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2026 Repress

UK Hardcore Techno badman Dolphin back on PRSPCT XTRM with a killer 4 track audio violent onslaught.

Nature is dying, Trump is in office, The whole Brexit charade, Hong Kong is screwed and this is just a tip of that insanely high iceberg of bullsh** that keeps building up in this world.

Simple fact: C**ts Rule Everything Around us so the title of this EP is not just meant funny as an ode to one of the most legendary hip hop groups to ever live. We are dead serious here. Just look around you. C**nts everywhere for as far as the eye can see.

So blast these protest bangers hard and give those c**nts a super sonic hard as nails punch in the face.

Sound Therapy is the culmination of over ten years of sonic experimentation, developed across the past three years between Sicily, the United Kingdom, and Brooklyn. It builds on the foundation of the 2021 Dub-Stuy single Pon Pause featuring Al Campbell, whose success became the catalyst for the album’s eight tracks.

Conceived across two distinct halves, the album reflects the dual nature of D-Operation Drop’s sound, moving from one drop and roots/steppers traditions into more modern, forward-leaning bass music. The whole is intended to move the listener between foundation and progression, day and night, light and dark, a dynamic reflected in both the music and album artwork.

Sound Therapy also reflects the collaborative nature of sound system culture, featuring vocalists Blakkamoore and JonnyGo Figure (US), Galas and Marina P (Italy), and Rider Shafique (UK), alongside instrumental contributions from Brooklyn-based saxophonist Troy Mobius. The album was collaboratively mixed in person with McPullish (US) and mastered at Star Delta (UK), with a focus on depth, weight, and sound system translation.

Sound Therapy stands as a complete body of work while establishing a broader musical direction for D-Operation Drop, with further singles, mixes, and related projects to follow.

Who, or, what, exactly is a Matured Sinner? In this case it's the result of a meeting of both minds and bodies between Swedish producer Johan Blende, freshly relocated to Athens, and fellow Eskimo artist and native Athenian NTEIBINT. Between the decidedly weak minds of succumbing to night time activities and day time regret an idea was born to create the best Greco-Norse creation since ABBA stole a bouzouki and used it shamefully for the best part of Mamma Mia (OST ?).

"I took one of my half-baked beats to George (aka NTEIBINT) to see what he could add to it and voilà - Mist 9000 was born!" explained Johan. Now complete with pulsating analogue arpeggios, a throbbing bass line and increasinglydistressed synths all writhing together in composed ecstasy that dance floors are made for, the track that emerged from George's studio left them hungry for more.

Returning to the studio, it isn't long before the song that would give this new project its name emerged. Created with the help of a friend Olga on backing vocals and an unnamed, equally sinning, young lad, Matured Sinner paired hypnotic disco beats, sinuous synths, squawking sine waves and almost queasily blissful sighs with a cautionary tale of drugs, flying saucer cults and a spiral deeper and deeper into sin and moral ruin.

Was it enough? It was. But then the third one came around, mainly by sheer want to continue, lingering like the third child of a marriage running out of ideas. Shall we keep going? "Of course we shall, this is our gift to the world!" Like a modern day cult, Bright Bum was conceived in a non-sexual context from leftover sounds after a nightof confusing creations and not necessarily tender compliments in an equal manner, chugging synths squelching their way over a mesmerising guitar loop as bright stabs cut through the humid funk of the track's insistent rhythm which, like all good nights out, increasingly fray at the edges as it rolls towards oblivion. Nobody requested it but like the nature of humanity itself, it must keep going.

Label text:

"Conrad Pack returns to SELN Recordings with a three track EP threading the needle between London sonics and
something beyond.

The primary tracks Praise and Guidance were recorded during the height of the Scram events organised by
Leeway (Guy Gormley), and hosted by the late soundsystem luminary Julian Fairshare at Ormside Projects. The
influence of this period, and in particular of Fairshare himself, on the music is clear; both are stepper-esq, leaning
heavily on London’s musical legacy past and present, whilst still pushing a contemporary sound.

