlin, Mexico City and Valencia, Niall Gahagan’s compositions here feel patient and quietly luminous, built from layered electronics, bowed strings and subtle field recordings.

Rather than seeking dramatic gestures, the album unfolds slowly, allowing atmosphere and emotion to emerge over time. Working within a crowded and ever-evolving ambient landscape, Yulyseus continues to focus on texture, weight and gradual movement.

Across eight carefully shaped pieces, Nothing Under Heaven explores how sound can hold both stillness and momentum, inviting attentive listening rather than functioning as simple background music. The opening track, Veillands, sets the tone with a quiet intensity that gently draws the listener inward. From there, the album develops as a continuous, immersive experience, rich in detail and emotional nuance. Nothing Under Heaven reflects an artist still in motion, responding to change, uncertainty and new surroundings with humility and care. It stands as a thoughtful and deeply considered addition to Yulyseus’s growing body of work which is rooted in patience, deep listening, and a continuing search for meaning through sound.

Alva Noto - Wave Weave – Sono Obi is the original soundtrack by Alva Noto, composed for a film by Carsten Nicolai.

- The project emerged from a collaboration with an 12th-generation kimono textile manufacturer in Kyoto, Japan.

At its core, the work explores the translation of sound into textile form: sonograms of musical compositions serve as the basis for woven structures, connecting acoustic frequency patterns with traditional weaving techniques.

Alongside the original soundtrack, the release includes an alternative soundtrack version and a photographic documentation featuring sonograms, soundtrack visualizations, and film stills.




Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Sono Obi Wave Weave
Playtime: 00:22:00
Explicit Lyrics: No
ISRC: DE1N62600001
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: B // Track: 1

Artist: Alva Noto
Title: Sono Obi Landscape
Playtime: 00:06:10
Explicit Lyrics: No
ISRC: DE1N62600002
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

Unpolished, refined, energetic club "mutations" Rantzen and Spinoglio go way back in time as old friends, and we are reuniting some of their old and recent pieces to forge a strong atmospheric dance LP with a unique flavor. Luen is also contributing strongly through her collaboration with Andy on " Black cloud". Some tracks in this release were made 15 years ago and some others were made in the last 5, but who cares ? Enjoy the music

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

Extinction Burst! is the new invocation in album-form by Guttersnipe, Leeds’ premier and pre-eminent XFCER (XFCER: Xenofeminist crisis-energy rock)* duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst! is the most full, hidefinition lurid dream-mare yet spewed out by Uroceras Gigas & Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst! follows 2018’s My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026’s Guttersnipe are evolved, mutated by 8 years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with - Tristwch Y Fenywod, Nape Neck, Petronn Sphene, Yexxen to name a few. On Extinction Burst!, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low end attack.. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas’s guitar + synth storm is by-now similarly an instantly recognised tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it’s an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalise, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. Alive On Tuesday begins with some of the only space on Extinction Burst! Digital crackles and tight-delays blow out into a fullthrottled death-dive into sweet opaqueness, offset by the duo’s vocals. There’s a popular believe that Guttersnipe is chaos, but over 9 mins here the group are clinical in their control of the simulated entropy. Mincing while the Maelstrom Churns’s guitar is modulated into jagged atonal atonement, duetting with the virtuoso drum patterns before it thuds into gear at quadruple the speed. Threads Of Radical Unaliveness veers close to the extreme Metal influences with blast beats and guttural vocalisations until the track exhausts itself into unaliveness. Keep Honking summons a demonic digital panic, with the duo reincarnating in real time as haunted versions of themselves, almost translating the lurid, ultra vivid, simultaneous hell+heaven of being alive in this dimension. Primordial Invagination harnesses No Wave’s dissension of normality before the structured collapse of Skra¨ckblandad Fo¨rtjusning, in which Tipula Confusa’s accelerating drums simulate a bouncing barrel of brimstone descending into a primordial gunky ooze, a respite in the middle before the record splutters to a stuttering finale, both members’ vocals out there in the neon realness, alive with crisis energy. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known Rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synaesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality. Addendum: xenofeminist : proposing and creating a world defined not only by sexual/gender equality, queer empowerment and the toppling of the racist heteropatriarchal hegemony and it’s tyranny of phallogocentric signifiers, but a philosophy of radical queerness that explodes the basic notion of embodied existence itself beyond even the human, where we see bacteria, invertebrates, reptiles, marine life, animalia in general, inanimate objects, quantum phenomena and as yet inarticulated bodies and minds as social and political equals that may inspire and inform our concepts of self, feeling and meaning as we labour to build a collective reality that doesn’t completely suck!! crisis energy : a term borrowed from the weird fiction author china mieville to describe a type of extreme concentration of power which emerges when a system or organism is pushed to it’s absolute limit; the point of rupture, chaos, entropic overload, just before it all breaks apart. rock : Rock ’n’ Roll, rock music, the devil’s music, sex, guitar, drums, voice, rhythm, riffs!

