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Coin-Op Records serving up another killer 4 track EP, this time from The Sentinel.

Title track "Theme from Sentinel" is a slab of jacking, relentless, robotic funk that will get heads nodding like nothing else. "Binary Communication" recalls 00's tech; punchy drums and drifty intro pads set the scene before dropping into a heavy stabs-n-bass groove.

On the flip, "Fight or Flight" builds from driving percussion into a gorgeous peak-time synthy slammer. Closing track "Climbing Cosmos" is in the classic B2 style; laid-back, groovy deepness, with glassy chords and 808 drums lifting you up to round off the EP.

Panavision was born from the shared passion for music of Akaj, Pierro, and Brassac. After years of playing as DJs, they came together in 2023 to create a space that goes beyond dance music — a platform where producers and artists can explore creativity, freedom, and in novation.

Rooted in a diverse range of genres, we are committed to discovering and nurturing talent, both from the past and present. Our mission with this label is to bring stories to life through music that is authentic and dedicated. For our first releas e, we are thrilled to present a mini - album from S evered Heads titledOp5.

This record marks the official launch of our label, which operates between Brussels and Ljubljana — two cities that embody our ambition to explore diverse creative landscapes and push the boundaries of contemporary music. This first release is a t ribute to one of the pioneering forces in electronic music. The OP Series is one of many innovative projects S evered Heads h as produced since the late1970s.

For this special release, we’ve carefu lly selected six original tracks out of fifty from the Op Series releases of the early 2000s and curated them into a thoughtful sequence to form this mini - album

Citirax's next outing takes the form of a debut album from Los Angeles-based duo OP-ART. This pair, like so much great music of recent times, is born out of the creative isolation of lockdown and features Andrew Clinco, who you may know for his work with Drab Majesty. The alias they have adopted is an acronym of "Oblique Pleasures Amidst Rough Times" which they say reflected the challenges of their formation. Musically the duo is inspired by the 1960s visual art movement so embraces layered, psychedelic soundscapes with a minimalist approach and takes cues from New Wave artists like John Foxx and early OMD. OP-ART in particular focuses on analogue synthesis and gear like the Arp Odyssey and Moog Rogue while exploring time, romance, and existential themes with real emotional depth.

The patterns are direct recordings of the SPS1UW, drum machine solo, without any editing or external effects. The 100 patterns recordings, from number 1 to 99 are gathering in pairs, exception made for the number 1, alone on the first record.
The Opus are following the chronological order of the recordings.

In den frühen 1970er Jahren galten Pinchas Zukerman und Daniel Barenboim als zwei der spannendsten
jungen Musiker ihrer Generation. Ihre gemeinsame Aufnahme von Sibelius’ Violinkonzert op. 47 und
Beethovens Romanzen für Violine und Orchester Nr. 1 und 2 mit dem London Philharmonic Orchestra
fängt die außergewöhnliche künstlerische Energie dieser Zeit auf eindrucksvolle Weise ein.
Die beiden Werke wurden für diese Veröffentlichung erstmals neu gemastert und von den originalen ½-
Zoll-Vierspurbändern geschnitten.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons

