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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

Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.

Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.

The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.

Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select handful of key featured guests. The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the trio’s natural chemistry first began to bloom. The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from any of these accomplished artists on their own; however, the sum is truly greater than the parts here, with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling remarkably focused as a cohesive whole. Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo– drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic sound bed. The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset horizon. California Space Craft embodies the power of open, collective intention and musical kinship, offering memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an otherwise quite chaotic time for humanity.

One of the beating hearts of the film Hola Frida is its soundtrack, composed by Laetitia Pansanel-Garric in collaboration with Olivia Ruiz. More than just accompaniment, the music is a true extension of its universe: it paints emotions with vibrant sounds and pays tribute to Frida's roots while exploring modern and universal soundscapes.


From Olivia Ruiz's rendition of the original song ‘Hola Frida’ to the
rich orchestral sounds of the Budapest Symphony Orchestra, each note invites you to immerse yourself in an artistic tribute that will appeal to young
and old alike.

Inperimental is a bold return from Lithuanian electronic pioneers Plasma, presenting a meticulously crafted double LP that explores the intersections of techno, ambient, and forward-thinking electronic sound. Every element — sound, structure, and visual identity — is
intentional. This is not a collection of experiments, but a fully realized sonic architecture shaped by decades of experience and analog mastery. This vinyl edition is more than just an audio release — it's a multi-sensory experience.

The gatefold cover and packaging feature hidden artwork that can only be revealed using included red-lens glasses. This visual element isn’t just a gimmick — it reflects the same intentionality that defines the music. With no room for improvisation or trend-chasing, Inperimental is a precisely executed statement in both sound and form. The album blends ambient tones, analogue warmth, and dancefloor rhythms. It demonstrates a refined sound palette: humid techno grooves, cosmic textures, and cinematic depth.

Inperimental is described by the artist as a voyage where technology meets pure emotion — “a realm where warmth intertwines with technology, dreams blur into reality, and pure, authentic sound reigns supreme”. A digital download card is also included with each vinyl copy.

2026 Repress

johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

another japanese jazz classic, aya's samba was a debut effort by bassist eiji nakayama, who played as part of elvin jones' jazz machine and toured with don friedman.

this album is an important release in the johnny's disk catalogue, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be.

'aya's samba' is a mellow jazz samba in minor key that's considered a japanese jazz classic. slow ballad 'yellow living' is drenched in melancholy with emotive keys and sax notes, while the dreamy 'sea sea town' impresses with a captivating, expressive sax solo. the 4 tracker ends with 'far-away road,' an uptempo tune with rhythmic keys.

Six years after their last full-length release, Satoshi & Makoto return with Mirage Café, the highly anticipated new album on 8mm Records, in collaboration with Standart Magazine.

A carefully crafted and long-awaited work, Mirage Café is more than an album — it is a fully immersive sensory experience. The Japanese duo expand their signature sound into deeper and more cinematic territory, blending refined electronica, ambient textures, subtle jazz inflections and understated groove with remarkable elegance and control.

The title evokes an imaginary café — a space of contemplation, connection and inspiration. The partnership with Standart Magazine reinforces this conceptual layer, bridging music and coffee culture into a cohesive narrative that feels both intimate and international. The result is an album that unfolds like a slow ritual: warm, enveloping and meticulously detailed.

Throughout the record, Satoshi & Makoto demonstrate a mature and confident songwriting approach. The production is rich yet restrained, atmospheric yet rhythmically engaging — balancing introspection with forward motion. Lush harmonies, delicate arrangements and immersive sound design create a listening experience that rewards both focused attention and late-night drifting.

With Mirage Café , the duo not only meet expectations after a six-year silence — they surpass them. This is a masterwork of nuance and vision, poised to become a defining chapter in their discography and a standout release in the contemporary electronic landscape.

On his new album Chott, German-Tunisian producer and composer Taroug confronts his origins. Named after the Chott El Djerid, a vast salt lake in southern Tunisia, the ten-track album revolves around personal history and the search for identity. Chott is a conceptual work shaped by contrasting atmospheres, from minimalistic melancholy to raw, bass-heavy intensity. It blends traditional instruments with contemporary electronic text- ures, drawing lines between past and present.

