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De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

Tessellate launches their new white label series featuring edits and reworks of some older records. For the first edition they welcome Mike The Connector.

Featuring some of the best female vocal singles released over the years, most of which have never before appeared in LP format, plus a genuinely rare Sharon Liltle cut, previously only available on a very elusive Gorgon 7" ("Jah Love Is Gold").

,Es ist ein Bedroom-Album, das sich aber gar nicht wie eins anfühlt", sagt Glenn Morrow, Gründer von Bar/None Records, über ,Reseda Spleen", das lange verschollene Album von Ventilator aus dem Jahr 1996. Nach Jahren bei Permanent Green Light wurde Matt Devine klar, dass er weiterziehen musste. Devine stürzte sich kopfüber in sein neues musikalisches Kapitel: mit Earle Mankey als seinem musikalischen Mentor, Todd Rundgrens Klassiker ,Something/Anything" aus dem Jahr 1972 als konzeptionelle Inspiration und einem gebrauchten Tascam 388 - gekauft von einem Stuntman bei ,Mighty Morphin Power Rangers" -, den er in seiner Wohnung in North Hollywood aufstellte. ,Reseda Spleen" hätte bei Liebhabern von lautem, gitarrenlastigem Pop eigentlich Anklang finden müssen. Leider blieb die Existenz des Albums, wie bei so vielen Indie-Veröffentlichungen davor und danach, so gut wie unbemerkt - abgesehen von zwei begeisterten Kritiken (von ,The Big Takeover" und ,TapeOp"), die erst lange nach dem Verschwinden von ,Reseda Spleen" aus der Szene erschienen. ,Es ist so ein zeitloses Album", sagt Rob Zabrecky Possum Dixon. ,Es hat nicht diesen schrecklichen Glanz, mit dem damals so viele Bands überzogen wurden, und Matt hat nicht versucht, seine Gitarre wie Nirvana klingen zu lassen oder den Lo-Fi-Weg wie Pavement einzuschlagen; er war so im Reinen mit sich selbst und seiner Vision, dass ihn all das nicht beeinflusst hat. Es ist einfach so schön, dass diese Songs wieder herauskommen, denn ich glaube, die Leute müssen sie hören."

ERSTMALS AUF VINYL! Ursprüngliche 2-CD-Veröffentlichung: 1995. 32 Improvisations- und Dub-Tracks von The Ex! Die Verbindungen zwischen einer Punkband und improvisierter Musik liegen also auf der Hand: Ablehnung von Autorität, Hinterfragung traditionell gepriesener Maßstäbe, Erforschung von Kreativität jenseits der Zwänge kommerzieller Verkäuflichkeit. Kein Instantkaffee, kein Instant-Frühstück, kein Instant-Geld - INSTANTS, DIE BEWIRKEN. Momente, die bekräftigen: ,Das ist jetzt; hier sind wir, das tun wir." Auch improvisierte Musik braucht so einen Energieschub, um nicht engstirnig, verfestigt, elitär, kleinlich oder elitär zu werden. Wie Misha Mengeberg sagte: ,Ich bin im Moment sehr weit davon entfernt, Aussagen zu treffen wie ,Komposition sollte so oder so sein` oder ,Improvisation war bisher so und so`. Das hebe ich mir für den Moment auf, in dem ich tatsächlich in eine musikalische Aktion einsteige. In solchen Momenten habe ich vielleicht ein paar Definitionen. Aber jetzt noch nicht." - John Corbett ,32 Miniaturen. Manche sind ehrlich gesagt faszinierend, andere auf jeden Fall umwerfend. Aber es wird nie langweilig oder glatt. Praktisch ohne Gesang reisen The Ex durch eine Traumwelt, in der Überraschungen sich gegenseitig überraschen und in der sich neue und bisher verborgene Welten offenbaren." - The Wire THE EX: Terrie, Luc, Andy, Katrin, Han Buhrs, G.W.Sok & Gäste: Ab Baars, Wolter Wierbos, Han Bennink, Dolf, Tristan Honsinger, Michael Vatcher.