Leonard Bernsteins Aufnahme von Beethovens Streichquartett op. 131 mit den Wiener Philharmonikern
zeichnet sich durch ihren starken Kontrast aus. Im zentralen Variationssatz wählt Bernstein ein deutlich
langsameres Tempo und schafft so eine intensive und konzentrierte Ausdrucksatmosphäre, während die
schnelleren Sätze an Schärfe und Schwung gewinnen. Die Streicher der Wiener Philharmoniker bringen
ihren berühmten Klang und Charakter in die Aufführung ein und machen diese Interpretation zu einer
unverwechselbaren und äußerst fesselnden Darbietung.
Diese Aufnahme wurde erstmals neu gemastert und von den originalen 1-Zoll-8-Spur-Bändern geschnitten.
Bernstein widmete diese Aufnahme dem Andenken seiner Frau Felicia Montealegre Bernstein.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Chopins Cellosonate op. 65 stammt aus den Jahren 1845/46 und vereint alle Reize seines Klavierwerks.
Mit einem erstaunlichen Verständnis für den Charakter des Cellos vergisst man, dass seine schöpferischen
Ideen anfangs pianistischen Ursprungs waren.
Schumann schrieb nur wenige Werke für Cello und Klavier, aber diese wenigen sind von herausragender
Bedeutung: das Adagio und Allegro op. 70 von 1849 ist charakteristisch für Schumanns Mischung aus
Melancholie und Natürlichkeit. Ein tiefgehendes Verständnis für einander und große Harmonie kennzeichnen diese außergewöhnliche Aufnahme von Argerich und Rostropovich.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Der junge Pollini mit Chopins Etüden Op. 10 & 25 - neu remastered - jetzt auch auf LP:
„Dieser Junge spielt besser als jeder von uns!“, kommentierte der legendäre Arthur Rubinstein das Spiel des 18-jährigen Maurizio Pollini. Es war das Jahr 1960 und Rubinstein saß in der Jury des Internationalen Chopin-Wettbewerbs, bei dem Pollini den ersten Preis holte. Mit einem Schlag lag dem jungen Pianisten die Musikwelt zu Füßen. EMI bot ihm einen Exklusiv-Vertrag an und noch im selben Jahr entstanden zwei Einspielungen: Chopins Klavierkonzert in e-Moll sowie die Etüden Op. 10 und 25. Doch ohne Erklärung untersagte Pollini die zweite Veröffentlichung und zog sich spontan aus dem Medienrummel zurück. Erst in reifen Jahren änderte Pollini seine Meinung, 2011 erlaubte er die späte Herausgabe. Zu Ehren des 2024 verstorbenen Pianisten erscheint die Einspielung von 1960 nun remastered und in hoher Auflösung.

A followup to his 2022 debut Dayyani released on his own label, Trop Op " sees the drummer delve deeper into the mood of pedal steel, trumpet and Nordic folk he discovered early in his writing practice and develop it into a bigger, more comprehensive vision. Featuring eight original compositions and an arrangement of a traditional Swedish folk song, Dayyani s simple yet sophisticated writing style is focussed on lyrical thematic melodies, rich folk harmony, and showcasing each member of the sextets musical identity.With years of playing together in a number of up and-coming Danish jazz groups including Tigeroak, Nordlys trio and Vingborg/Valencia Quartet, the ensemble is well versed in giving each other space to express their voices freely. Soaring reverberated arcs from the pedal steel, subtle drum grooves and expressive, tasteful improvisations offer up an imaginative fresh perspective on contemporary Nordic jazz. The records title translates to Step Up ", referring to Dayyani s view that we all need to step up for our communities and share more of ourselves to the people around us. "We live in a time where there is an increasing focus on our mental health, and personal growth where we need to take care of ourselves. In doing so, I think we can sometimeswithdraw too much into ourselves, focus on the inner self and forget to stand up for eachother and the community surrounding what we do.

Yunchan Lim is the one of the most talked-about classical artists on the planet. In 2024 he presents his debut studio album on Decca Classics – the Chopin Études, Op.10 and Op.25. Yunchan Lim became the youngest ever winner of the Van Cliburn International Piano Competition in 2022, aged only 18; his performance of Rachmaninov’s Piano Concerto No. 3 moved his conductor to tears and gathered unprecedented millions of online viewers. In the months following, his rise to stardom has been meteoric, with invitations from the most prestigious concert halls and orchestras. Now, setting down the Op. 10 and Op. 25 Etudes, Lim is putting himself in a direct line with some of the greatest pianists of the past. Lim says “a huge universe of pianists played this repertoire, and I have always wanted to become a fundamental musician like them, so I decided to follow their route.” He has grown up listening to great pianists recording this music, including some of his favourites - Alfred Cortot, Ignaz Friedman, Joseph Lhevinne, Mark Hambourg and Sergio Fiorentino, among others.

‘Står op med solen’ (Rising with the sun) is the second album by Amalie Dahl’s Dafnie. With this album, the band continues the exploration of their collective sound. We hear influences from both old school free jazz, and contemporary Scandinavian jazz like Fire! Orchestra and Christian Wallumrød Ensemble, as well as clear connection to the Trondheim milieu, where the group was founded in 2020.

