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WRWTFWW Records is boiling with excitement: Pizza Hotline is back! The UK producer and DJ is following up the already classic Level Select with another liquid drum & bass with a video game music twist beauty: the Polygon Island album, available in a limited edition double LP with a majestic 45rpm cut (for louder, bigger, bolder, deeper earth-shaking bass), packaged in a heavyweight 350gsm gatefold sleeve.

Home of eight all new slices of delicious atmospheric drum & bass, Polygon Island is the perfect artificial paradise beach for Pizza Hotline to deepen his exploration of modern jungle music liquified through the lens of 90s /Y2K video game motifs and seasoned with the soundtrack essence of PS1, PS2, N64, Sega Saturn & Dreamcast adventures.

Bewitching and larger than life, Pizza Hotline’s perfect follow-up to Level Select takes listeners (players?) on an endless summer escapade filled with immaculate vibes, crispy beats, and refashioned homages to, once again, LTJ Bukem, Peshay, the Wipeout OST, and Soichi Terada's Ape Escape. It’s bouncy, it flows, it’s dreamy – something to dance to, something to reminisce to, something to chill to. Pizza Hotline is back and it feels so good.

Press start. Again.


Points of interests

For fans of liquid DNB, video games, ambient, late night vibes, computers and clubs, Soichi Terada's Ape Escape, LTJ Bukem, Peshay, Wipeout OST, Pizza Hotline’s Level Select, good music, good music on video games, playing video games all night and possibly all week. Do that again and again and again.

Super limited edition vinyl of Pizza Hotline’s Polygon Island album redefining liquid drum & bass with a Y2K video game twist again and again and again.

Celebrating 50 years since the release of the iconic Cathedrals album, U.S. disco legend D.C. LaRue returns with never-before-released remixes of all four original classics—pressed on strictly limited vinyl.
Top contemporary disco producers The Reflex, Dr. Packer, and Mannix breathe new life into LaRue’s 1976 masterpiece:
The Reflex (Stevie Wonder, Cerrone) delivers dancefloor-driven edits using digitized analog multitracks.
Dr. Packer (First Choice, Loleatta Holloway) reinvents one of LaRue’s biggest hits with fresh, soulful energy.
Mannix, head of Dafia Records, adds deep, dubby textures to complete this dynamic remix package.
Each track is respectfully reimagined—maintaining the emotional depth of the originals while enhancing clarity, rhythm, and relevance with modern production.
Bonus: Includes two standout remixes from LaRue’s second LP The Tea Dance—"Overture" (The Reflex) and "O Ba Ba" (Mannix).
These remixes aren’t just nostalgic—they’re timeless. Essential for collectors, DJs, and anyone who lives for disco.
Grab your copy before it’s gone.

Spanish producer Larsson delivers a deep and hypnotic 4-tracker for Fuxbau Records, marking his vinyl debut on the label. Written in the rural village where Larsson grew up, the EP carries a sense of groundedness and clarity. Created in his parents' home, surrounded by nature and far from urban distraction, the tracks reflect a setting where ideas unfold organically. The result is a tightly cut selection of groovy, rolling techno - stripped back, hypnotic, and full of tension. That contrast between calm surroundings and high-impact club energy runs through all four tracks: stripped-back yet detailed, functional yet full of soul.