Praise is essentially a Dub track. The percussion and bass are of a familiar steppers nature, with the synths
evoking a true Big Smoke feeling. Although the melody itself wouldn’t sound out of place in a UK Drill number, the
song overall still touches on Industrial and DIY sonics, being all the stronger for doing so.

Guidance follows in solid form. Amongst the driving percussion and staunch bassline, droning pads lock in a dense
mood whilst sparse choral melodies echo throughout. Think Shaka meets Muslimgauze, but recorded in a
Woolwich Office Block.

Grotto was originally produced for the group show “The Grotto” held in January 2021 at Ridley Road Project Space.
Restructuring the track from the original stems, Pack presents a new and enchanted “stereo version” for Praise EP.
Angelic atmospheres flow amongst scattered hi-hats as sporadic Freetekno Kicks reverberate across the void.
Most accurately described as “what Curley in a K Hole might have sounded like”. "

Good Morning Tapes are back with a new album of lushest New Age sound-bathing x emotionally gooey trip hop from Andro Gogibedashvili aka Saphileaum.

Saphileaum has spent the past decade in passage between notable houses of atmospheric sorcery - Mule Musiq, Not Not Fun, Slow Life, Constellation Tatsu - and of course Good Morning Tapes, who now host their 3rd meeting, »Heavenly Hills«. A definitive chapter in his ten year saga, it is flush with symphonic strings and sky born keys, breezily urged by percussion that straddles chill out and folk zones. That said there’s also a Balearic - or should that be Black Sea? - appeal to its title tune, that lingers in the glistening wake of »Your Grace«, to the shimmering breaks of a parting piece »Alarko (Cosmic Eagle)«, falling into the space between Boards of Canada’s cult-inspired hauntological nostalgia and Shackleton’s hallowed ethno-dub.

»The tracks in the album were written with the inspiration of the kingdom of Shambhala in the Himalayas. I’m deeply fascinated and touched by it. Even the album title, holds the idea of its Heavenly nature and the tracks are like individual, elemental parts of it. The album is not a journey into Shambhala, but rather a play and a dance with its energy, image and presence in my world. »Alarko (Cosmic Eagle)« is dedicated to my grandfather, Temur Tsiklauri, and I dedicate the whole album to my country Georgia, which I deeply love«.

LIMITED 300 ONLY CRYSTAL CLEAR VINYL WITH PURPLE BLOB AND BLACK SPLATTER. HOUSED IN FULL COLOUR MATT SLEEVE WITH POLYLINED INNER BAG AND DOWNLOAD CODE. NON-RETURNABLE.
Following his two sold out releases ‘Vertigo’ & ‘Water Music’ on Riot Season last year, the ever prolific Ivan The Tolerable returns with ‘An Orphan Form’
A beautifully strange and immersive suite that feels both otherworldly and rooted in something organic. Drawing on kosmische drift, loose-limbed jazz, and warped psychedelic textures, the record moves like a half-remembered dream.
Field recordings and nature sounds weave in and out, grounding the swirling synths and off-kilter rhythms in real earth and air. It's a record that doesn’t follow a straight line, but instead wanders, curious, alive, and quietly spellbinding.
Recorded in winter 2024 in Middlesbrough, UK and Utrecht, Netherlands
Oli Heffernan: bass/guitars/synths/drones/field recordings/electric piano
Mees Siderius: drums/percussion/vibraphone
Elsa Van Der Linden: saxophones/flutes

COLLECTING ORDERS FOR 2026 REPRESS
London-based RUKI joins forces with Japanese producer DJ Himitsu for a playful and percussive EP rooted in the natural world. DJ Himitsu’s polished productions collide with RUKI’s love for nature, creating an energetic and esoteric four-tracker.

Opening strong with the rainforest-infused rhythmic house of ‘Mint’, the EP then turns to the hypnotic percussion of its title track ‘Sometime’. On the flip, ‘Matane’ offers a buoyant, uplifting contrast in 4x4, while the low-slung psychedelic-infused breaks of ‘Door’ close proceedings in a surreal fashion.