The energetic and expressive band explores their more subtle side with this record. ‘Står op med solen’ is an album longing for humans to be one with nature. The music comments on the world’s ultra-capitalistic power structures of today. The band navigates like one organism through parts of organic free jazz, strict structures and composed cells.

They start out where their first record ended, in the familiar free jazz sound with riffs and melodies, and take us safely on their onward journey. Amalie Dahl’s Dafnie brings together five well-known names from the Norwegian jazz scene, also known from other projects like Kongle Trio, Bliss Quintet, I like to sleep, Veslemøy Narvesen, Galumphing Duo, Treen and Trondheim Jazz Orchestra, among others.

The band has already been touring in Scandinavia, Poland and Germany during the past 3 years, and is well known for their playful and close chemistry. Their first record ‘Dafnie’ (Sonic Transmissions Records, 2022) received excellent reviews in The Wire, The Quietus among others. To celebrate the new album Amalie Dahl’s Dafnie will do 11 concerts in Europe between April 22nd and May 5th.

After the highly acclaimed first release Serenity Now is back presenting the debut EP by OP Boombox @op-boombox. An electronic duo formed by brothers Orion and Phoenix Jarvis out of Dharawal Country on the East Coast of Australia.

The new EP Initial Artifacts is an honest and unique collection of raw, yet grounded, dancefloor tracks performed and recorded live through their vast collection of hardware synths, drum machines and FX pedals. Expect a deep journey through breezy coastal house landscapes with slight nods towards dub and trance where bass is absolute key.

A versatile EP for every mood of the night, taking it all the way from downtempo chuggers to peak time hard hitters making this a longtime “stay in the bag” sure shot.

Die dreifache Grammy-Gewinnerin Hilary Hahn präsentiert ihre neue Aufnahme von Eugène Ysaÿes sechs Sonaten für Violine solo op. 27. Inspiriert durch J.S. Bach schrieb der legendäre belgische Geiger und
Komponist Eugène Ysaÿe im Juni 1923 das erste Werk eines Zyklus aus sechs Sonaten. 100 Jahre später hat Hilary Hahn, „eine der wichtigsten Geigerinnen unserer Zeit“ (The New York Times), diesen Zyklus aufgenommen – angetrieben vom bevorstehenden 100-jährigen Jubiläum.

„Ich staune immer wieder über mein Glück, in dieser musikalischen Traditionslinie zu stehen“ sagt Hahn.
„Vor 20 Jahren waren mir diese Stücke irgendwie fremd, sie schienen Geheimnisse zu enthalten, die ich niemals enträtseln würde. Jetzt denke ich, ich kann diese Sonaten in seinem Geiste spielen und mir dabei trotzdem absolut treu bleiben.“

Eugène Ysaÿe (1858-1931), der weithin als einer der ersten modernen Geiger gilt, schuf technische und künstlerische Maßstäbe für sein Instrument, die bis heute gelten. Koryphäen wie Franck, Debussy und
Chausson komponierten bedeutende Werke für ihn. Im letzten Jahrzehnt seines Lebens konzentrierte sich Ysaÿe mehr auf das Komponieren. Er begann mit dem Schreiben der sechs Sonaten für Violine solo, nachdem er den ungarischen Virtuosen Joseph Szigeti Bachs Partiten und Sonaten für Solovioline spielen hörte. Hilary Hahn fasst ihre Bedeutung zusammen und beschreibt sie als „legendär, sie haben Generationen von Geigern geprägt und sind eine wunderbare Hommage an das Instrument“.