Personal materials—such as vocal samples from family members—add layers of intimacy and cultural depth, most notably on the title track, featuring an original Arabic poem spoken by Taroug’s father, and on 1995,
a song reflecting on early childhood memories in Tunisia. Beyond these intimate dimensions, he works with sonic imagery that captures the sensory experience of heat and landscape in pieces like Saraab and Sirocco. In Nakhla, recordings of palm trees transformed into repetitive movements evoke scenes of southern Tunisia’s palm plantations, where organic and mechanical sounds converge.

For the artwork, Taroug once again collaborated with architect and designer Marie Brosius, assembling an experimental collage from old personal photographs of Tunisia that visually echoes the album’s themes of heritage and remembrance.

2026 Repress

As the dust begins to settle on one of his most significant and pivotal bodies of work to date - the critically acclaimed techno-focused 'Grow' released by Craig Richards on The Nothing Special - Calibre returns to his own label Signature for another fathomless LP exploration. Laced and spaced with the precision balance of sounds, speeds and styles he's known for, and predominantly characterised by his own lyrics and vocal textures, 'Deep' once again reminds us of Calibre's singular status as an artist whose creations transcend time, tempo and territory. Ranging from one of his most in-demand dubs 'No One Gets You' to poignant yearning introspection of tracks such as 'Better Than Me' and the rolling, jazzy broken beat summer serenade 'Lit', 'Deep' is yet another accomplished, alluring and truly unique pieces of work from one of electronic music's most consistent and prolific artists.

Indroducing our new vinyl collaboration, a fusion of talents by Eafhm and our Co-Founder Nils Edte. Exploring the theme of "Glossolalia" or speaking in unknown tongues, they treat music as its own language. Featuring stunning remixes by MTRL & Laima Adelaide, the vinyl is not just an auditory experience but a visual one too. The cover artwork, a joint effort by Nils Edte and painter Mariano Fernandez, adorns the limited edition of 200 records. Each cover is a unique piece of the painting, making this release a truly exclusive collector's item. Immerse yourself in this blend of art and music, where sound and visuals unite in a captivating collaboration.

* 2026 REPRESS *
Ashanti Selah – Musician & Dub Producer hailing from the UK, is the eldest son of the world-renowned soundman, Aba Shanti-I. Ashanti's musical journey began at a tender young age, during his formative years of soundsystem exposure through his father's musical infrastructure he learned the art of the Dub. His education continued as he attended his father’s long-standing annual sessions at the Notting Hill Carnival and traveled the globe as a crew member and diligent student. Via his Steppas Records imprint, Alpha Steppa, son and nephew of pioneering dub-duo Alpha & Omega presents a unique collaboration between two second generation Dub / Reggae producers. 'Ashanti Selah Meets Alpha Steppa' is a testament to their teachers and the product of a life spent in dub. Steppas Records delivers four unique cuts of the long-time Aba Shanti-I exclusive 'Violin Step', featuring the uplifting and transcendental strings of Ras Divarius. New generation soundsystem music with a deep roots foundation.

Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.

SECOND REISSUE ON THIS HEAT’s OWN NEW IMPRINT FOLLOWING ‘THIS HEAT’ (TH01LP) WHICH WAS UNCUT ‘REISSUE OF THE MONTH’ RECENTLY WITH 9/10 REVIEW + 4-PAGE FEATURE WITH Q+A.

*24 bit/96 kHz re-master from original analog tapes.
*Heavyweight 180gm vinyl and heavyweight sleeve with pantone printing to match original 1979 release.
Simon Reynolds on Health and Efficiency:

“For some fans, Health and Efficiency is This Heat’s peak achievement – their most concentrated blast of visceral intensity and wayward experimentalism….Lead track “Health & Efficiency” combines fierce angular rock that fully lives up to Cunningham’s belief that This Heat could become a postpunk King Crimson, with a multi-part babble of vocals, clattering percussive timbres, and found sounds.’’