Pressed on EcoVinyl, ‘Sometime’ removes up to 50% of the record’s traditional carbon footprint by repurposing the offcuts from coloured pressings

The Memory

A flash of light hits your eyes. Your ears hear muffled bass. As bright white fades to amber, you find yourself in a familiar place. A place you have been to many times. Though the edges of your memory are no longer sharp, the shape of it all is in your DNA.

The smell of rusted metal, dirt-covered floors that once hosted workers, machines and industry mixed with spilled beer and the sweat of a thousand bodies moving to syncopated music. As your vision comes into focus, you’re back there.

A warehouse in the former industrial part of town. You’re surrounded by hundreds of strange but familiar faces, each of you dancing into a frenzy countless times under the moonlight — moving, jumping, laughing and connecting.

Sunlight pours through warehouse windows or appears over a distant horizon.
The DJ plays a song that completes the journey you all just shared. You are desperate to hold on to the feeling of the last song that lands you safely from the night and into a new day. The feeling is deep. Pure.
Especially when communal ecstasy is juxtaposed against the edges of the warehouse floors, the intimacy of city lofts, the spiritual nature of open fields or forests.

The Custodian

I spent just shy of two decades in spaces like that — as a raver in early 1990s Los Angeles, then a DJ, producer, label owner and head of Moulton Studios in San Francisco.
The Custodian Project is a memoir of a life lived deep inside the culture and business of house music from 1990 to when I stepped away from music as a full-time life in 2015 — told through music, stories and DJ events.
Each release of new music draws inspiration from feelings, emotions and memories of that life — different rooms, different eras. It is an exploration to understand and capture what those feelings were, and in some cases still are.

The Music

This EP is the beginning. 1990. When I first found the rave and re-ordered my DNA based on the sounds, songs and feelings of that era that can be summed up in the title track — Sunrise Through Warehouse Windows.
All three tracks here are an attempt to reach back and touch those mornings again. To put the listener back in the warehouses or open spaces where we would dance as the sun rose over the horizon.
To capture what I felt back in 1990 when the night transitioned into daybreak. Bodies moving in unison. People, places and music all connect. An era before algorithms.

(tracklisting)

A1 — Sunrise Through Warehouse Windows — 7:51
B1 — *Truly Amazing — 8:16
B2 — Sunrise Through Warehouse Windows (Floating Beatless Mix) — 4:20

Written and produced by Chris Lum for Abitare Music (ASCAP)

* Written and produced by Chris Lum - Abitare Music (ASCAP) & Jay-J Hernandez Stopped in Time (ASCAP). Originally released on Leaf Recordings 2000

The Trip To Vega is about deep outer space odyssey that occurs in the process of traveling from Earth through the Cosmos to another "favorable" star system 25.3 light-years away.

The time is year 2097, Sept 23rd.

To this day, Earthlings have managed to dodge some of nature's more dangerous extremities, massive volcanic eruptions, Earthquakes, solar burst that knocked out the Planet's entire electrical grid for 3 years, numerous plagues of disease, food and fresh water shortages, domestic and International Wars and many other life-changing operas, but for this event, what remains is a realization that has no remedy. The cause: Earth's physicality has changed. It is no longer favorable for living things.

It is the constant shifting of the planet's internal tectonic plates which has unfortunately produced an unexpected and impassable dilemma.

Because of the collisions, deep within the planet's core, the planet is now producing an extraordinary amount of sound that includes a specific harmonic frequency that erodes the natural senses of all life on Earth.

It is intensifying. It is intolerable and it is unlivable.

Yet, some humans prefer to stay, to "ride it out" like the Titanic captain going down with his ship. Some, in total disbelief as some have concluded it is the second coming of Jesus Christ. But for most, the decision is clear. Tolive another day, leaving is the only rational choice.

At an increasing rate, scientific research data shows that humans and most animals, excluding the Jellyfish will eventually lose the usage of hearing and are to greatly suffer from an array of other neurological and psychological effects. The sense of touch and taste, sleep depreciation, severe nerve damage, constant hallucinations. Everyone will lose many of their cognitive abilities within an estimated 12 months from now.

On this day and every 7 days afterwards until all registered passengers have departed, the first of a fleet of large number of massive size spacecraft carrying approximately 1 million humans per vessel will permanently leave Earth to begin the long and adventurous trek across outer space to a new home: Vega.