Mit My Mother's Name veroffentlichen Nive Nielsen & The Deer Children am 9. Oktober 2026 ihr erstes Album seit zehn Jahren. Die in Nuuk geborene gronlandisch-inuitische Musikerin zahlt zu den pragenden Stimmen einer zeitgenossischen Folk- und Songwriter-Generation, die kulturelle Identitat, personliche Geschichten und moderne Klangasthetik miteinander verbindet. Das neue Album bewegt sich zwischen akustisch gepragtem Songwriting, feinen elektronischen Elementen und einer vielschichtigen Instrumentierung, die auch traditionelle gronlandische Einflusse einbezieht. Thematisch stehen Fragen von Herkunft, Selbstverstandnis und Zugehorigkeit im Mittelpunkt. Nive Nielsen verbindet dabei ihre Erfahrungen zwischen Gronland, Europa sowie internationalen Kunst- und Filmprojekten zu einem ebenso zuganglichen wie facettenreichen Werk.

Das 1982 aufgenommene (aber erst 1986 veröffentlichte) Album *Jealous* war John Lee Hookers erstes
Album mit neuem Material seit Jahren und leitete ein Comeback ein, das drei Jahre später in dem mit
einem Grammy ausgezeichneten Album *The Healer* gipfelten sollte.
Im Gegensatz zu der Vielzahl an Gaststars, die auf den meisten Alben seiner späten Schaffensphase zu
hören waren, präsentiert sich *Jealous* als schnörkellose, erdige Produktion von Hookers eingespielter
Band. Das Album, das neu interpretierte, weniger bekannte Stücke aus seinem frühen Repertoire enthielt,
wurde schließlich mit einem W.C. Handy Award ausgezeichnet und für einen Grammy nominiert.

”Ghosts (100 Days of Morning)” ist Jamie T’s sechstes Studioalbum, eine persönliche und retrospektive
Ode an das Älterwerden und die Suche nach Teilen der eigenen Identität, die man im Laufe des Lebens
verdrängt oder verloren hat.
Das Album steht in starkem Kontrast zu der Erwartung, Jamie T müsse für immer der 18-jährige Künstler
seines Debüts bleiben - in seinem neuen Werk präsentiert er eine weiterentwickelte und erwachsenere Version von sich selbst.
Das neue Album des Südlondoner Künstlers entstand aus Hunderten von Sprachnotizen, die Jamie T nach
seinem fünften Album gesammelt hatte. Musikalisch verbindet ”Ghosts” seine Indie-/Punk-Wurzeln mit
elektronischen und nostalgischen britischen Einflüssen.

Als Sänger, Songwriter, Schauspieler und Model hat sich Troye Sivan längst als eine der prägendsten Popstimmen seiner Generation etabliert.
Seine Musik verbindet emotionale Offenheit mit modernem Synth-Pop, euphorischen Dance- und ClubSounds und persönlichen Geschichten über Liebe, Begehren, Identität und Selbstfindung.
Mit seinem vierten Album „She’s the Best“ führt Troye diesen Weg weiter: Intim und selbstbewusst zugleich bringt das Album all das zusammen, was Troye Sivans Musik ausmacht – große Popmomente,
emotionale Verletzlichkeit, pulsierende Club-Energie und eine unverwechselbare queere Perspektive. Das
Album beschäftigt sich mit Begehren, Identität, Freude, Einsamkeit und queerem Zugehörigkeitsgefühl und
ist als immersives Projekt konzipiert, das ebenso visuell wie musikalisch erlebt werden soll.
Seit seinem Debütalbum Blue Neighbourhood (2015) und dem Nachfolger Bloom (2018) hat Troye seinen
Sound und seine visuelle Welt kontinuierlich weiterentwickelt. Songs wie „Youth“, „My My My!“, „Dance
To This“ feat. Ariana Grande, „Angel Baby“ und „Rush“ machten ihn zu einem international gefeierten
Pop-Artist. Einen bisherigen Karrierehöhepunkt markierte sein drittes Studioalbum Something to Give Each
Other (2023). Die Leadsingle „Rush“ entwickelte sich zum globalen Dance-Pop-Hit, erreichte international
hohe Chartplatzierungen und brachte Troye u.a. zwei Grammy-Nominierungen ein.
Die enge Verbindung zu seiner Community und eine selbstverständliche queere Perspektive prägen Troye
Sivans Musik und visuelle Welt seit jeher. Mit She’s the Best entwickelt er diese weiter und eröffnet
ein neues Kapitel, in dem Pop, Performance, Fashion und Clubkultur zu einer unverwechselbaren Einheit
verschmelzen.