Flipside “Graphic/Varispeed” is more subdued and hypnotic: a wavering tonescape whose duration depends on whether you play it at 45 rpm or 33 rpm. This reissue reproduces the original release’s striking cover image of a human figure painted in blue by Pete Cobb, along with the cryptic flipside of text in many different languages.

Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica. Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands.

Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history. 


‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds

‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10

‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)

‘This Heat had a certain kind of force the post-punk bands were unable to adequately control without falling foul of rawk excess, and which the punk bands—albeit blitzing and rowdy—were too basic in form to build.’ – John Calvert , The Quietus


Das einzige Trennungsalbum, das Sie jemals besitzen müssen. Mit seinen schwebenden Harmonien, taschenraubartigen Rhythmen und den in der Ferne um 2 Uhr morgens heulenden ,Krankenwagen"-Gitarrensoli verbreitete sich Idas zweites Album aus dem Jahr 1996 von Brooklyn aus über herausnehmbare Auto-CD-Player und Mixtapes von Fernliebenden. Ursprünglich auf dem traditionsreichen Label ,Simple Machines" veröffentlicht, enthält diese zum 30-jährigen Jubiläum erschienene Deluxe-Edition von ,I Know About You" bei Numero ein halbes Dutzend Extras, eine Fülle an fotografischem Material sowie neue Einblicke von Jenny Toomey und Sara Marcus. Taschentücher sind nicht im Lieferumfang enthalten.

Das einzige Trennungsalbum, das Sie jemals besitzen müssen. Mit seinen schwebenden Harmonien, taschenraubartigen Rhythmen und den in der Ferne um 2 Uhr morgens heulenden ,Krankenwagen"-Gitarrensoli verbreitete sich Idas zweites Album aus dem Jahr 1996 von Brooklyn aus über herausnehmbare Auto-CD-Player und Mixtapes von Fernliebenden. Ursprünglich auf dem traditionsreichen Label ,Simple Machines" veröffentlicht, enthält diese zum 30-jährigen Jubiläum erschienene Deluxe-Edition von ,I Know About You" bei Numero ein halbes Dutzend Extras, eine Fülle an fotografischem Material sowie neue Einblicke von Jenny Toomey und Sara Marcus. Taschentücher sind nicht im Lieferumfang enthalten.

Greta Van Fleet’s new album, Palace for the People, is available as an exclusive, limited edition first pressing Oracle Variant vinyl, with a smokey quartz marble finish. Includes booklet, double-sided insert, sleeves, gatefold.

Palace for the People is out October 9th, 2026.

Please note: due to the custom dyeing process, each vinyl is unique and will vary slightly in coloration.

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Electronic music legends Soft Cell release ‘Out Come The Freaks’, the very first single from singer Marc Almond and multi-instrumentalist and producer Dave Ball’s final album ‘Danceteria’. Download and stream the track, featuring vocals from the late Dave Ball and special guest vocals from Nona Hendryx.

‘Out Come The Freaks’ is a cover of Was (Not Was)’s mutant disco classic and sends Soft Cell into prime disco territory, conjuring the hedonist spirit of early 80s Manhattan and a Danceteria floor filler spun by DJ Mark Kamins. There couldn’t be a more fitting alternative disco banger to pull back the curtain with and beckon you into the world of ‘Danceteria’. The final album is a homage to the legendary nightclub where young Marc and Dave would party until the small hours after the recording sessions for their seminal 1981 debut ‘Non-Stop Erotic Cabaret’. The final flourish of glitter to Soft Cell’s ‘Out Come The Freaks’ comes courtesy of guest vocals from Nona Hendryx, the iconic singer, one third of Labelle of ‘Lady Marmalade’ fame, and producer of Lisa Lisa and Bush Tetras.

This is the very first material to be released from ‘Danceteria’, Soft Cell’s forthcoming sixth and final album. It is also the first time new music has been released since the sad, untimely passing of Dave Ball in October 2025. Almond led the tributes, describing Ball as a “brilliant musical genius” and the world’s media hailing Dave as an electronic music pioneer. Dave finished ‘Danceteria’ very close to his passing and it is in full tribute to him that the album release goes ahead as planned. More details are to follow very soon about the release date.