This is not a precautionary tale as there is nothing to learn. Instead, a decision has been made and a Trip To Vega is the consequence.

- Jeff Mills

Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.

The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.

In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.

MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.

With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.

Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.

Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.

Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.

Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Set to be released on May 29th, their self-titled debut album revisits eleven of their favourite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analogue electronica.

The 'Doublespeak' album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie and Laptop).

Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. Doublespeak is the great human songbook, synthesised.
Empathic vocals, bold arrangements and glowing analogue electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement.

Post Panic debuts as a label with the release of Dancing Ledge, a specially titled EP featuring five remastered tracks from Delph’s 1998 self titled album. Originally appearing on CD via the Blue Pool label, this new collection breathes fresh life into a hidden gem of the late 90s British electronic scene.

The project of K J Pocock and Steven Smith, Delph captures a unique sonic transition from the rural landscapes of Dorset to the industrial energy of Manchester. While the original album was self titled, this edition takes its name from Dancing Ledge on the Jurassic Coast, paying homage to the duo's roots and the organic, atmospheric nature of their sound.

This debut reissue serves as a definitive statement for Post Panic, unearthing timeless soundscapes that blend ambient, downtempo, and early IDM. An essential discovery for collectors and lovers of evocative electronic music.

This EP is a selection of five re-mastered tracks from the 1998 self-titled Delph album, originally released as a CD on the Blue Pool label. Delph were K J Pocock and Steven Smith. Originally from Dorset in England they moved to Manchester where the album was made.

ISKRA is the debut album by Polish multi-instrumentalist and composer Olga Anna Markowska. Starting at “Dawn” and ending at “Dusk”, it is a journey of melancholic depth and true beauty filled with warm memories from what was & what could be.

Using zither, cello, electronics and occasional wordless voice, Olga weaves together something so affecting and under the skin beautiful that it is hard to shake, bringing to mind classics from artists like Jacaszek and William Basinski, or the films of Kieslowski. However, there’s a personal touch in her playing and compositions that stands out. Olga explains: “the cello pieces, in particular, were born from a desire to reconnect with the instrument I’ve known intimately since childhood. However, I had to step away from it for two years to gain perspective and find a fresh approach when I returned.” She continues : “ISKRA is an album about "ignition" — a gradual shift in how I think about music and a search for new values. It also marks the closing of a chapter, blending archival recordings with the dawn of new ideas.”

The album feels deeply personal from the first note, and bridges the difficult point between classical and ambient music in a truly natural way, leaving any typical tropes far off, instead demanding your full attention. Olga uses plenty of loops throughout, which together with the cello and zither builds a transcendent atmosphere. Standouts contain amongst others the stunning “Train Ride Home” - a 7 minute piece with zither as main focal point; “Fever Dream” - a plunge into warm static noise and deep plucks, as well as the beautiful “Helix”, which sounds like a washed out dream with its minimal tape loops and ambient vocal washes. Overall the album connects very well with Olga’s subjects of identity, memory of the places and human relations with nature. There is a deep humanity burrowed within these 40 minutes of music which feels immensely appropriate in these contemporary times.

ISKRA was recorded in different times and places from 2017 to 2022 and lands with perfection on Miasmah - connecting the dots from the early years while reaching into the stars.

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

2025 Repress

“We created a holiday inside our heads.”

A Deeper Life, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

A Deeper Life whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”

A central figure in Belgian techno, Border One's work has also been an international reference for consistency and direction since his early releases. An artist for artists with true commitment to his sound, Steven Petit's impact in the studio and behind the decks is admired by anyone who has done their homework. His music describes tight pressure under curious, modular-like sequences that stretch through the timeline of each track. The scale of minimalism remains key here, and the Belgian wastes no time when tunneling through his erratic tracks. Jazz-like dissonance drives his tension and although each element is carefully measured, the records truly command dancefloors. 'Inner Radiance' is no different. The Fuse resident takes his game one step further, pushing harmony to hysteria at every turn.