Sechs Jahre nach seinem legendären Live-Auftritt vom 25. Juni 1961, aus dem zwei der populärsten
und besten Alben von Bill Evans für das Label Riverside hervorgingen - ”Sunday At The Village Vanguard”
und ”Waltz for Debby” -, kehrte der einflussreiche Jazzpianist im August 1967 für zwei Abende in denselben
Jazzclub in Manhattan zurück. Diesmal trat er in der einmaligen Trio-Besetzung mit Eddie Gómez am
Bass und Philly Joe Jones am Schlagzeug auf. Die Aufnahmen erschienen 1982, zwei Jahre nach Evans’
Tod, auf dem Doppelalbum ”California Here I Come”, das seinen vielleicht etwas verwirrenden Titel dem
Opener des Albums verdankt. An beiden Abenden waren Evans und seine Spielpartner in Bestform und
zeigten bei Interpretationen von Standards wie ”‘Round Midnight”, ”In a Sentimental Mood” und ”Stella
by Starlight” sowie dem damals neuen Bacharach/David-Hit ”Alfie” ungezügelten Elan, rhythmisches Feuer
und ein energiegeladenes Zusammenspiel.

Der deutsch-amerikanische Violinist David Garrett veröffentlicht mit Immortal sein neues Album. Ein
zutiefst persönliches Projekt und zugleich eine Hommage an einige der bedeutendsten Komponisten der
Musikgeschichte wie W. A. Mozart, Claude Debussy und John Williams. Alle Stücke wurden von David neu arrangiert und spiegeln sein tiefes musikalisches Verständnis, sowie
seinen Anspruch an Authentizität wider. „Ich bin stolz darauf, sagen zu können, dass dieses Projekt zu
100 % handgemacht ist“, sagt er. „Ich hoffe, dass die Hörerinnen und Hörer nicht nur den Klang genießen,
sondern auch die menschliche Präsenz in der Musik spüren.“

„Guitar Heroes: The Decca Years 1965–1967“ fängt den Moment ein, in dem John Mayalls „The Bluesbreakers“ zur Talentschmiede für eine ganze Generation legendärer Gitarristen wurden.
Anhand von vier wegweisenden Alben – von der rohen Live-Energie von „Klooks Kleek“ bis hin zum
bahnbrechenden „Blues Breakers with Eric Clapton“ – dokumentiert dieses Set die Geburt des britischen
Blues-Rock.
Mit Eric Clapton (Cream), Peter Green (Fleetwood Mac) und Mick Taylor (The Rolling Stones) legten
diese Aufnahmen den Grundstein für einige der bedeutendsten Bands der Rockgeschichte.
Das Paket enthält einen neuen, ausführlichen Essay, der die Abstammungslinie dieser Gitarristen und ihren
Einfluss dokumentiert, sowie einen visuellen Stammbaum, der ihren Werdegang bei Cream, Fleetwood Mac
und den Rolling Stones nachzeichnet.
Die Vinyl-Edition wurde in den Abbey Road Studios nach dem AAA-Verfahren (vollständig analog) von den
originalen Decca-Masterbändern geschnitten, wodurch die volle Dynamik, der Klang und die Authentizität
der Originalaufnahmen erhalten bleiben.

Relaxin’ with the Miles Davis Quintet fängt den mühelosen Swing und das außergewöhnliche Zusammenspiel der legendären Formation um Miles Davis, John Coltrane, Red Garland, Paul Chambers und Philly
Joe Jones ein. Aufgenommen 1956 im Van Gelder Studio, erschien das Album erstmals 1958 bei Prestige
Records.
Anlässlich des 100. Geburtstags von Miles Davis erscheint der Klassiker nun neu als Teil der Original
Jazz Classics-Reihe – auf 180-Gramm-Vinyl, vollständig analog von den Originalbändern gemastert und im
hochwertigen Tip-On-Cover

„A Charlie Brown Christmas“ vom Vince Guaraldi Trio –das meistverkaufte Jazzalbum aller Zeiten –
erscheint erstmals im Rahmen der Original Jazz Classics Reihe. Das ikonische Album enthält alle beliebten
Kompositionen aus dem PEANUTS-Weihnachtsspecial, und Guaraldi wird dabei von Fred Marshall, Monty
Budwig, Jerry Granelli und Colin Bailey begleitet. Diese festliche Neuauflage erscheint auf 180-GrammVinyl, gepresst bei QRP, mit vollständig analogem Mastering von den Originalbändern bei Cohearent Audio
und einem Stoughton-Tip-On-Cover.