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

Despite the thousands of kilometers between them, Monterrey and Medellín have always seemed to move in parallel. Both cities rise around guardian hills that watch over their people, and if you look closer, even the concrete that forms the backbone of each city traces back to these rugged metropolises.

The list of coincidences could go on—small, almost conspiratorial links that chance has woven between the two places. Adding another chapter to this unlikely connection is Regal86, who had already crossed the bridge once before to dive into the depths of Colombia’s “city of eternal spring.”

Doble Filo, his first full-length cut to vinyl, now becomes his latest calling card. The eighth release on Discos Nutabe’s catalog arrives with six tracks—six sharp-edged pieces that lay bare Regal86’s sonic marginality.

It’s a form of exclusion that isn’t imposed but chosen, a deliberate stance to sidestep the demand for exotica that still shapes much of Latin America’s electronic landscape. This is spicy, rough-edged techno—ruleless and unruly—driven by dense, clipped progressions that plunge you into a vortex masquerading as a rayado ritual.

There’s no overload of concept here, nor any caricature of the extravagant. This album simply delivers music built to tear through any club or dive, without false promises or unnecessary labels. If there’s one thing worth highlighting about Doble Filo as a whole, it’s the way it consistently—and almost implicitly—reasserts its core premise from start to finish: these techno tracks are meant to be played wherever the hell you want.

In a moment when oddities tend to be rewarded more than usual, Doble Filo doubles down on fundamentals, reclaiming the spirit of early electronic music and carrying it into an era where immediacy seems intent on blurring the honesty of those who shape the sound.

For Regal86, sonic hustle is the only thing that keeps his spirit steady.

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

Jorge Ben is someone who needs no introduction. Since his first hits in the early 60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems 'Mais Que Nada' or 'Pais Tropical' are among two of the most ever listened Brazilian songs of all time. Ben's self-titled 1969 album is a true samba-soul masterpiece from one of Brazil's most creative voices. This isn't your typical late-'60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. Released in November 1969, this was Jorge Ben's sixth studio record, and his first back with the Philips label after a creative hiatus. He recorded it with the tight-knit, percussive groove of Trio Mocoto -- whose rhythms lock in beautifully with Ben's laid-back guitar and vocals. On top of that, the album features lush orchestral arrangements from Jose Briamonte and Rogerio Duprat, adding a soaring, psychedelic dimension to Ben's sound. Standout tracks? You've got the joyous anthem 'Pais Tropical', a perfect celebration of Brazilian life.



Then there's 'Take It Easy My Brother Charles', a socially conscious number that tells the story of a rebellious sailor -- Ben weaves in themes of race, identity, and resilience. And songs like 'Que Pena' bring in that sweet, soulful melancholy, while breezy cuts like 'Criola', 'Domingas', and 'Barbarella' highlight his playful, poetic side. This record is a rare blend of genres -- samba, soul, funk, psychedelia -- and it's got a timeless energy. Whether you're already into Brazilian music or just looking for something fresh and soulful, Jorge Ben's 1969 album is a joyous entry point. Reissue on 180g vinyl.

Nina Kraviz launches a new label.

treats is the younger, bratty sister label to trip, specialised in cool music for the dance floor that seems to ignore the idea of genres. To prove this point the first release brings together two tracks that have been roasted in Nina's sets for months and are genre bending.

On the A-side, Brazilian phenomenon and SoundCloud cowboy Joao Lagrima de Ouro teams up with Baile Funk legend MC Pogba. "Pitbull de Glocada" is an excessively naughty heater, with a serious nod to the regional Brazilian electronic music, creating an authentic blend of sounds.