Nach dem rasanten The Ride (2020) meldet sich die Punk-Truppe aus Los Angeles mit Lighten Up zurück, produziert von NOFXs Fat Mike. Eine perfekte Band für Fans von melodischem SoCal-Punk mit feministischem Einschlag. Die vierköpfige Band überzeugt mit unendlicher Power und Energie auf der Bühne, inklusive zweier Hauptsängerinnen. Und musikalisch stehen sie nicht still, sondern erweitern sich jedes Mal. "Life is hard, but it's still beautiful. Stop picking the hard shit to look at_look at the beautiful stuff too. Lighten up." Lighten Up (Fat Wreck Chords), das vierte Album der SoCal-Punkband Bad Cop Bad Cop, zeichnet ein eindrucksvolles Porträt der hart erkämpften Siege und Verluste des Lebens. Aufgenommen wurde das Album im Compound in Long Beach, der Heimat des erfahrenen Produzenten Antoine Arvizu (Sublime, Ryan Bingham). Die Band liebte es schon, die Singles ,Shattered" und ,Safe and Legal" dort 2023 mit Arvizu und Migs (Sublime, Slightly Stoopid, Long Beach Dub Allstars) aufzunehmen. Bad Cop / Bad Cop strecken ihren charakteristischen, melodischen Punk in unerwartete Gefilde, wie das jazzige ,Las Ventanas", das Dub-infizierte ,Note to Self" oder ,Johnny Appleseed", eine Neuinterpretation des Joe Strummer and the Mescaleros-Klassikers. Nach dem Einspielen der Instrumente verbrachte die Band zehn intensive 12-Stunden-Tage damit, die Vocals mit Mitstreiter John E. Carey Jr. (Old Man Markley, NOFX, Get Dead) aufzunehmen. "Der Gesang war der wichtigste Teil für uns. Wir haben wirklich alles ausprobiert", sagt Dee und fügt hinzu, dass Gallarza zum ersten Mal die dritte Harmonie gesungen hat. Lighten Up profitiert auch von Windsor, einem erfahrenen Gitarristen, der nicht nur schreddert (siehe z.B. das Ende von ,I4NI"), sondern dessen musiktheoretisches Wissen sich als unschätzbar erwiesen hat. ,Alex' Gitarrenspiel ist einfach fantastisch und hat unser Songwriting wirklich aufgewertet", sagt Dee. Alles an Lighten Up fühlt sich erhaben und echt an. "Das war das erste Mal, dass wir uns einen Dreck darum scherten, was andere machen oder von uns erwarten. Lighten Up war/ist für uns", sagt Dee. ,Es hat uns total viel Spaß gemacht, es zu machen und wir lieben es so sehr." CD, schwarze LP und limitiertes, hellblaues Vinyl erhältlich!

»Downriver« unfolds like a dérive through obscured geographies, echoing the psychogeographic journeys of Iain Sinclair. Just as Sinclair’s writing blurs the tangible and the imagined, Sequences, the project of Antwerp-based artist Niels Geybels, drifts into spaces where memory and environment overlap. Single-take recordings stretch into slowly mutating drones, fractured textures, and ghostlike voices that seem to seep in from unseen thresholds. The atmosphere is one of decayed grandeur, evoking disused monuments, neglected warehouses, and corners of the landscape where centuries of history accumulate beneath the surface.

This is music shaped by wandering without a map: a patchwork of distortion, hidden detail, and abrupt rupture. The sense of time loosens, the everyday unravels, and new contours emerge out of drift and delay. Downriver situates itself between sound art and environmental music, drawing listeners into liminal zones where place becomes porous, haunted by what has been and what might yet be.

Written and recorded by Niels Geybels Mastered by Jacob Calland

Mit ihrer ersten EP beweisen Fuller, dass es oft nicht viel braucht, um gute Rockmusik zu machen - außer Gespür, Haltung und ein bisschen Mut zur Reduktion. Der Aufbau ist klassisch: Schlagzeug, Bass, Gitarre, Gesang. Doch was daraus entsteht, ist weit mehr als die Summe seiner Teile. Die Songs sind kurz, direkt und dabei voller Details, die sich erst beim genaueren Hinhören entfalten. Die Band verzichtet bewusst auf überflüssige Effekte und verliert sich nicht in ausufernden Arrangements - stattdessen setzen sie auf rohen, ehrlichen Sound, der an DIY-Proberäume und verrauchte Spätsommernächte erinnert. In Stücken wie "Mew" feiert die Band die einfachen Freuden des Lebens, während "The Nix" melancholisch und reflektiert in persönliche Verlusterfahrungen eintaucht - ohne in Klischees abzurutschen. Es sind diese Kontraste zwischen Leichtigkeit und Schwere, zwischen Spielfreude und Nachdenklichkeit, die den Reiz der Platte ausmachen. Die Gitarre übernimmt dabei oft eine tragende, fast erzählende Rolle, während Bass und Drums für das nötige Fundament sorgen. Produziert wurde das Ganze gemeinsam mit Christian Bethge, dessen Feingefühl für Klang und Atmosphäre der EP zusätzlich Tiefe verleiht. Fuller brauchen keine großen Bühnen, um Eindruck zu hinterlassen - sie bleiben lieber im Proberaum, wo alles echt klingt und nichts inszeniert wirkt. Und genau das macht sie so besonders.