The EP skips foreplay and dives straight into the extremities of Border One's sound. In 'Reducing Valve', sustain is the key ingredient to this chaos. Slowly ripping the synth sequence into chords, Border one maintains a firm hold on the track's tension while remaining playful with the main theme. 'Sensory Reset' is more of a lurker with its shifting pad that spreads across the stereo image. This track is characterized by a grim urgency as opposed to its predecessor's progressive spiral. Keeping things low to the groove, the A2 swings about satisfyingly while Border One tinkers at his 909 constructions. Continuing his work on resonance, 'Transfigured' balances obscurity and surrealism. With a sequencer on the loose and a drum machine to emphasize it, the Fuse resident guides his audience into twists and turns at a constant pace. Here, we explore the dichotomy between the warmth and cold of a modular sound in techno, something frequently done but rarely mastered. Border One puts his years of experience to work to provide a combination of flair and balance to his tracks, something that is clearly translated in this EP. Of course, the final track - the title track - 'Inner Radiance' brings something very special to the table. The power of simplicity can never be underestimated and Petit knows just how to use it. With a strong core to an already sturdy track, the conclusion is spectacular. Emphasizing the electrifying nature of the record, Border One adds vintage chord stabs that fit right in with the sharp lead to create a powerful and memorable dancefloor experience. Not as much of a wind-down more than it is a gripping cliff hanger for his future releases, Border One provides once more an EP that underlines the true ethos of techno music.

The Rhythm Of Nature’ is the stunning new masterpiece from Andy Compton (The Rurals) and Shamrock!

Written between Andy’s tours in South Africa and Shamrock’s extended UK trip in the summer of 2025, this album embodies their shared mission: to spread positive, joyful vibrations with LOVE.

Here, Soul, Jazz, and African music blend seamlessly through the talents of these two cosmic brothers, connected deeply by their love of making music.

When Andy and Shamrock jam and record, music flows so freely, creating a powerful, spiritual energy.

This follow-up to their 2023 debut album, Soul & Spirit — which still touches hearts worldwide — includes magical songs like ‘Bunny Chow’ and ‘Rosa Mziki’, originally created in Johannesburg and previously released on the Bunny Chow EP, Along with super fresh, unheard gems.

The album also features incredible musicians such as Nekoye Ommeh (Vocals), Pete Morris (Keys), Bongani Sessionist (Percussion), Kafele Bandele (Trumpet), and Charlie Hearnshaw (Sax), adding their magical energies to the soundscape.

Allow yourself to experience the full journey, feel and enjoy every note!

The Messier Objects returns with the second release on their label containing ten new tracks from the new TMO alter ego ‘Messier One.’ The work combines nostalgic IDM, eerie ambient and dreamy dub techno into one mini-album, inspired by the brute forces of nature and the power of healing and regeneration.

Expect to feel the force of nature on the A-side, where tracks such as ‘Earth’s Signal 04’ and ‘The Greatest Ebb Current’ contain distorted and fuzzy pads, eerie and vague echoing vocals, and whitenoise patterns that somehow feel strangely calming. Together with the broken drum patterns on tracks such as ‘Who Do You Worship?’, and the distorted kicks on ‘Kaalo Asmi Loka Kshaya Kritpraviddho’, the A-side manages to create crude IDM and ambient patterns – resembling historic natural events as if you were there yourself.

On the B-side. the noisy and broken patterns from the previous six tracks are replaced with warm and meditative sounds. ‘Two Tides’ is filled with soothing arpeggiated soundscapes and echoing voices, and the organic jungle chants and mythical vocals in ‘Rebuilding Temples’ further continue the process of regeneration. The B-side is accompanied with two remixes from Messier808 (known from the first release), who brings his typical meditative 4x4 patterns to the table, accompanied by dreamy textures, cyclical melodies and illusive effects from a now ‘healed’ society.

This thoughtful release brings a complete story told in only ten chapters. As always, their releases are backed by breathtaking artworks using vibrant and organic colours, completing an intriguing mini-album.