"Ich muss sagen, dass ich dies für den großen vergessenen Zyklus der Klaviermusik des 19. Jahrhunderts halte. Vielleicht sind das große Worte, aber ich empfinde das so", sagt der Pianist Leif Ove Andsnes über seine neueste Veröffentlichung bei Sony Classical. Auf diesem Album präsentiert er die umfangreichste Klaviersammlung des großen romantischen Komponisten Antonín Dvorák - die zu Unrecht vernachlässigten Poetischen Tonbilder. Dem norwegischen Pianisten zufolge zeigen diese unentdeckten Perlen eine ganz andere Seite des für seine Sinfonien und Streichquartette bekannten Komponisten. Ich liebe diese Musik und niemand scheint sie zu spielen", sagt Andsnes, der sich 2017 mit der Veröffentlichung "Sibelius" auch für die selten gespielten Klavierwerke von Jean Sibelius einsetzte. Die 13 Postkarten für Klavier, aus denen sich Dvoráks poetische Tonbilder zusammensetzen, wurden im Frühjahr 1889 geschrieben und signalisieren eine Stilverschiebung von einem Komponisten, der sich von formalen Konstruktionen weg zu einer freieren, inspirierten Ästhetik bewegt. Zu diesen bezaubernden Stücken gehören Beschwörungen von Magie und Geheimnissen ("Das alte Schloss"), ländliche Tänze ("Furiant" und "Bauernballade"), nostalgische Stimmungsstücke ("Dämmerungsweg") und tragische Reminiszenzen ("Am Grab eines Helden"). Die Werke reichen von tiefgründig bis verspielt, von heiter bis wütend - "ich spüre in ihnen eine sehr starke, wunderbare Erzählung", sagt Leif Ove Andsnes, der fest daran glaubt, dass Dvorák die Stücke dieses "außergewöhnlichen" Sets als einen Zyklus konzipiert hat, der zusammen gespielt werden soll.Sur son nouvel album, Leif Ove Andsnes présente la plus importante collection pour piano du grand compositeur romantique Antonín Dvorák - les Poetic Tone Pictures, injustement négligés. Selon le pianiste norvégien, ces joyaux méconnus montrent une toute autre facette du compositeur connu pour ses symphonies et ses quatuors à cordes. « J'adore cette musique et personne ne semble la jouer », déclare Andsnes. Les 13 cartes postales pour piano qui composent l'oeuvre Poetic Tone Pictures de Dvorák ont été composées au printemps 1889, et signalent le changement de style d'un compositeur s'éloignant des constructions formelles vers une esthétique plus libre et inspirée. Parmi ces charmantes pièces, on trouve des évocations de magie et de mystère (In the Old Castle), des danses rustiques (Furiant et Peasants' Ballad), des pièces d'ambiance nostalgiques (Twillight Way) et des réminiscences tragiques (At the Hero's Grave). Les oeuvres vont de la profondeur à l'espièglerie, de la légèreté à la fureur - « Je sens en elles un récit très fort et merveilleux », dit Leif Ove Andsnes, qui croit fermement que Dvorák a conçu les pièces de cet ensemble « exceptionnel » comme un seul cycle à jouer d'un coup. L'un des pianistes les plus éminents du monde, Andsnes a eu l'idée de jouer de la musique tchèque lorsqu'un nouveau professeur est arrivé de Prague à son conservatoire de Bergen, en Norvège. Alors âgé de 12 ans, son énorme fascination pour les Tableaux de tons poétiques l'a conduit à présenter une partie du répertoire lors d'un concours pour jeunes pianistes. Des années plus tard, alors que la pandémie de Covid-19 frappait le monde, Andsnes a profité de ce temps d'arrêt pour se plonger plus profondément dans les tableaux de tons poétiques et communier avec leurs histoires. Il a trouvé des oeuvres d'un charme infaillible et de nombreux exemples de Dvorák déployant une largeur de couleur orchestrale à partir du piano - en plus de son utilisation excitante de rythmes croisés et de syncopes, à la manière des danses folkloriques tchèques.