Seit ihrer Gründung im Jahr 2013 in Metro Detroit, Michigan, hat die Metalcore/Post-Hardcore-Band I
Prevail eine Menge kritischer und kommerzieller Erfolge erzielt. Ihr erstes Album, „Lifelines“ von 2016,
erreichte sowohl in den USA als auch in Kanada Goldstatus, während „TRAUMA“ von 2019 diese Leistung
in Kanada wiederholte. Letzteres wurde bei den Grammys in dem Jahr für das beste Rockalbum nominiert,
die Single „Bow Down“ war zudem Anwärter für die beste Metal-Performance. Mit „TRUE POWER“ aus
dem Jahr 2022 ging die Band weiterhin ihren eigenen musikalischen Weg und weigerte sich, den Erwartungen des Genres zu entsprechen.
Jetzt, mit ihrem vierten Album „Violent Nature“, geht die Band eine Stufe weiter. Das Album wurde
in zwei Etappen in den Blackbird Studios in Nashville aufgenommen und unter der Leitung von Bassist
und Keyboarder Jon Eberhard selbst produziert. Außerdem handelt es sich um das erste Material, in dem
Vocalist Eric Vanlerberghe als einziger Sänger der Band sowohl cleanen als auch nicht cleanen Gesang
übernimmt. Es geht hart zur Sache. Die erste Single des Albums, der Titeltrack, ist möglicherweise der
brutalste, extremste und wildeste Song, den die Band je veröffentlicht hat. Doch nicht alles ist so brutal
und intensiv. Obwohl die Single „Rain“ alles andere als sanft ist, fühlt sich der kraftvolle, hymnische Refrain
des Songs im Vergleich dazu wie ein Schlaflied an, obwohl der Text Andeutungen derselben Wut und Pein
enthält. Nichtsdestotrotz veranschaulich

Two years after their formation, the English power pop band The Only Ones released their self-titled debut album in 1978.
The Only Ones played not-so-fast guitar rock that sounded deeply indebted to the New York Dolls and other mid-70s proto-punks.
Their debut album The Only Ones is regarded as a classic of the first wave of UK punk and features the brilliant hit

“Another Girl, Another Planet”, which is their most successful track and has since been covered by many other performers.
Since the Nineties, the album has appeared on several all-time greatest albums lists, including the book 1001 Albums
You Must Hear Before You Die in 2006. This edition of The Only Ones features remastered audio and is available on black vinyl.

GOODWIN, das Soloprojekt des The Slow Show-Sängers Rob Goodwin, hat das Debütalbum 'PEEKABOO' angekündigt, das am 19. September 2025 über PIAS Recordings veröffentlicht wird. An Goodwins Seite ist dabei Lambert, der mysteriöse, maskierte Pianist und Komponist, der u.a. für seine Zusammenarbeit mit Künstlern wie Nils Frahm und Ólafur Arnalds bekannt ist.

'PEEKABOO' geht über die cineastische Wucht seiner Band hinaus und liefert etwas Intimeres und Ungeschliffeneres. Eine Sammlung zutiefst persönlicher Songs, die in stillen Momenten entstanden sind und in Berlin-Neukölln mit Lambert geformt wurden. Als Produzent bringt Lambert seine Handschrift - sowohl spielerisch als auch tiefgründig - in 'PEEKABOO' ein. Er verwebt eindringliche Pianos und Arrangements mit Goodwins intimem Storytelling und lässt jeden Song in seinem eigenen ruhigen Raum atmen. Gemeinsam geht es auch auf 'PEEKABOO' Tour im Herbst.

Getragen von Goodwins unverwechselbarem Bariton - einer Stimme, die sowohl zärtlich als auch donnernd und voller Sehnsucht ist - entfalten sich die zehn Songs wie eine Reihe stiller Bekenntnisse. Inspiriert von den stimmungsvollen Atmosphären von Leonard Cohen und Nick Drake, behandeln die Lieder das Gewicht von Liebe, Verlust und stiller Tapferkeit. Romantische, traumhafte Geschichten für Menschen, die verstehen, dass manchmal die kleinsten Momente die größte Bedeutung haben. “These songs are fragments of myself. Sharing them feels exhilarating and terrifying, as vulnerability often does.”

To All That We Lose And All We Fight For is the debut album by Vera Logdanidi - the
culmination of nearly two decades of musical evolution. Her journey began in the world of drum & bass and jungle, gradually expanding into deep explorations of house, dub techno, and techno. Over the years, Vera has performed on leading stages across Ukraine and internationally, while also mentoring a new generation of DJs and producers, hosting radio shows, and supporting the scene through her label and community work.

This album was written during a time of deep upheaval. The outbreak of full-scale war forced Vera to leave behind a well-established life and begin again on the international stage. While the music often feels dreamy and introspective, To All That We Lose And All We Fight For is a profoundly personal record - a sonic refuge shaped by grief, uncertainty, and resilience.