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

DPRTNDRP make a long-awaited return to Infernal Sounds with 'Byrnei', a release that's been quietly building anticipation across the 140 scene. Following their acclaimed 'What Ya Mean' EP in 2020, the duo are back with five heavyweight cuts that showcase exactly why they've remained one of dubstep's most respected production outfits for well over a decade.

Opening with the title track, 'Byrnei' wastes no time setting the tone. Rolling with DPRTNDRP's unmistakable swing, weight and groove, it's a certified soundsystem weapon - built to lock dancers into its hypnotic rhythm while delivering devastating low-end pressure.

Next up, 'Jiaozi' shifts into overdrive. A relentless barrage of razor-sharp percussion, cavernous basslines and seismic energy, it's an uncompromising slice of peak-time dubstep designed to hit with maximum impact from the first drop to the last.

'Fury' explores a deeper side of the duo's sound, drawing influence from their dub-focused alias, D-Operation Drop. Rich in space, texture and heavyweight sonics, it perfectly blurs the line between traditional dub and modern 140, combining meditative atmospherics with chest-rattling low-end.

Adding another dimension to the EP, Causa steps in to rework 'Fury', twisting the original into a hypnotic, distorted roller. Layered with his unmistakable wobble-heavy aesthetic, the remix pushes the track into darker territory, delivering an immersive journey of oppressive bass weight and razor-sharp sound design.

Bringing the release to a thunderous close, 'Backfire' is pure, uncompromising pressure. Stripped back, direct and devastatingly effective, it's arguably the heaviest moment on the EP; a no-nonsense soundsystem destroyer that leaves a lasting impression.

From start to finish, 'Byrnei' is a statement of intent. It's a masterclass in weight, groove and precision, reinforcing DPRTNDRP's status as true innovators within the 140 landscape. With five expertly crafted cuts destined for dancefloors and soundsystems worldwide, this is another landmark release from two producers operating firmly at the top of their game.




[d] B2. Fury [Causa Remix]

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

Meet Matas Petrikas, a music producer, DJ, and book author with a passion for electronic music. Born in Lithuania during the time when it was still a part of the Soviet Union, Matas began experimenting with electronic sounds during his teenage years using self-built instruments and recording equipment. In 1991, Matas took a trip to Berlin that would change his life forever. There, he encountered the early years of techno culture, which led him to co-found EXEM, one of the first house and techno bands in the former Soviet space. With EXEM, Matas was one of the pioneers of electronic dance music in Lithuania, and by the end of the decade, they had charted numerous hits. They performed live shows ranging from intimate clubs to massive arenas, sewing the seeds of the local electronic music scene. Since then he relocated to Berlin and has forged a musical solo career focused on live-sets, experimentation, and authoring the book 'The Joy of Electronic Music'. The Unknown is Matas’ first release on his newly formed imprint Dangė Records, focused on supporting electronic music from Lithuania and the Baltics. The 6 track EP forges his love for texture heavy hypnotic techno with industrial and warehouse leaning low end and percussion. Although mainly an EP rooted in driving a groove, the use of earworm worthy basslines, rave breaky drums, and squelchy lead synths is where Matas’ long career foray into many genres of electronic music shines through. Dangė Records releases electronic music from Lithuania and the Baltics—sounds that emerge from underwater, carried by artists who inherited the weight of transformation.

Tuff vocals by Amsterdam-based Tesfa Zion over a Ray Ranking rootical 80s-inspired Riddim! This is the title track for our upcoming roots reggae album, releasing in the near future.