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

Passages in Time, the third album from Kasper Bjørke Quartet, traces the contours of a blend of spiritual jazz reverence and the calming grandeur of '80s ambient. Inspired by Christopher Nolan's observation that "time is the most fundamental part of our human experience," the compositions are approached as fragments of time and memory. Meditations on the elusive nature of time form the heart of the work, merging freeform jazz improvisations with cyclical synthesizer patterns that mirror its quiet undulations.
Dreamy synths intertwine with guitar, harp, trumpet, flugelhorn, saxophone, and flute, creating a spacious environment for contemplation. The music invites reflection on the choices that shape our lives and the lives of those closest to us, and on the quiet weight of our priorities within the brief span we call life on this planet. Each passage unfolds as a fleeting moment suspended in time. The subtitles hint at fragments from someone's diary, tender observations of love, parenthood, and connection. Together, the passages form a musical memoir of sorts, where memory and emotion are gently woven into the compositions.
Passages in Time does not impose structure or meaning, it reflects them, offering an open space as the instruments drift in and out of focus, tracing time's subtle rhythms and inviting the listener to infuse their own memories and meaning into these passages.
The album also marks a transformation for the Quartet project itself. Langstrakt (Claus Noreen), part of the original ensemble, continues to operate the synthesizers alongside Bjørke, while the wider constellation of contributing musicians has evolved. Strings and piano give way to flute and saxophone by Oilly Wallace, guitars by Danish ambient composer Anna Roemer, trumpet and flugelhorn by Malthe Kaptain, and cascading orchestral harp by Katie Buckley, principal harpist with the Icelandic Symphony Orchestra.
The cover painting is by American artist Marcus Leslie Singleton, courtesy of V1 Gallery, and reflects the meditative and timeless atmosphere of the music.
Passages in Time is released on Bjørke's own imprint, Sensitive Records, following the two previous Quartet albums released on Kompakt Records: The Fifty Eleven Project (2018), a debut that introduced Bjørke's ambient and neoclassical explorations, and Mother (2022), which expanded the ensemble's sound with emotive choir compositions and guest appearance by Sofie Birch (Unsound / Stroom). Together, these three albums trace a journey of artistic growth, from introspective experimentation to a fully realized, contemplative expression of time, memory, and human connection.

Fossils in Transit dropping their first EP with diverse club focused features. The label
wants to express their love for timeless pieces and extrapolating it to their own vision.
Brussel based duo Kappen & Latence showing their musical spectrum on the A-side. On
the B-side Ennio Tyson debutes his take on timelessness.
A1 is a warm and slowly building track guiding the listeners through a blissful state. This
percussion driven piece sets the perfect mood for sunrises/sunsets. In A2 the rebellious
nature is defined by punk vocals, an acid bassline and crunchy percussion. Produced for
dark clubs and peak-time slots. B1 ventures into a bass-heavy realm where scattered
perc-like vocals and stabby synths create an ominous atmosphere. Keeping the body in
check while the mind wanders. Closing the EP on B2 with an off-the-wall minimal tech
house roller. Balancing a steady energy level to keep a tight grip on the dancefloor.

An’archives presents 'sensitive', a new album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, 'sensitive' is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi. A low-key yet productive artist, Sakaguchi has released banks of solo titles via his own Bandcamp page, and is also an in-demand improvisor for electronics: see, for example, recent collaborations with Yoshiki Ichihara ('TO(R)RI INFRANTA', 'Ftarri', 2025), Tatsuhisa Yamamoto ('non equal mad', self-released, 2020), and the - trio with Yamamoto and Uchihashi Kazuhisa ('self-titled', Modern Obscure, 2023).

'sensitive' is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.”

Indeed, you can hear this see-sawing balance between the electronic and acoustic written across 'sensitive' – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains.

The tender balance achieved by Sakaguchi as he moves between practices, tonalities and temporalities helps manifest the guiding conceptual force behind 'sensitive', where Sakaguchi explores a cleansing reverie. “What I wanted to portray with this album was to create an album of sounds that shattered and reassembled my current ‘sense’ and ‘toxins’,” he nods, “along with the ‘nature’ around me. Electronic sounds, our bodies, the environment around us, and nature all blend.”