On the B-side, Nina herself teams up with Rio de Janeiro marvel Mc Nick. The two met online, as Nina came across Nick's sensual hit "Mete com forza e com talento" and made her own version of it. Later during a Brazilian tour, the two finally met up on the mythical beach of Mc Nick's hometown where "sem amor" was recorded. Nina's signature minimalist production and approach to vocals pairs idyllically with Mc Nick's fiercely carnal and feminine raps.

treats 001 consists of two tracks with a fluctuating identity, spilling over with risque playfulness that might require parental advisory for some, but it's hard to deny the sheer joy these tracks exude.

Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.

That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.

New label Species hits the ground running with its debut release. The outlet is an extension of globally-renowned booking agency Pieces, and will feature music exclusively from the agency’s roster, which includes some of the scene’s most formidable and talented DJs and producers. The first release comes from an exhilarating project - Punky & The Brain, AKA Otis and Paul Lution. Described by the duo themselves as “scientific experiments” the music is a fusion of playful excursions with their lab equipment, and their musical knowledge.

Together they have been experimenting in the studio, merging incisive technical prowess with straight up dance floor-focused rhythms. Their field research has tested emotional variables on numerous research subjects through live performances in the most renowned clubs. A Fender bass guitar and vocoder bring another dimension to their studio exploits, and this EP is the result of their preliminary scientific findings…

The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa: a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island"s sounds, the 16 tracks selected will surely set fire on all dance floors!

Wenn Sie Joey Quiñones fragen würden, woher er die Inspiration für seine Musik bezieht, müssten Sie nicht weit von dem Ort suchen, an dem der Sohn aus East LA aufgewachsen ist. Wenn man seine Werke hört, fühlt man sich in einen Umkreis von zwei Blocks seines Viertels versetzt - vom Spirituosengeschäft zum Plattenladen ,Sign of Music" am Whittier Boulevard und zurück zum Haus eines Freundes. In diesen zwei Blocks hört man Cumbia aus den Geschäften dröhnen, Punk-Proben aus einer Garage, Oldies aus dem Garten eines Nachbarn - eine Reizüberflutung, die Sie bis nach Hause begleitet, all diese Genres, die gleichzeitig in Ihrem Kopf erklingen. Für langjährige Fans von Quiñones' Musik ist das keine Überraschung. Er hat sich als einer der führenden Interpreten seiner Generation etabliert und seine Karriere der Vermittlung seiner einzigartigen Perspektive auf das Chicano-Soul-Songbook gewidmet. Doch vor Thee Sinseers, vor den üppigen Orchestrierungen und den perfekten Harmonien, die zu seinem Markenzeichen wurden, sammelte Quiñones erste Erfahrungen als Leiter verschiedener Begleitbands für jamaikanische Ska- und Dancehall-Acts, die durch Südkalifornien tourten. Er beschreibt diese Jahre als Reggae-College, in dem er von jedem jamaikanischen Künstler, der eine Platte herausgebracht hatte, angeschrien wurde. Diese Jahre der Ausbildung in Rocksteady und Roots-Reggae prägten alles, was danach kam - und auf seinem neuen Soloalbum ,Inna Soul Steady Situation" stellt Quiñones diese Einflüsse endlich in den Vordergrund.

Genieße jetzt die Musik aus der Emmy-nominierten PBS-Kids-Serie ,Carl The Collector"! ,Sound Spectrum: A Collection of Themes From Carl The Collector" präsentiert die einzigartige Musik von Eraserhood Sound aus Philadelphia. Auf 34 Titeln, darunter der unvergessliche Titelsong der Serie, bekommst du einen Vorgeschmack auf Funk, Soul, Rare Groove, Jazz, Samba, R&B, New Wave und mehr - alles im typischen Synth-&-Soul-Stil von Eraserhood Sound. Die bahnbrechende Serie, die Carl, einen autistischen Waschbären, und seine Freunde begleitet, ist eine der ersten großen Serien, in denen Figuren mit Autismus vorkommen. Serienschöpfer Zachariah OHora wusste, dass er eine einzigartige Musikkomposition brauchte, um das Potenzial der Serie voll auszuschöpfen. Er wandte sich an Eraserhood Sound aufgrund ihres italienischen Library-Music-Albums ,Ribelle Di Mare" und bat um einen ähnlichen Synth-&-Soul-Ansatz. OHora sagt: ,Ich wollte keine typische Kindermusik. Ich wollte nuancierte, emotional reichhaltige Musik, die von und für Plattenliebhaber gemacht wurde." Die Musik, die vollständig von Vincent John und Maxwell Perla komponiert, produziert und eingespielt wurde, fängt die raffinierte Soulfulness von Vince Guaraldis klassischen Peanuts-Soundtracks ein und klingt dabei dennoch absolut frisch und modern. Jeder Song auf dem Album stammt direkt aus Episoden der unvergesslichen ersten Staffel von Carl The Collector. Von funkigen Fuzz-Freakouts bis hin zu düsteren, introspektiven Balladen - genieße einige von Vincents und Maxwells liebsten musikalischen Momenten aus der Serie.