A previously unreleased project of Henning Christiansen, monumental in scope, traversing years, countries and now, formats. The Henning Christiansen Archive is proud to finally present one of the crown jewels of the archive, the masterpiece ‘Penthesilea’ as a 2LP and 5CD set. Both limited to 300 copies. Pentheseila is one of the most ambitious works in the entire Henning Christiansen oeuvre. A large-scale work from the mid eighties based on the play of the same name by Heinrich von Kleist (1808). Both Henning and his widow, Ursula Reuter Christiansen, were enthusiastic about Kleist’s text, both making works around the themes within this portent text. Henning Christiansen first developed a work around this text for the Rosenfest festival performed in Berlin in 1984. Rosenfest was curated by René Block and featured a variety of composers presenting works in response to Kleist’s work including Robert Ashley, “Blue” Gene Tyranny etc. Henning formulated a composition utilising tape, field recordings, voice, soprano, and violoncello alongside the home made instruments of Werner Durand. The live presentation was then expanded upon and first performed two years later at Teatro Olímpico, Rome on the 8th November 1986 as directed by Carlo Quartucci. The two releases presented here include a 2 x vinyl LP of the Rosenfest recordings in 1984 and a 5CD set sharing the four and a half hour backing track prepared for the Teatro Olímpico performance in Rome in 1986. Together these two releases make up a substantial overview of one of the most significant works in the entire Christiansen canon. THE REALITY IS A GHOST IN MY MIND (LP1) is a work that unfolds patiently with a mix of field recordings; wind, bird song and the sound of snow being crushed underfoot all unite in a foreboding atmosphere. IN PENTHESILEAS HÖHLE (LP2) features electronic treatments to the original field recordings found on THE REALITY IS A GHOST IN MY MIND, a representation of psychological reorientation perhaps? A deep ground tone (or ROOT as Henning calls it) leads the listener through a variety of realistic and unrealistic environments. As Henning says in his essay reprinted on the back sleeve: “Then comes a section where the field recordings of the sea, the storm, birds, cars and other things, are built together so that the realism of these sounds become unreal. For example the cars drive into the sea and the birds are singing within the storm. When you hear footsteps in the show, it’s Kleist sneaking past Deutsche Schauspielhaus. When you hear a deep, human sleeping noise, it’s Achilles sleeping. When you hear hammering it’s the weapon smith working. When you hear a stone being thrown it means the unanswered question: “Who threw the first stone?” These recordings lead to the finale where Carla Tatò’s haunted vocals into her singing mournfully along with Jan Tilman Schade’s violoncello and tuba, then a chainsaw appears. Presented in a deluxe di-cut sleeve with writings by Ursula Reuter Christiansen and Henning Christiansen and adorned with an artwork, Penthesilea by Ursula Reuter Christiansen, 1983.

Two new vinyl releases mark Martha Argerich’s 80th birthday in June: Her recording of Tchaikovsky’s Piano Concerto No. 1 with the Royal Philharmonic Orchestra and Charles Dutoit; and her 1984 recording of Schumann’s Kinderszenen and Kreisleriana. To preserve the greatest possible audio quality, the Schumann release sees a new split, presenting Kreisleriana, Parts 1-6 on Side 1 and Parts 7-8 on Side 2, followed by the complete Kinderszenen.

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life.

The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3).

Each of the films is realised through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square metres in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera.

Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic.

Introspective and lyrical, Staging Silence offers us a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many of us feel disconnected from the world around us. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

Split album by Joe Corfield and Slim, two of UKs most promising beatmakers. It's the follow-up to the 'KO-OP 1' album by Smoke Trees and Juan Rios on KO-OP, the sub-label and community dedicated to the art of beatmaking founded by reknown hip-hop label Melting Pot Music from Cologne, Germany.

When we started KO-OP in the summer of 2017, little did we knew where this journey would take us to. Ever since we had the pleasure to work with 21 artists from all over the world and have put out almost 80 tracks on lp, tape and digital. Now we are happy to share with you KO-OP 2 - a split album by two of our favourite producers from the UK: Slim and Joe Corfield. Slim is one half of London rap group Summers Sons. The Sons are signed to MPM where they have released two albums ('Undertones' & 'Uhuru').

In February 2019 Summers Sons will play their first German tour together with Children of Zeus. Slim has released instrumental cuts on KO-OP, Brownswood and Banoffee Pie, plus a beattape on Yogocop Records. Joe Corfield hails from Birmingham and has released a string of albums via Radio Juicy and Yogocop.

He is coming with his very own sound. Futuristic and soulful, with a great ear to detail. It was actually Flofilz' idea to have them both on one record. 'KO-OP 2' will be released on one LP with two individual covers by Rahel Süßkind, a Berlin based artist (and part of Money $ex Records) who is responsible for all KO-OP artwork.