From there, Sakaguchi attempts a transformation, or transmutation – an alchemical process of exchange. “I am attempting to explore whether it might be possible for the sounds to come closer to each other,” he concludes, “or perhaps even to interchange places.” On the five pieces that comprise 'sensitive', you can hear this fusing and exchange. Inhabiting similar spaces as the music of Nuno Canavarro, Asmus Tietchens, Omit, and other like-minded visionaries, 'sensitive' traverses curious, quixotic terrain between electronic composition, electro-acoustics, and improvisation.

On a remote gravel-covered spit of land on the east coast lie the abandoned buildings of a government facility for weapons testing and experiments with radar.
In the mid 1960s this site witnessed the construction of an over-the-horizon radar, a technological marvel bouncing signals off the ionosphere, built to covertly monitor the activities of other nations.
The reflectivity of the ionosphere is a function of frequency, time of day, time of year and of the solar cycle. In essence, a sympathy for the celestial was required to fully exploit this man made construction.
Plagued by noise that created false returns on the monitors, the intended performance was never achieved, and despite several investigations the system was shut down and eventually dismantled in the early 1970s.
The long dormant Cobra is now a nature reserve.

Glasgow’s Fortified Audio returns after at least a ten years long hiatus (No pun intended) and now returns to the world of bass with a full length album from local music firestarter Ten Years Lost. Modern day trap instrumentals at its core whilst sub-consciously giving hints of Drexciya, Moroder and the Memphis & Croydon bass music regions alongside some real deft sampling but still remains Glasgow at its core!

‘Michael: Songs From The Motion Picture’ is the official companion album to the brand new biopic ‘Michael’. This album highlights 13 songs showcased in the film, from The Jackson 5 to The Jacksons to Michael’s chart-topping solo success with “Off The Wall” and “Thriller.” This collection includes smash hits like “Billie Jean,” “Don’t Stop ’Til You Get Enough,” “Human Nature” and more.

Sakura is without doubt the most loved and lauded entry in Susumu Yokota’s catalogue.

The music unravels like cascades of petals falling from the eponymous cherry blossom trees. Yokota intended to ‘express ki-do-ai-raku (the four emotions; joy, anger, sorrow, and happiness) through music’, and throughout Sakura, the effect fluctuates between profound tranquillity, hesitation, melancholy and joy with ease, addressing the fickle nature of human emotion, while transcending the inclination to label moods entirely.

Sakura became Yokota’s best selling album. It was greeted with universal acclaim, lauded by Philip Glass and Brian Eno and launched Yokota internationally.

‘A bittersweet beauty, heightened by the sadness that all things must one day end.’ - Martyn Pepperell

2026 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

It's 5 AM. The golden hour. That moment suspended on the lips of the night that is leaving us. Where the dance still refuses to die as sweat dries, bodies float and minds drift. Some immerse themselves in the dripping surroundings while others emerge or pretend. Outside, nature reclaims its rights. When the moon sets over Kizipolis, the music doesn't stop: it transforms us.

To celebrate our 10th anniversary, the pillars of the label were invited to compose the track they would play at this precise moment. The one that no longer seeks to prove itself, that accompanies the ebb of shadows, connecting the senses to the light.

Kizipolis Vol.1 is the soundtrack to an imaginary but familiar city, a city where raving is a way of life, where music acts as a climate, where at 5am, anything is still possible.

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

Japanese pressing

A Japanese smooth double sider for the first time on 7" selected by Muro.

A-side "Heart And Soul" is a mellow Japanese AOR song from Ginji Ito's 10th album Nature Boy in 1987, and the flip side is a cover of Saturday Love "Uwaki na Kare," taken from a sought-after album 'Nouvelles' by Ritsuko Kazami originally released in 1987.

"Lost in the spinning sound" is the 12th studio album by The Dining Rooms (Stefano Ghittoni and Cesare Malfatti) who, over the years, have delved into an original style that balances cinematic atmospheres with funk, dub and ambient music. Here they have invited just one vocal guest, Chiara Castello from I'm Not a Blonde, for a collaboration that delivers a slow, nocturnal, orchestral, very minimalist album, oscillating between folk and blues, with deeply meaningful lyrics that explore the intricate nature of interpersonal relationships. The album cover, an illustration by Sara Vivan, conveys the idea of metamorphosis and invites us to dive into the sounds that surround and protect us. This is also the main message of the album: losing ourselves in order to protect ourselves a little. Drifting along and finding new, safer and more peaceful shores.