Vinyl packaging includes 12" gatefold vinyl with matte UV and spot gloss finish, 2x black vinyl, dust sleeves, and digital download card. In the year 2000, Brother Ali Joined Rhymesayers with a self-produced demo called Rites of Passage. Three years later Ali took the underground by storm with an undeniable stage presence and his critically acclaimed debut full-length Shadows On The Sun. The impact was unquestionable and that next year Ali solidified his place amongst the independent Hip Hop elite with the release of 2004's The Champion EP. Like deja vu, here we are three years later and Ali is ready to take the world by storm with his latest creation. After struggling through a series of personal roadblocks, from parting ways with his wife of 10 years, becoming homeless and trying to secure custody of his only son... Brother Ali along with Atmosphere producer and Shadows & Champion collaborator Ant, present the long awaited sophomore full-length album The Undisputed Truth. Personal, political and more powerful than ever, simply put, the truth is here. "I wanted to make an album that gives you no choice but to feel what im saying at that given time", Ali explains of The Undisputed Truth. "I made choices that sent me through a lot of struggle in the past few years and Ant and I have made music that really communicates the exact feeling of those situations." -Brother Ali

Blending elements of Disco and House, deep and funky the EP delivers a rich and highly effective sound palette built on infectious basslines, crisp drums, and a strong feel for arrangement. There is a playful elegance running through the whole release, balancing feel-good vibes with enough depth and musicality to keep things sophisticated. It is a record made for crowded floors, open smiles, and long nights.

There is a strong sense of craftsmanship throughout this release, hardware-driven, deeply textured, and full of character. MS14 brings together Myles Serge and Jamie Bissmire for a powerful journey into wonderfully raw, analog-rooted techno. And When the Sky Was Open captures the spirit of classic Detroit-infused machine music while pushing it forward with depth, soul, and precision. The record feels both timeless and immediate, balancing driving rhythm structures with a spacious, atmospheric edge that gives it a distinctive emotional weight. Rather than relying on sterile functionality, these cuts breathe with warmth, movement, and a human touch, making the record equally effective for deep listening and focused dancefloor moments. It is techno with substance: hypnotic, elegant, and uncompromising.

p:m is delighted to welcome Kumarachi to the fold - a Nottingham-based artist with a deep catalogue steadily built over the past 11+ years. For the label’s first 10” vinyl cut, Kumarachi teams up with his old friend, the wonderful Liam Bailey, for some rudeboy pressure on the a side, while flying solo for the b.

Tracklist:
A. On Sight: snappy snares, snarling bass, and shifting percussion meet the dulcet tones of Liam Bailey, who turns in a different kind of original dancehall style vocal that gets people skanking and swaying.

B. Cast No Shadow: a heavy-hitting track of pummelling breaks and beats, heavy bass, dub fx, and synth stabs, reminiscent of Star Wars’ X-wings in space.

In Kumarachi’s own words: “On Sight was just a loop when I sent it to Liam, then arranged and built around his vocals. I played it to a couple of people for feedback and to test out, it luckily found its way to DJ Flight via Sweetpea, so a big thanks to her too. Both myself and Liam felt play:musik is the perfect label for On Sight, with what Flight stands for musically and culturally, there’s a definite alignment within the lyrical content aswell. It’s a perfect fit. Cast No Shadow was written later and specifically for this release to contrast and complement the flip. It actually came together quite quickly - referencing classic combinations, whilst hopefully sounding fresh for 2026.”