Hails from Kurashiki Japan, Haruki Matsuo have released several house gems from highly acclaimed imprints such as Rush Hour and Night Moves. After his contribution to us on 2009's 'hub opus tokyo', op.disc welcomes his landing back with this superb 4tracker. Tough and subtle are the best words to describe Haruki's sound, you'll find his one-of-a-kind characteristics. As you'll see on tracks like 'Commando' or 'Section 1,' he doesn't lean on sleazy gimmicks - tidy drums and clean lines just keep the groove going. Feel what you feel...

great drive !!!

2024 Repress

2LP gatefold with liner notes, 180gr vinyl. 'Funky Chimes' is a two-hour collection of excellent and unique grooves. It contains 27 of the most interesting yet long forgotten Belgian dance tracks from the seventies.

'Funky Chimes' is a two-hour collection of excellent and unique grooves. It contains 27 of the most interesting yet long forgotten Belgian dance tracks from the seventies, when a generation of extremely gifted and versatile musicians experimented with funk, jazz, latin and other grooves.
'Funky Chimes' is in many ways the logical follow up to 2014's highly acclaimed compilation 'Funky Chicken'. Uncovering a blind spot in Belgium's musical heritage and unearthing a diverse collection of hidden treasures. 'Funky Chicken' has induced a renewed interest in Belgium's rare grooves from the seventies, which until then had never been regarded a genre worth mentioning. Having said that, this second instalment is much more than just a fast sequel or a batch of leftovers. The music's quality matches that of its predecessor, but the treasure hunt was even more adventurous, and the stories behind some of the nuggets even more gripping.

The music of Robert Schumann and the artistry of Sviatoslav Richter are a natural match. Schumann was loathe to use flashy, purely virtuosic elements in his compositions, a fact brilliantly illustrated in the vast majority of his works for solo piano. Rather, Schumann was much more likely to tell a story, paint a picture, or read a poem through his music, although his works were not overtly programmatic. Richter possessed a technique virtually unrivaled during his career and was able to definitively toss off even the most technically demanding works. At his heart, however, Richter was a poet and an artist with profound musical insights and introspections. This album, featuring recordings made in the late '50s, is one of Richter's surviving albums in which poor sound quality does not distract listeners from this artistry. His performances of the C major Fantasy, the Op. 82 Waldszenen, and the Op. 12 Fantasiestucke are magnificently refined, unhurried, and unsullied by some pianists' need to make the works flashier then they need to be.

Acid nederland TDK sound, a wicjked melt of weirdness and progressive acid sounds... A collab of high class between the TDK brothers ! ENJOY !

After dancing with HNNY under the disco ball and staying up late listening to Mella Dee's warehouse tracks it's time to go visit Detroit with Esa.

Have a listen to Umatic 3000 and you'll understand why Tooli started sweating while listening to the demo the first time.
Futuristic and deep dance music from a space ship that crashed somewhere in Detroit. 8/8 (Son Op) on the flip is a dramatic interlude that leads straight into Big Snoek, a track that both sounds and smells like a modern Global Communication tribute.

The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.

The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.

WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

*2026 repress - with new labels and small hole. NOTE NEW CATALOGUE NUMBER! One of Shella’s most popular reissues, “Rebel” by Jamaican Canadian roots maestro Rothadam is finally back in stock! Pressed with a small hole (as opposed to the 2017 re-issue with the jukebox punch-out). Supported by King Shiloh, Gilles Peterson and countless others, Rothadam’s “Rebel” is one of the deepest and most sought after roots 45s to ever come out of Canada. “Rebel” evokes Black Ark studio wizardry with Rothadam’s delicate yet defiant vocal, thunderous bass and a massive horn section. This release is a monster double-sider: Two different versions of “Rebel” were recorded in Toronto circa 1975, 76 by different producers (Sid Lovejoy at LMP and Ron Lewis at Half Moon) and backed by different bands. The “Rebel” message in Rothadam’s music is obvious, but more than anything the song is a call for peace and unity reflecting on his life in Trenchtown, Jamaica. Rothadam explains: “…..because where I was living , It’s hard to don’t get involved. It wasn’t an easy thing to just live and just be happy….. Hard life man, hard life…most of my friends when they were doing things that aren’t right…Not me. So in other words, I was born to be a strong man.” Rothadam passed away in 2026 but was delighted with the new audience his music had found. This latest reissue is dedicated to his eternal memory.