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

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.

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut.

The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself.

Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002.

The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear.

The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music.

PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace.

Institut für Feinmotorik (*1997), artist-group originating from Black Forest working in various fields. In musical context known for transforming turntables into instruments by removing the records and instead applying rubber bands, paper scraps, household materials – resulting in a vivid laboratory for the productive misuse of everyday objects. This approach is documented in record releases and performed live.

On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.

Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.

It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."

This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.

On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.

It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.

Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.

Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.

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.

Ten years ago, Horse Jumper of Love released their self-titled debut, one that not only launched their career but also inspired a generation of shoegaze artists to come.


Recorded in a mill space studio by future longtime collaborator Bradford Krieger and first released in 2016 (before a re-issue by Run For Cover in 2017), Horse Jumper of Love introduced listeners to the band’s unique strain of expertly crafted minimalism and haunting lyricism. Tracks like “Orange Peeler” and “Ugly Brunette” capture a gritty melancholy and existentialism that is both youthful and timeless, angst-ridden and sincere. Now, a decade later, Horse Jumper of Love remains a beloved cult classic and a touchstone of the band’s continually developing brand of glacial, grungy indie rock.
This 10 Year Anniversary Deluxe Edition LP features new tri-fold packaging with collaged ephemera from singer and songwriter Dimitri Giannopoulos’ years in Boston while writing the record, a 20-page sewn-in booklet featuring never before seen photos and drawings, and handwritten tablature for the record’s original 9 songs. Disc one includes the original album fully re-mastered, and the brand new second disc features 13 bonus tracks recorded between the years of 2013-2015, mostly by Dimitri at home on a Tascam Portastudio, including single “Heathers (2013)” which was an early version of what would later become “i love you very much forever” and other never before heard demos, b-sides, and alternate versions of the original songs.
The record will also be released for the first time on CD, packaged in a 2-disc swing tray jewel case with a fold out poster.

Next up on Voyager, we have someone who needs no introduction to techno. Jeroen Search lands on Voyager under his sci-fi "Echelon" alias with a stunningly deep 8 track album, available as always on Vinyl and Digital. Jeroen has been at the pinnacle of Techno music for a number of decades and has released on countless major techno labels, As Echelon, he has released on Jeff Mills' Axis Records and also on Srie Records Argentina. On Voyager, the remit was to go experimental with nothing off limits, and it shows within this stunning album.

Fasme and Quadratschulz join forces for a very special record: Ghost in the Machine. Finding cacophony and harmony through their blinking music boxes, these two knob-twiddlers melt genres. Through live jam sessions, a week of braindance shenanigans, the pair emerged from a Hamburg studio with five spur-of-the-moment cuts. Bubbles of acid pop, dreamy notes float, keys dash and race as robotic voices slice through this helter-skelter interplay of melody and percussion. A celebration of impromptu experimentation where analogue alchemy reacts with impulsive energy.

Following the success of Naturalisten’s release “Forms”, E2-E8 is back with the latest offering from Milan-based artist Joseph Tagliabue. “Espansione” presents a meticulously crafted sonic exploration that transcends conventional genre boundaries. It is a double LP consisting of four distinct parts: an ambient concept presented in Part 1 & 2, and four techno tracks in Part 3 & 4. This structure makes for a multifaceted listening experience, seamlessly blending organic textures with synthetic manipulations.

Part 1 & 2 delve into immersive, post-natural ambient soundscapes. Tagliabue constructs a vaporous, dreamlike environment through the interplay of modular synthesis, analog effects, and meticulously designed soundscapes. The journey into the forest is not a merely thematic narrative, but rather a visceral sonic realisation. These expansive compositions, devoid of clear demarcations, invite the listener to a lysergic, meditative retreat, where ritualistic and mystical elements converge. The blurring of lines between machine and nature is a central motif, achieved through ethereal layers seamlessly integrated with ambient textures.