2026 Repress

Marking the anniversary of three decades of career, Dopplereffekt debuts on Tresor Records with Metasymmetry, arriving 12 December 2025. This latest release finds members Rudolf Klorzeiger and To-Nhan in deep inquiry in sound, contemplating structure and pattern in physics and nature resulting in a harmonious audio tessellation.
Metasymmetry itself relates to a kind of second-order reality found not in the structures of life but in the rules that govern these structures; that order exists not only in things but in the relationships among systems of order. It is a structure of structures, a logic of laws, an abstract unity embedded in the act of transformation itself.
Accordingly, the four-track EP reflects this duality. Each side opens with a piece of electronic music at its most precise and immovable: defined, kinetic, architectural. This is followed by a second composition that dissolves into a weightless, atmospheric counter-form.
The shift evokes a higher symmetry: an alignment not of parts, but of principles; a sonic model of the universe’s hidden invariance.
Metasymmetry also echoes across Dopplereffekt’s extended sonic continuum; this stands as the first offering on Tresor under the Dopplereffekt name despite an association with the label and club going back to the start. In this, it becomes the source of an echo that reverberates backwards through time; its own reflection:

TECH040, titled INTRO, is a functional exploration of electronic music’s most delicate moments. The concept was born from Nastia’s personal experience as a globally touring DJ, identifying a distinct gap in the modern market: a scarcity of sophisticated, atmospheric tracks specifically designed to set the tone during the first minutes of a performance.

This compilation is more than just a collection of tracks; it is a professional toolkit. From deep hypnotism to restrained energy, each contribution has been meticulously selected for its ability to prepare the space and the audience for the journey ahead.

Conceived as a functional extension of the DJ set, the Intro / Outro series explores the moments that frame the dancefloor experience. Focused on beginnings and endings, each release navigates the subtle tension between anticipation and resolution – from the first pulse that opens a space, to the final echoes that dissolve it. Stripped of excess and driven by intent, the series reflects a deeper layer of Techno: not just as a peak-time tool, but as a language of transition, atmosphere and control.

The record, bringing together techno legends and contemporary tastemakers around the art of the "opening set," featuring the long-awaited production debut of the label head herself.

Jazz pianist, composer and electronic music producer, Alessandro Deledda returns with ISLA CHROMATICA, a new project released exclusively on vinyl.
Blending retrosynth textures, Balearic electronics and touches of classic Italo disco, the record unfolds as a colorful sonic journey between analog atmospheres, dreamy grooves and Mediterranean-inspired moods. Drawing from his background in jazz and his experience releasing on several international labels, Deledda crafts a sound that is both nostalgic and forward-looking, where warm synthesizers, rhythm machines and melodic sensibility meet on an imaginary island of sound.

For the first time in its 27-year history, Defected compile its greatest hits, underground anthems and bonafide house music classics into a five volume triple vinyl collectors series.

Volume Two collects twelve of Defected’s most established and sought after releases. Featuring Dennis Ferrer’s anthem ‘Hey Hey’, CamelPhat & Elderbook’s huge ‘Cola’, alongside MK’s classic ‘Burning’, Oliver Dollar & Jimi Jules’s chart smash ‘Pushing On’, Defected’s first ever release; Soulsearcher’s ‘Can’t Get Enough!’. Plus Mike Dunn, DJ Gregory, Hercules & Love Affair and more.

An essential addition to your record collection.

Red and Black Galaxy Vinyl. Kmoe is a young Canadian artist who emerged from the 2021 SoundCloud/Discord scene. Kmoe blends hyperpop and glitchy production with catchy indie-pop melodies and pitched up vocals. His sound is characterized as a "modern-day romantic" take on electronic music, heavily influenced by shoegaze, hip hop and experimental pop.

Charles Webster, one of the most influential deep house producers and a true master of his craft, makes his debut on Pariter with a landmark reissue of one of his most timeless records, The Strength.

Originally released under his mid 90s alias The Presence, the record has long stood as the most coveted release from the project. Nearly three decades on, The Strength remains a benchmark for sophisticated deep house, effortlessly fusing emotional depth with driving, tech leaning groove that commands dance-floors and creates a truly immersive atmosphere.