Robert Nasveld (*1955 Utrecht) studied piano at the Utrecht Conservatory with Polo de Haas, Sas Bunge and Herman Uhlhorn, composition with Joep Straesser, and electronic music with Ton Bruynèl. After completing his piano studies, Robert Nasveld specialised in 20th-century repertoire, with a particular focus on Dutch, Russian and American music. He achieved international fame as a pianist for his interpretations of the works of the American composer George Crumb, which led to invitations to perform at various events, including the Warsaw Autumn Festival (1990). His connection with George Crumb also enabled him to produce a seven-hour live broadcast of Crumb's music for VPRO radio in 1986 and a television program with the composer. Nasveld recorded the complete works for one piano by George Crumb, which was released by the Attacca label in 1991. He has given concerts in Europe, Russia, and the United States.

Nasveld was also a member of the Orgella Quartet, founded in 1976 (with Margaret Krill, Polo de Haas, and Niek de Vente), Piano Kwadraat, and the Netherlands Pianists Quartet (with Marian Bolt, Corien van den Berg, and Niek de Vente). These ensembles specialised in performing music for two eight-handed pianos. He also collaborated with several vocalists, including Claron McFadden, Marjanne Kweksilber, and Liesbeth List (tour 1983/'84). Due to multiple sclerosis, he retired from performing in 1998.

From 1988 to 2021 Robert Nasveld worked for Dutch national radio (NOS/NPS/NTR) as a program producer for NPO Klassiek. Until 2004, he was editor of Supplement, which received the Silver Reiss Microphone in 1996, the highest award for a radio program, for its adventurous and innovative programming. Robert Nasveld also programmed concept evenings at Muziekcentrum Vredenburg, featuring contemporary music performed by soloists, ensembles, and the broadcasting orchestras for NOS/NPS. From 2019 until his retirement in 2021, he presented a series of podcasts for NTR/NPO Radio 4 about electronic music pioneers. The three compositions on this LP are the only tape pieces recorded by Nasveld. They were created at Ton Bruynèl’s studio at the Utrecht Conservatory and the Institute for Sonology in Utrecht.

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

Celebrate 40 years of Pixar storytelling through music with Pixar Hits, a collectible vinyl compilation featuring unforgettable songs and scores from some of Pixar's most celebrated films. Pressed on vibrant opaque yellow vinyl, this release brings together fan-favorite moments from Toy Story, Monsters,Inc., Finding Nemo, Cars, Up, Coco, Soul, Turning Red, and more.From Randy Newman's iconic "You've Got a Friend in Me" to the emotional storytelling of "Married Life" and modern favorites like "Nobody Like U" and "Steal the Show," this collection showcases the music that has helped define Pixar's most memorable adventures. A perfect addition for Disney and Pixar fans, vinyl collectors, and anyone looking to relive the magic through music

For Token's next release, Singular Anomalies takes the reins for a release full of textural work and dissonance. These four tracks showcase the broad spectrum of sound design that encompass the Italian artist's unique style compiled as 'Allure', an unflinchingly bold addition to the label's discography.

'Between Two Worlds' is the latest statement into Oscar Mulero prolific discography. This brand new LP expands the techno standards defined by the Spanish artist himself.

Trance music fans, get ready to experience Push’s iconic anthem “Universal Nation” like never before with this exclusive 2 x 12" vinyl release repress.

Strictly limited to 500 copies worldwide, this special edition features a unique Inside Out cut pressed on stunning Starlight vinyl — black with striking coloured speckles, giving every copy its own distinctive look.

Featuring an array of incredible remixes, including Airwave’s Vocal Theatrical Version, James Harcourt’s remix, Gai Barone’s remix, and DJ Ghost & Danny C’s remix, this release is a must-have for any Push and trance collector.

Presented in it's original modern remastered artwork and pressed in the exclusive Starlight colour, this highly limited release offers a fresh way to rediscover the magic of “Universal Nation.”

Only 500 copies available — once they’re gone, they’re gone.

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

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

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

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

Hot on the heels of their new UK street soul-inspired LP ‘Feel In Motion’, Leeds three-piece Galaxians enlist Steven Julien (Apron Records), Boys Shorts (Phantasy Sound), Cervo (Banana Hill) and Vanity Project (Claptrap Records) for remixes of the album's singles.

Adopting his 808 PRINCE moniker, the London DJ, producer & Apron Records label boss Steven Julien beefs up World Apart with his unique live 808 programming, imbuing it with an urgent machinefunk groove in keeping with his consistently electrifying live performances & DJ sets.