The album as a whole is a sophisticated sound collage, highlighting Tagliabue’s mastery of sonic manipulation. The dense sonic flow, characterised by echoes of distant temples and molten synthetic modulations, creates a compelling auditory and potentially visual experience. The interplay between organic and synthetic, combined with the album’s thematic depth, makes Espansione a noteworthy evolution in Joseph’s artistic expression. A work designed to be both deeply listened to, and physically experienced.

Early support comes from Vladimir Ivkovic, Marco Shuttle, Konduku, among others.

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Ever-evolving Amsterdam duo ANOTR continue their forward momentum with the release of their highly anticipated third studio album, ‘Withness’, out via their own imprint No Art. Rooted firmly in dance music, ‘Withness’ sees the pair refine their sound into their most dance-floor focused and cohesive project to date.

Born during their global tour, ‘Withness’ was shaped in real time: written, tested and refined on dancefloors across the world. Following the expansive, genre-blurring approach of their 2025 LP ‘On A Trip’, the duo felt a pull back toward the club - not as a limitation, but as a unifying space. “We really wanted to have a wide variety of songs that we can play out and create moments,” they explain. “Every track needed to make sense wherever people come together to dance.”

That intention sits at the heart of ‘Withness’. A title that reimagines the idea of “witnessing” into something more active and collective. ‘Withness’ is an album about experiencing life with others. It’s about the moments you share, the people who shape them, and the energy that becomes real only when you’re fully present. The album captures the collective high of friendship. Whether in a packed club, at a festival, or in a living room with friends, the album is designed to soundtrack moments of connection.

“The memories you make with people, they’re the witness of those moments. Withness is about being in it together.” - ANOTR

Sonically, the album marks a clear evolution. Drawing from their early club roots while building on the songwriting confidence developed on their previous records, classic drum machines and 909 samples sit alongside warm, 80s-tinged textures, layered vocals and modern production techniques, creating a sound that feels both nostalgic and forward-thinking.

A key part of the process was spontaneity. The duo embraced a free-flowing, collaborative studio environment, often working with a rotating cast of contributors. Their now-signature “open mic” approach encouraged anyone in the room to experiment with melodies, lyrics and vocal ideas. This energy translates directly into the album’s standout moments. From the euphoric pull of ‘Withness’ to the groove-led ‘Do It With Ya’, the uplifting ‘Paradise’, each track is built to live beyond a single setting.

The LP comes at a timely moment, as their single ‘Talk To You ft. 54 Ultra’ has become the biggest global breakout dance single this year. Sitting firmly in Spotify’s Global Top 200, it has surpassed 175 million streams, and is currently No. 21 in the UK Singles Chart. Spotify have tipped it in their much-coveted global ‘Sound Of The Summer 2026’ list and other highlights include peaking at No. 7 in Shazam’s Global Chart, No.1 on Beatport Top 100 and gaining over 600M UGC views so far.

Axis Expressionist Series

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works. Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listeners, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life".Soundtracks for people in their evolutionary process.

This release 'Drifter' is about 'Hype'.



Hype

An animal that prowls on the vulnerable - it excites those who might be looking the other way or with their eyes and minds wide shut.

What is life without hype?

As a transitional tool, hype can be most effective especially when impulse reactions are at play. Something of a psychological currency, there is a lot to gain by giving people what they want - the rush that comes with taking part in a process of making something bigger, more successful and more preferred. Even if there is nothing there.

What's wrong with getting exciting about something?

There are only a few rare masterclass cases that have lasted a lifetime.

As Andy Warhol proclaimed that "everyone will be World famous for 15 minutes" rings darkly true in an era when each one of us can be the talent scout, artist, critic, audience.......and then a revisionist, hoping to bring hype back again by reminding people how great the first round felt.

We are all free to use our attention and time anyway we please. This is the freedom we have, right?

In most cases, we wake up and at some point, the question of justification becomes a debate between those who found unconditional solace and those who re-discovered the subject of substance and "kicked the tires".

Should I care if others like or dislike something?

For some, the hype of something never ends. It hardens and becomes part of a foundation like a cement podium. Something to be stood on to speak over all dissenting voices.

Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack and was originally released in 1972.

Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members. For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes.

The album opens with a ferocious cover of B.B. King's "Crying Won't Help You." In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge, followes by the folkie "If I Were a Carpenter". "Daughter of the Hillside" & is Webb's most impressive contribution to the album. This straight-ahead rocker is an ideal trio effort recalling the intense instrumentality of Cream or early Led Zeppelin. The closing number "The Loser" is upbeat and almost pop-oriented, again displaying the immense strength of this Chicken Shack line up.

Imagination Lady is available as limited numbered edition of 1000 copies on red vinyl and comes in a gatefold sleeve.

Year Of The Spider is the third studio album by American rock band Cold, released on May 13, 2003. It became the band’s most commercially successful record, debuting at number three on the Billboard album charts and selling over 101,000 copies in its first week. The album also marks the final appearance of guitarists Terry Balsamo and Kelly Hayes. One year prior to the album’s release, the mellow ballad “Gone Away” appeared on the WWF Tough Enough 2 soundtrack.

Produced by Howard Benson, Year Of The Spider presents a noticeably more commercial sound than its darker predecessor, 13 Ways To Bleed On Stage. The album incorporates a wide range of guitar styles, as well as violin, viola, cello, digital effects, and several powerful ballads. While Cold continues to explore themes such as drug abuse and troubled relationships, the album also expands into new territory. “Cure My Tragedy” reflects Scooter Ward’s emotional struggle during his sister’s battle with cancer, while “The Day Seattle Died” addresses the deaths of grunge icons Kurt Cobain and Layne Staley. According to Ward, “Kill the Music Industry” is not aimed at any specific label or individual, but comments on the broader state of the music business.

Year Of The Spider is available as double vinyl album, features the hidden bonus track “Gone Away” and contains an insert with lyrics.

OTHELLO is the debut album by pianist and composer Orson Claeys. Bringing together influences from jazz, hip-hop, urban culture, and everyday life, the record offers the clearest portrait yet of an artist shaped as much by the worlds around him as by music itself.

The title refers to Claeys' full name, Orson Dwight Othello Claeys, and reflects the album's central concern:identity. Throughout the record, personal experiences, cultural influences, and artistic inspirations converge into a body of work that seeks to understand how an artist is formed, both within and beyond music. Musically, OTHELLO builds on jazz, strongly intertwined with hip-hop, contemporary culture, and ideas beyond traditional musical frameworks. For Claeys, music is not a fixed genre, but an open and evolving form of expression.

This broad perspective is evident in the album's carefully chosen collaborations. A track like "WHAT A NIGHT" first took shape during a studio session with indie-soul singer Sevens, whose harmonic ideas laid the foundation for the track. As the composition evolved, Claeys felt it called for a stronger hip-hop voice. Through a recommendation from Mixmonster Menno of STUFF., he was introduced to L.A. rapper IAMOMNI, whose contribution brought exactly the energy and perspective the track needed. The result unfolds like a late-night journey through Los Angeles, with IAMOMNI's contribution adding a sense of movement, character, and place.

Elsewhere on the album, "SPIRAL", featuring Belgo-Brazilian vocalist Helena Casella, grew out of a long-standing mutual admiration. Conceived as a meeting point between R&B and jazz, the composition balances the groove and emotional depth of the former with the improvisational spirit and spontaneity of the latter. The collaboration developed naturally from the outset, with Casella instinctively understanding the atmosphere Claeys envisioned while enriching the music with her own warmth and nuance.

A long-held ambition materializes on "SHADOWBOXING", where Claeys is joined by drummer, producer, and one of the key figures in contemporary Belgian jazz, Lander Gyselinck. Gyselinck's work, particularly his collaboration with Zwangere Guy on Pourriture Noble, was instrumental in showing Claeys how the language of hip-hop could coexist naturally with jazz, an idea that runs through OTHELLO. Drawing inspiration from boxing, the track is a musical equivalent of a fighter's walk towards the ring: focused, intense, and driven by the sense of anticipation that precedes stepping into the fight.