This special reissue not only reintroduce a certified classic on Pariter, but also marks the 30th anniversary of its originally release. An essential piece of house music

Alex Wann & JUNO combine for ‘Allo’ on Crosstown Rebels.

Out on 8th May 2026, the two in-demand talents combine for a cinematic label debut on Damian Lazarus’ imprint. Parisian DJ/producer Alex Wann joins forces with German talent JUNO for a brooding two-track EP arriving via Crosstown Rebels on 8th May. Alex has become a formidable force within the melodic house landscape, performing at festivals and venues from Tomorrowland to Pacha Ibiza, while holding a Las Vegas residency at Wynn’s XS Nightclub. His reach extends far beyond the booth, with multiple Beatport chart-topping releases on renowned imprints and notable support from Keinemusik, Diplo, John Summit, BLOND:ISH, and more. Here he collaborates with JUNO, who comes off a breakout 2025 marked by his standout hit ‘Last Dance’ on Magnifik Music and a Hot Mix for Pete Tong on BBC Radio 1, delivering an impressive label debut for the pair.

Title track ‘Allo’ sees the pair lock into a deep, groove-led collaboration that balances warmth and intensity, built around a driving low end and a steadily rising sense of pressure as its growling basslines, echoing synth textures, and razor-sharp percussion slowly unfold. On the fl ip, ‘IDONE’ fi nds Alex Wann stepping out solo with an introspective fi nish, featuring pulsing riff s and pensive, elongated piano chords, threaded by a winding, gritty synth line that gradually builds toward a powerful climax.

The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.

This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.

The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill

After a gap of over ten years, the Grammy nominated Jazz Funk band Down To The Bone are back with their groove laden, Acid Jazz tinged new album “This Way Forward”– here on an ultra-limited, special release of a doublepack vinyl album. Bringing together a good groove fueled album of ten original tracks with a diversity of flavours – from Jazz Funk to Soul to Brazilian tinged delights that are sure to get the musical juices flowing. Packed full of the band’s trademark grooves and bringing together multi talented musicians from the past and the present all culminating into a melting-pot of sounds that together represent Down To The Bone’s essential sounds.

The new album also brings together multi-talented vocalists on no less than seven tracks From the exquisite soul talents of Hil Street Soul, who co-wrote the opening soul infused groove track “Get Up And Dance”, to the equally soulful tones of Natasha Watts and then the Brazillian sounds of Guida De Palma. The pulsing horn section of Tim Smart, Ryan Jacob (Bonobo/Alice Russell) and James Arben (Vibration Black Finger/Mulatu Astatke), together with Piers Green on sax solos, along with the driving bass of both Julian Crampton and Jo Phillpotts to the pumping beats of drummer Davide Giovannini (Snowboy/Jazztronic/Da Lata and Pucho/Lisa Stansfield), to the melodic chords of Neil Angilley (Snowboy/Jazzhino/Maceo Parker) and Anders Olinder (PeeWee Ellis/Courtney Pine), to the chugging guitar of Tony Remy( Dave Lee/The Sunburst Band/Incognito/Omar) and Mark Jaimes (Simply Red) plus Gianni Chiarello – and the icing on the cake with percussion from Joe “Bongo” Becket.

All working together to bring a stellar performance on this cracking new release to show that DTTB are a force to be reckoned with both on stage and on the wheels of steel.

Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.

Ataxia return to Planet E with two club-optimized cuts that capture their rolling, characterful approach to the authentic roots of Detroit's electronic culture. Marking the duo's return to Planet E following 2020's Oblivion EP, both tracks deliver energy tapped from a fundamental understanding of house and techno, equally charged with their punk and DIY background.

Immediately establishing a deep, hypnotic beat, 'The Whistles' expands into a collage of unruly samples that tour the club, the street and the true characters between. Playfully hinting at the tension between Detroit's party people and those who would like the music turned down, the track is a steamrolling club cut that finds Ataxia going wild with their most psychedelic studio trickery.

'Hocus On Pocus' is a tightly wound, punchy psychedelic wormhole of analogue FX and rubbery basslines, adding layers of pressure and surprising sonic twists. The result is an offbeat banger in the spirit of Planet E's wildest moments; primed for the dancefloor but with personality to spare.

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.