The album doesn't follow formulas; it's driven by intuition, texture, and a genuine connection to sound. It's rich, emotional, and occasionally unexpected. The tracks form the core of Vera's current live set, which has resonated at major festivals such as Draaimolen or Strichka - captivating audiences with its depth and subtle, immersive energy.

The cover art, created in close collaboration with Vera's longtime visual team, is a real
photograph - not a digital effect. It captures the tension between anxiety and hope: a glance back, and a step forward into the unknown. This visual metaphor reflects the emotional landscape of the album - the fragility of what's been lost, and the courage to embrace what lies ahead.

This release also marks a new chapter for Rhythm Buro Records - one that moves towards music that is more personal, intimate, and unconstrained by expectations.

To All That We Lose And All We Fight For is released alongside another important Rhythm Buro release: RB011 - Your Curves EP by Na Nich. Ukrainian producer Oleksandr Pavlenko, formerly known as Sunchase, returns to his roots in broken beats and bass music, blending them with house and techno sensibilities. The four-track EP ranges from deep grooves to melancholic late-night moods - a compelling counterpoint to Vera's album and a testament to the label's evolving identity.
Order RB012 n

Dutch-born, Belgian-based artist Chantal Acda has been releasing her music and touring internationally since 2006. Her impressive and eclectic catalog includes numerous band projects, collaborations, and solo albums. The 2024 album Silently Held, recorded with The Atlantic Drifters, is nominated in 2025 for an Edison Award in the Netherlands. Her upcoming album, The Whale, will be released on September 19, 2025, followed by an extensive European tour. The album was produced by Chris Eckman (The Walkabouts) and recorded with her live band, which she has been performing with for over a decade. The songs were co-written with band members Eric Thielemans, Alan Gevaert, Gaëtan Vandewoude, and Niels Van Heertum.

The sound of The Whale is rougher and more rock-oriented than her previous projects, but her signature introspection and vulnerability remain at the core of the music. Singles “Heads” and “Make It Work” have received airplay in Belgium, the Netherlands, the UK, and Germany.

In the past, Chantal has recorded and performed with artists such as Bill Frisell, Nils Frahm, and members of Low, Múm, and Efterklang. Currently, she is also a member of the bands Distance, Light & Sky (with Chris Eckman of The Walkabouts and Eric Thielemans) and Isbells.

Das neue Duo Boo Boos – bestehend aus E von EELS und Kate Mattison von 79.5 – kündigt sein Debütalbum „Young Love“ für den 19. September 2025 via PIAS an. Die ersten beiden Singles „C’mon Baby“ und „That’s Not A Thing“ sind bereits erschienen und geben einen Vorgeschmack auf das nostalgisch-soulige Songwriting des Duos. Die Zusammenarbeit begann über 3000 Meilen hinweg zwischen Los Angeles und Brooklyn – und wurde zu einer einzigartigen musikalischen Verbindung. Mit BOO BOOS formieren sich zwei starke Persönlichkeiten zu einem neuen Supergroup-Projekt mit Herz, Humor und viel Groove.

Halima's debut album SWEET TOOTH is a bold declaration of power from an undeniable talent. Seductive, restless, and deeply assured, the record unspools like a night in motion. In the afterglow of her 2024 EP on drink sum wtr, praised by Clash Magazine, The Fader, BBC Radio, and others, the Brooklyn-based, UK/Nigerian musician solidifies her sound and expands it tenfold. If EXU was a spark, SWEET TOOTH is the full burn. Not so much genre-less as "genre-full"; the album spans a bright, lush world where club bangers meet deep ballads in a striking, fully-formed hybrid of honeyed Afro-pop and scorched R&B. Across its eleven tracks, Halima maps the push-pull of desire, transformation, and emotional reckoning. "Sweetness on my terms," she offers a mantra for reclaiming softness without surrendering strength. "The album is about the journey to reclaim one's self amidst the chaos of life and ultimately acts as a love letter to the pleasures and pain of these human pursuits." While SWEET TOOTH declares Halima's artistic arrival, she calls it an epilogue, a reflection on past behaviors and lessons learned. "Am I the person that I wanted to grow into becoming? I think so. I've given myself permission to be free of those things. To be bold. To take up space."