Jack’s House Recordings kick starts 2026 with a brand new VA featuring talent from all corners of the globe, with artists coming from Portugal, to Australia, the USA and Ibiza !

First up is Alex Arnout with “Baby Let You Know” which is another solid production giving punchy and techy energy with a baseline that will wake you right up when it drops in ! It’s dark, edgy, and has a powerful signature sound that is perfect for the big dance floors as well as your underground intimate ones. Alex is no stranger to the imprint, having been the first artist signed to the label which is about to celebrate it’s 10th year as an independent record label.

Next up, we welcome back popular and talented producer Carlo Gambino with “Time Of Need” which takes you through 6 and a half minutes of a lovely gritty underground groove, and vocal snippets of the track title throughout the arrangement with his warm and unmistakable signature sound.

Then we have AMO (um) & Mills with the more minimal track of the VA, “Therapy” This is a stripped back track but instantly memorable after just one listen. Driven by a simple kick, snare, haunting fills and a riding dark baseline, the track also presents a conversation between two Women having a slightly confusing conversation in a therapy session.

Last up, it is a pleasure to introduce and welcome USA’s Jordan Bernardo & Sharktooth from the Tasteless Thieves crew to the label with their excellent collaboration on the track “So Sorry” This is the light on the VA with this massively uplifting infectious groove. The track is giving skippy swinging beats, filtered vocals which tease in and out of the arrangement, and a great energy that takes you back to the early 2000’s era.

In a nut shell, this fresh Jacks Tracks VA offers 4 unique tracks that can serve any DJ at various points of the night, from warming up, a hands up moment, 3am pushing energy, and a perfect afterparty vibe too. That is always the aim with the Jacks Track VA series, to give vinyl buyers a bit of everything while maintaining talent and the nature of the underground.

On this album the former "Chasing Clouds" have accumilated into the eponymous "Black Sky"; these drifting soundclouds have swallowed a bulk of Sepalot´s sunny nature; his trademark relaxed attitude gave way to instrumental melancholy and pugnacity. "Before I started recording I listened to lots of The Doors songs. I found the suicidal aspect in their music very exciting. I totally inhaled it." Sepalot reports. "The breakage, the grid, the dirt - that was my inspiration. I was thirsty for the energy of pureness." In order to capture this roughness Sepalots first production steps were drafting soundsketches - often more than 100 in a row. This is then is followed by a sorting procees with many drafts going immediately into the trashcan. The survivors create the first basic draft.
There is something waiting in the wings. Don´t fear the storm, come outside with us... "Black Sky" is here.
Clemens Brentano: "These sounds are a wonderfull living breath of darkness"

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

“ It’s like a more psychedelic , organic KLF Chill Out with deep roots and cosmic overtones“ Richard Norris

“ A beautiful trip “ Jem Finer

D.E.N 01 LAND - Composer Danny Hammond
Land is the first in a series of earth inspired sonic journeys , part sound meditation , part immersive psychedelic nature trip. Incorporating field recordings , shack instruments and spoken words from cosmic adventurers .

It originated as an installation at the 14 Hour Technicolor Drone event in Sept 2025 whereby all listeners fell into a deep nature/dream slumber.
For fans of Pauline Olivieros ,Brian Eno , Terry Riley , Don Cherry , Barbara Hepworth , Alice Coltrane , John Betjemin and all other ambient adventurers.

D.E.N
Deep Earth Network is a long term sound project exploring deep-listening , drone and sonic adventure , all inspired by the earth in all its manifestations , land , water , space , consciousness. Initiated by Danny Hammond , D.E.N will present different sonic projects and collaborations from vinyl / audio releases to sonic installations with the aid of The Deep Earth Soundsystem and the Sonic Heads ( S.H ) a collection of sculpted head audio transmitters.