Luke Lund is a self-taught producer and sound artist from Finland. Over the past eighteen years, his work has absorbed influences ranging from the darkest fringes of club culture and the most caustic strains of industrial noise, to the subtlety of musique concrète and the rawness of rock.

It all started when he discovered that abstract sound design could stand as music in its own right, a revelation that ignited his enduring commitment to noise, sound art, dub techniques, and experimentation.

“Peel the Scab” emerges from this premise as a visceral and frenetic immersion into his “lo tech” facet, a term the artist himself employs to define the album’s style.

Allergic to programming, these are pure dub-blooded sessions pushed straight to tape, twisted until they yield under their own weight. It is a work constructed upon dense, disjointed rhythms: brutalist grime infused with a suffocating mutation of dub.

Two Piers proudly announces the upcoming release of Bridges Towards Open Spaces: Circadian Rhythms 1967–2025.

This new collection brings together a wide range of artists and styles, weaving immersive sonic landscapes that explore a connection between natural cycles and the rhythms within.

Featuring artists such as Brian Eno, Moebius, Roedelius, Meat Beat Manifesto, Fun Boy Three, Daniel Avery, and Spectrum, the compilation moves fluidly between shimmering ambient textures and raw, straight-ahead garage rock.

Bridges Towards Open Spaces: Circadian Rhythms 1967–2025 follows in the footsteps of Two Piers acclaimed previous releases, Night Train: Transcontinental Landscapes 1968–2019 and Music for the Stars: Celestial Music 1960–1979, continuing the label’s exploration of expansive, time-spanning musical journeys.

“I wanted once again to shape a compilation around a time period, this collection is a nod to my days behind the counter of a record shop, the people I met and the styles of music that was played and I was introduced to. Some are from that time, some are of the style/feeling, that I can associate & with the friends I met there; from the early shift to the late shifts as the tempo rose throughout the day and the neons of London started to buzz”

The album will be available on Limited Vinyl and CD in May, arriving just in time for the longer, warmer days and the shifting light of the Seasons Sun.

A deeply hypnotic and beautifully crafted statement from one of the true masters of subtle groove and atmosphere. Playedby‘s label boss himself, returns to his very own imprint Tripsi Records with a stunning new vinyl release. Pure hypnotic brilliance, essential for selectors, collectors, and lovers of deeply crafted electronic music.
Tripsi Records is more than just a label. It is an audio-visual world created by Cristi Klebleev, where sound and image come from the same hand. Every release features only his own music, accompanied by original artworks painted by Cristi himself on canvas, making each record a fully personal expression, both sonically and visually. A perfect example of why Tripsi Records continues to stand out in a crowded world. Finest mastering and Cut, 180g Vinyl!

third album, "Magic Seeds". The record represents his most personal and collaborative work and blends live recordings and analogue synths to create an organic, rhythmic sound reminiscent of trip-hop and hip-hop.

"Magic Seeds" explores themes of growth and reconnection, featuring unexpected musical moments and influences from 90s electronic music to neoclassical. Tracks like "Smoke in the Air" and "Inner Child" highlight his ability to balance emotional peaks with deep, moody atmospheres. The album’s dynamic range and authenticity reflect James's commitment to musical freedom and societal reflection, making it a compelling sonic collage of his recent experiences.

Over the past few years, Leifur James has steadily built a reputation as a vital new voice in electronic music on both sides of the Atlantic. He’s played prestigious London venues like the Barbican and Village Underground in London and toured Europe, as well as being named Pitchfork and KCRW’s ‘best new music’ in the US, and his music has been championed by the likes of tastemakers Gilles Peterson, Mary Anne Hobbs, Bradley Zero and actor Cillian Murphy, and from BBC 6Music to NTS via KCRW and RMC Italia. James has also enjoyed further flagship press support from Consequence of Sound, Clash, CRACK, Passion of the Weiss, XLR8R, Complex, MixMag, DJ Mag, The Vinyl Factory, and more

Dom Salvador, the unassuming godfather of Brazilian soul music, has left an indelible mark through his unique fusion of jazz, soul, funk, samba, and Brazilian rhythms. His legacy continues with Dom Salvador JID024, produced by Adrian Younge and Ali Shaheed Muhammad. The album honors Salvador’s pioneering sound, continuing the vibrant dialogue between Brazilian and American music and inviting listeners to experience his rich, groundbreaking style.