A collection of previously unreleased material (between '75 & '90) by Enno Velthuys.
Compiled by Hessel Veldman.

"Hello boys and girls, my name is Enno Velthuys and I am the idiot of the group (and also the
most intelligent, the most sensitive, the most artistic and he who has to carry the heaviest
load, because this boy's luggage, DAMN, it's pretty heavy).
Luckily, I had already been through a lot when I got this ‘knock in the head’. Sex, drugs, lots
of rock and roll and a sunny childhood with beautiful views I look back on with nostalgia.
Later on I lost my focus and I only thought about one thing: how to get out of it (that damn
problem, my shifted reality, my blind spot, that piece of poisoned apple of forbidden
knowledge choking my throat)!

But I can't think my way out of it, psychiatrists are just ordinary people, and very heavy pills
suppress everything (I'll just take my pills) FLASH!

You ask me what it takes to create music or art that is meaningful and tells a story. It’s hard
when you haven't had enough setbacks, nothing more than maybe a little blues. I'm not
saying it was the right path, but at least I've come a long way. And now I'm a fish in a pool.
Please understand that this is very disturbing. It's not my waterway. A fish belongs in a river.
And my star sign is fish. >))D

See you soon, EnnO"

It's time to dip into the secret vault once more, and after the first two visits this year, we can't wait. The latest from this mysterious and so far anonymous new label and production crew is another scorching disco two-tracker. The opener on the A-side is full of excitable horns and funky guitar lines with irresistible hand claps and tracky grooves that roll for days. On the flip-side, 'Track 2' brings a vocal line that is brings a sing-along and uplifting vibe as it rides on busy, funky bass motifs with lovely slide in the hi-hats and more lush strings. It's a big-hearted and fulsome disco-house sound for when the whole floor needs locking in to a loved-up vibe.

20/20 Vision continues to flourish even well into its third decade. For its next trick, the Leeds label welcomes back Brett Johnson, who was last here 20+ years ago. Releases on Classic Records, DJ Heather collaborations and Derrick Carter championing his work all make him a bona fide house hero and 'Broken Machine' confirms it. 'Unstuck' opens with a mutating disco bassline that refuses to settle, while 'Juiced' dives deep into his signature boompty swing with a drop designed for pure devastation. The title track is the centrepiece - a trippy trip that stretches time entirely before 'iRemember' closes with starry-eyed ambient pads laced above a deep, slow, gorgeous groove. Sophisticated, playful and musical as always.

Smoove delivers another pair of exceptional reworks, breathing fresh life into two disco classics from 1978 and 1979. Staying true to the spirit of the original recordings while adding his signature production touch, both tracks feel timeless yet perfectly suited for today’s dancefloors.

On the A-side, Was That All It Was opens with crisp, punchy drums before gradually unfolding into a masterclass in arrangement. Layer by layer, Smoove rebuilds the track, allowing Jean Carne’s stunning vocal performance to shine through lush string breakdowns, soaring brass, and an irresistible groove.

The flip features Runaway Love, taking a slightly deeper, slower approach. Euphoric backing vocals, warm Fender Rhodes, sweeping strings, and impeccably tight percussion combine to create an uplifting, soulful journey. An elegant and utterly joyful rework from start to finish.

Bali-based producer/DJ STAY GOLDEN makes his debut on All Day I Dream with Silent Covenant, a seven-track album exploring unseen connections, out now.

Silent Covenant traces a near 40-minute path through hypnotic indie-dance textures, melodic techno tones, and deep house grooves. The title track opens with funky drive and a quick-tongued topline before ‘Fragments of a Dream’ pushes into darker territory. From there, ‘RITUAL PAUSE’ and ‘Stay With Me’ return to organic rhythms and deep vocals, balancing cohesion and contrast across the project.

“A seven-track journey through emotions and the invisible connections that shape our lives. Each track is another step in the same journey. The strongest connections are often the ones that never need to be spoken. They live in shared moments and the memories we carry with us. Silent Covenant is my way of translating those invisible bonds into music.” – STAY GOLDEN

Collaborations with Alexey Union, Broken Hill, Kinky Sound, ÜNAM, ANTICALM, and David LeSal broaden the project's sound throughout its second half. ‘Synth Lines’ adds a deeper edge, while ‘In Your Heart’ turns toward airy melodies. Closing with ‘Everything Sacred,’ Silent Covenant brings its themes of memory, connection, and shared experience full circle.