After this heightened intensity, the album gradually moves toward its closing statement. OUTRO / HANIN", featuring oud player Akram Ben Romdhane, a longtime collaborator whose playing forms a natural bridge between Claeys' previous work and the broader musical landscape explored across the album. The title references the Tunisian Arabic word hanin, meaning "nostalgia", a fitting conclusion to a work deeply concerned with memory, identity, and personal history.

Beyond music itself, OTHELLO is informed by a wider cultural landscape. Urban culture, with its visual language, creative independence, and sense of community, forms an important backdrop to the record. Sport also plays a significant role, particularly boxing and basketball, whose emphasis on discipline, focus, and resilience mirrors Claeys' own creative process. Rather than being treated as separate influences, these worlds coexist without hierarchy, reflecting an artistic vision that resists rigid boundaries and allows different disciplines, communities, and experiences to inform one another.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

“I thought I knew you, but you are alien to me.”

Twelve years have passed since TWINS NATALIA’s debut album, “Destiny Room”, but Dave, Marc and Steve have never really stopped working on new ideas and projects, including the release of a mini-album from Marc’s solo project SHIBUYA STATION. This featured their first collaboration with Greek artist KRIISTAL ANN (also known from PARADOX OBSCUR), who provided the vocals for the track “Madness”. This led to Anna being invited by TWINS NATALIA to perform lead vocals on their cover version of KNOW’s “Knights of Pleasure”. The results were so pleasing that, from then on, Anna was persistently ’pestered’ to work on a TWINS NATALIA EP, which slowly morphed into a complete album entitled “I Died On Mars”. The album is a journey through electronic soundscapes and pure, dark ’80s minimal synth-pop, full of melancholia, haunting melodies, elaborate synth sound design and sequencing, ranging from neat to gnarly, and, of course, KRIISTAL ANN’s charismatic voice icing the cake.

“I Died On Mars” presents us with further surprises: TWINS NATALIA version of “The Dagger In Me” by ’80s Greek post-punk legends THE HANDS OF CAIN, as well as “A Different Hum” by PARADOX OBSCUR, a song that surely needs no further introduction. Anna has not shied away from specially re-recording the vocals for this version, while both versions have been given some distinctly Twins Natalia-specific additions and treatments. Furthermore, Anna has contributed her own composition “Find Me I A Fantasy”, so you’re in for a treat or two, for sure.

Mastering by Nikolas Haldoupis at SoundCave Studios Athens.

Graphic design by Steve Lippert with some original photography by Kriistal Ann.

Cologne based DJ and producer Barnt has been bottling his own weather system since 2010: captivating techno where melodies flirt, rhythms evaporate, and structure is something to tease rather than obey. An attitude, that pierces the average definition of techno. With an album and endless EP’s, he turned club orthodoxy inside out. Barnt has sent his tracks out via labels like Cómeme, Mule Musiq, Hinge Finger, Hivern Discs, Kompakt, or Magazine from Cologne, the enterprise he co-runs with a bunch of friends.

After his 2014 debut album on Magazine, that came out as catalogue number 13, Barnt is back with number 25, a new album, titled “After completing the Hex”. Eleven tracks, each grinding lowkey skewed. This is techno for dramatic entrances. Dance music for confusion. Freely played chords oscillate with intention. Alluring melodies glide across stoic beats. Peaktime vibes stripped to the bone. An album that provides Barnt’s most complete release until today, displaying his unique sound world effortless assembled. Mastered by longtime accomplice, producer Matt Karmil, it features playful, seemingly unintentional, meandering club spirits. There are melodies made from 100 notes and hooklines fashioned from just one. In-between calmer electric enchanters, minimal, free-spirted, tempting. His slinky madness occasionally presents sublimely embedded environmental sounds or oral samples, taken from sources like Torn Hawk’s “Trustfall” TTT cassette album. There is a touch of sadness, that veils the recordings at times, always defied by lightness and optimism. A record made with true inspiration, that overrides all fears. Drawn frankly from emotions, bringing the ultimate flow state, that unlocks a new techno gate.