Coming straight from the release of their ambitious debut album ‘What Does It Take To Make These Men Happy?’, Greek duo Boys’ Shorts create a heady club moment with their take on Lose My Head, cutting up Sinead Campbell’s vocal while zeroing in on the original’s undeniable bassline & piano melody.

Best known for his Banana Hill label & Manchester club night, Stockport’s Cervo brings the global rhythms and balearic wistfulness of his previous output to bear on his evolution of Fantasy, while Claptrap Records boss Matt Bruce AKA Vanity Project reimagines the track as a cosmic house chugger that further highlights the exceptional vocal performance Beccy Young recalling Madonna at her most iconic.

The package is completed with Gramrcy & John Loveless’s 12” Mixes of Worlds Apart and Fantasy, expanding and reshaping the album originals into pure dancefloor bliss.

Thursday, 2025. Philadelphia. South Philly, to be precise. A basement, to be even more precise. And not just any basement, but the subterranean headquarters of Zillas On Acid.

Which is where Roman Flügel found himself, presumably with good intentions. Some time before that, he had decided to wake Sister Midnight from its slumber.
But rather than simply carrying on where things had left off, a new idea was needed. Enter Sister Midnight Special Products: a new series dedicated to collaborations, chance encounters and other musical situations that deserve to become records.

No grand manifesto, no five-year plan. Just making music with people you like, in places you happen to find yourself, and seeing what happens. Special Product 01 is “Conga Dream,” born from a basement jam with Zillas On Acid and apparently unwilling to behave itself ever since.

Three musical free spirits meet somewhere between the basement, the dancefloor and the more pleasantly confused corners of the mind. Club music is involved, certainly, but functionality has been politely asked to wait outside. Instead: pocketprotector synthesizers, a little E-mu Proteus 3, assorted electronic activity and, as advertised, congas.

The result is less a tool than a small trip. Or perhaps a tool for taking small trips.
Either way, it works.

Zillas On Acid put it like this:
“A basement jam deep beneath the streets of Zilladelphia yields surprising results: pocket protector synths, a dash of E-mu Proteus 3, and yes of course the aforementioned congas.”

And with that, Sister Midnight Special Products is officially open for business.

Dream on.

Mastered by Mike Grinser at Man Made Mastering.

Artwork by Saskia Randt.

The STAMPO quest continues with the fifth release on the label. Heading up the release is Italian hero, DJ Rou, known for his diverse, and vast record collection he lands here with four tracks traversing between multiple moods to make you move. A charming intensity pours out of the tracks in the “Handz Up” EP, as a legend steps up to share his sound. A simple concept, each artist that releases on the label is represented with a stamp on the record, letting the music make its mark.

New full-length from MINIATURa, following Geometria Prohibida (Keroxen, 2020). Espectral was recorded inside the iconic Keroxen oil tank in Tenerife — a brutalist chamber whose metallic resonance seeps into every track.
Motorik tension, post-punk restraint, shoegaze and darkwave undertow surface and dissolve throughout, but this is no genre exercise. The album feels lived-in and physical: drums hanging in open air, guitars stretching into steel-lined decay, moments of synthetic clarity torn open by abrasion. Propulsion and erosion move side by side.
There’s a rawness here that isn’t aesthetic — it’s architectural. The tank becomes a silent collaborator, shaping space as much as sound.
Lyrically, Espectral unfolds through elliptical micro-poetry, tracing life, love, death and social fracture in fragments rather than declarations. Nothing is fixed; everything hovers.
One of the strongest independent statements to emerge from the Canary Islands in recent years, Espectral finds MINIATURa operating on its own frequency — austere, immersive, and built to linger.