Following the "rich jangle and big, well-developed songs" (Bandcamp) of 2023's Bananasugarfire, Edling sought to deconstruct his creative process by centering collaboration instead of a more solitary pursuit in songwriting, even as personal matters made isolation a more natural instinct. He describes taking time to make notes of the ways, timing and forms in which songs came to him in the process of demoing the record, and regularly questioning if his approach was like that of "watching a pot of water boil" or waiting for a bolt of light to appear in the sky. In many ways, Shooting Star is an appeal to the muse, a record of "songs about writing songs" born from Edling's desire to trust his instincts despite the posturings of inner demons and creative roadblocks, and to celebrate the little wins along the way. The result is a sprawling new work packed to the brim with playful eccentricities and dynamism, one that owes as much of its inspiration to mid-century folkies like Michael Hurley and Karen Dalton as it does to alt rock of the nineties like Yo La Tengo and Stereolab. Shooting Star is a constellation of influences, experiences, reckonings-with the state of the world, with others, with creativity, with oneself-with no two songs created in the same way. Instead of holing up in a recording studio, the creation of the record was formed by a patchwork of collaborations in a variety of recording locales, all which were later alchemized by mix engineer Matthew Schimelfenig. - RIYL Sparklehorse, John Cale, Yo La Tengo, Superviolet, Spirit of the Beehive, Horse Jumper of Love, Of Montreal

In 2022, Meral Polat released her debut album "Ez Ki Me" as a singer under the name Meral Polat Trio. "Ez Ki Me" roughly translates to "Who am I?". The album was a search by the singer for her Alevi Kurdish roots. In her lyrics, Meral incorporated many poems from her late father, Adi Ihsan Polat. The album received positive reviews and was nominated for a Music Award by Songlines.

On her new album MEYDAN, Meral primarily showcases her own voice, that of a woman exercising her right to live on her own terms, free from the oppressive interference of patriarchy. The album celebrates female strength, inspired by the philosophy of "JIN, JIYAN, AZADI" (WOMAN, LIFE, FREEDOM), a phrase originating from Kurdish-led women's movements. JIN, JIYAN, AZADI symbolise resistance to oppression and the fight for women's rights.

Musically, MEYDAN takes it a step further than the debut album. Meral welcomes drummer Jens Bouttery to the band, along with many inspiring guest musicians. The track "Cenek" features a determined choir of 26 women of various ages and cultural backgrounds. In "Çiya Icaro", Meral shares a duet with Bolivian artist Ibbelise Guarda Ferraguti.

On MEYDAN, Meral and her band continue their exploration of Anatolian and Mesopotamian music, particularly the Turkish psychedelic rock revolution of the 1970s and the ancient Kurdish Dengbej traditions. The band travelled to Istanbul to record with Murat Ertel from Baba Zula and trumpet player Can Omer Uygan. In addition to Anatolian music styles, influences from Mali Blues and Nigerian Afrobeat are embraced. Another notable guest is Senegalese musician Mola Sylla, who lent his voice and improvisational talent to the track "Govend".

While the drums, keyboards or guitar, and Polat's voice still form the core of the album, each track also contains its own collage of synthesisers, vocal harmonies, percussion, organ, piano, distorted guitars, and guest musicians. All tracks were mixed by the exceptional Belgian mixing engineer Pieterjan Coppejans, who added depth to their sound. All of this results in a particularly rich and uplifting album with a message.

MAN WITH A MISSION feierten im März 2025 mit der EP "XV e.p." ihre 15jähriges Band-Jubiläum. Die EP erschien digital (und in Japan auch physisch). Mit "XV e.p. Across the Globe" bringt die Band sie nun auch nach Europa, im Vorfeld ihrer Anfang Oktober startenden Headliner-Tour. Die EP enthält 14 Tracks auf CD und 8 Tracks auf Vinyl, darunter die neuesten Songs der Band: das schwere "Vertigo", das erhebende "Circles", die berührende Rockballade "Whispers of the Fake" und die Leadsingle "REACHING FOR THE SKY". Einen Vorgeschmack auf ihre mitreißenden Live-Auftritte geben die zusätzlichen Live-Tracks auf dem Album, die auf ihrer letzten "Kizuna no Kiseki"-Welttournee aufgenommen wurden. Die Live-Songs wurden 2024 im Pabellón Oeste del Palacio de los Deportes in Mexiko-Stadt mit Songs aus ihrem umfangreichen Katalog aus 15 Jahren Bandgeschichte aufge-nommen. Zusätzlich wird die CD zwei exklusive Live-Bonustracks enthalten, die bisher noch nicht veröffentlicht wurden: "REACHING FOR THE SKY" und "VERTIGO", die auf der "PLAY WHAT U WANT TOUR 2025" der Band in Japan in diesem Jahr aufgenommen wurden.