2026 Repress

The voraciously prolific Brit producer Four Tet returns to his untypeable-but-highly-listenable windings alias for this surprise new album on his own Text label. Remaining as a vinyl-only LP for now, and currently limited to 2000 copies, it was announced just a week or so ahead of the release. No track titles or details and a bucket load of vibes and strange ideas. Opening softly with gentle eastern instrumentation, he gradually pulls us deeper and deeper into his unique universe with every bendy frequency and strange accent. By the time we're three tracks in, we're bopping away to big bodied dubstep/garage mutations laced with chimes and all kinds of textures that only Keiran Hebden would choose to use. The B-side bares a similar varied, opened-hearted soul as we move from bumping club grooves to slo-mo ethereal shuffles that wouldn't sound out of place in a cathedral. Textbook Text. Grab this if you can, it won't hang around

20 Jahre „Lebe Lauter“ – Christina Stürmers Erfolgsalbum erstmals auf Vinyl!
2006 erschien mit „Lebe Lauter“ eines der erfolgreichsten und prägendsten Alben in Christina Stürmers Karriere. Zum 20-jährigen Jubiläum bringt AMADEO diesen Meilenstein nun erstmals auf Vinyl – und
zwar als hochwertige, farbige „Oxblood“ Doppel-Vinyl.
Mit dabei sind einige der größten Christina-Stürmer-Hits überhaupt: „Nie genug“, „Lebe Lauter“, „Scherbenmeer“, „Um bei dir zu sein“ und viele mehr. Songs, die eine ganze Generation begleitet haben und bis
heute fixer Bestandteil ihrer Live-Shows sind.
„Lebe Lauter“ erreichte 2006 Platz 1 der Albumcharts in Österreich und Deutschland und steht wie kaum
ein anderes Album für Christina Stürmers Durchbruch im gesamten deutschsprachigen Raum. Mehr als 20
Jahre nach ihrem Karrierestart zählt sie zu den erfolgreichsten österreichischen Pop-Rock-Künstlerinnen –
mit zahlreichen Gold- und Platinauszeichnungen, Nummer-1-Alben, großen Tourneen und einer Fanbase,
die längst mehrere Generationen umfasst.
Für die Jubiläumsausgabe wurde das Album aufwendig remastered, das Original-Artwork neu veredelt
und mit der Oxblood-Farbvinyl auch optisch zu einem echten Sammlerstück gemacht.
Extra-Bonus für Fans: Zwei von Christina persönlich ausgewählte Lieblingstracks aus dem Akustik-Album
„laut-Los“– „Lebe Lauter“ und „An Sommertagen“ – erscheinen als Bonus ebenfalls erstmals auf Vinyl.
Ein starkes Jubiläum, ein Album voller Hits und ein hochwertiges Vinyl-Produkt für Fans, Sammler:innen
und alle, die mit Christina Stürmers Musik groß geworden sind.
20 Jahre „Lebe Lauter“. Erstmals auf Vinyl. Remastered. Oxblood. Doppel-Vinyl. Plus zwei exklusive
Vinyl-Bonustracks.
Es wird wieder laut!

harly Lownoise x Tommy Chaos x Lipstick – I’m A Raver

Now available on vinyl!

Pure rave nostalgia meets new hardcore energy.

These legends unite for a massive hardcore anthem pressed on wax.

Collectors, DJs, and ravers: this one’s built for your turntable.

On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.

V Don and Da$h are not strangers to each other. Connecting in the past for memorable tracks like “Glad Bag”, “Redrum”, and “Now or Never”. They picked right up where they left off with a menacing five track EP back in July. “5 Deadly Venoms” put V Don’s expert production and the many flows of Da$h on front street. A duo that has always held themselves to high standards.

It’s safe to say that Rochester, NY rapper of Italian descent Pounds’ work ethic is unmatched: he’s constantly on the grind, loud in the lab but quiet on the outside, he wastes no time unlike many other big mouthed rappers these days and then, all of a sudden, he drops a bomb on you. To kick off 2018 in the best of ways, he released a 4-tracks collaboration EP with West Coast producer , 1/2 of Gangrene, Oh No entitled “Borgata”. The record opens up with “Last Supper” and with a clear statement of intent: “Run for your life, my cousin brought a drum and a knife, break my hand on your face I need a bucket of ice” just so you understand where this project is headed since the first song. His style is always direct, without any frills, with his trademark voice spitting gritty crime-themed bars that revolve around drug and the street life that raised him. A “borgata” in Italy is a “hood”, and Pounds, being the definition of an artist that talks the talk and walks the walk, couldn’t pick a better title for this project.

Limited edition vinyl release of 500 hand-numbered copies with etched B-side, black vinyl.