'Everyone' was Recorded in Tokyo, Japan over two days in late September 2025. The album musically chronicles Greg Foat's first tour of Japan. The album was commisioned by Tokyo based clothing Label 'Everyone' and is a fantastic mix of Ambient, Jazz and Electronic music genres

Each track celebrates a special memory of the tour, from the opener 'Shirahama Beach' home to the wonderful FFKT festival to the playful 'Lake Haruna Boat Ride'.

The album also features Tokyo based jazz musicians Kensuke Miyaki on Baritone Saxophone and Bass Clarinet and Yoshihiro Kaneko on Double Bass. Limited to 700 vinyl copies only with obi strip.

This latest project by Groovedesign Kollective is rooted in movement, thoughtful tension, joyful repetition and dreamy release.

United Tribes
The Groovedesign factor shapes itself in the opening track 'United Tribes' by repositioning intimacy over chaos, a life affirming sound that belongs to those magic early morning hours that really shape experiences. And generations. A unique blend of Afro, Funky beat and Disco Clubby grooves merging with visionary House piano's themes within a rich, deep electronic tapestry and dubby effects.

Supremes
This track perfectly complements the previous yet it is its own groove and carries great dancefloor weight. Further developing the concept of exquisite fusion and fine contamination between already blurred genre's lines, where feelings and emotions meet their sonic counterparts.

Feeling the dancefloor comes as a second nature to Groovedesign: unrelenting yet subtle, innovative yet grounded. Their music carries experience and innovation without announcing itself, guided by an intuitive sense of energy rather than formulas.

2026 Repress

Circus Operandi is the project of Donatas Chipak and Tumosa, two figures of the Vilnius electronic music scene, and residents at legendary clubs Opium (RIP) and Gallery 1986, where Ivan Smagghe & Niv Arzi (who jointly run Customs & Faces) met them countless times at countless hours. We’re not keen at describing the music we release at C & F, no need for pigeonholing ourselves but this EP completely ticked our boxes : electro, techno and everything in between, punch and deepness included.

Blah Blah has been played in every Ivan Smagghe set for the last 6 months and picked up by, amongst others, Shonky and Francesco Del Garda. Some kind of hit rambling about ordering a pizza is quite something. Fantast and Hints are slightly moodier pieces of emotional 4/4 electro while Denter subtly hits at non-cheesy trance. Expect much more from these two very soon.

Groovedeep, the international supergroup comprised of Toronto’s Ciel and DC stars James Bangura and Jackson Ryland aka JR2k, brings Fixed Rhythms a 12” of four racing, groovy, energetic, funky and lush techno cuts. This is the second vinyl outing by the group, the first one being the recent “Funk Solo” on Turbo Recordings featuring remixes by Batu, Shed, and Mark Broom.

“Speed Queen” opens up the EP with hypnotizing techno that eschews any four-on-the-floor demands. Up-tempo with a touch of house and handdrums and a tantalizing vocal clip. “Witness” has a similar structure…handdrums, non four-on-the-floor kick drum composition, rhythmic vocal chop-work, but whereas A1 is the leap into the deep, “Witness” has us diving down, exploring the eerier depths.

Whip to the B-side with “Flashback”, a slightly more east coast club track while also incorporating a bit more of a pummeling kick. The aforementioned Groovedeep sonic signatures are there, and…can’t get enough of the handdrums?!?! Well then just let that last “Witness (Bongo Heavy VIP)” track slide in, a slightly meaner (and of course bongo-ier) boom of a take on the A2.

Don’t let this one speed by you!

Charlotte de Witte now unleashes her slamming three-track EP ‘The Resistance’, featuring Theo Nasa and XSALT, out on KNTXT. It follows the astonishing summer tour of her new audiovisual show ‘The Resistance’, including a spectacular ‘XXL’ version at Belgium’s Rock Werchter in July, for a 40,000 audience watching from inside and outside the tent.

World #1 techno artist Charlotte de Witte’s new show continues a standout year of experimental ventures and celebrations, global pop-up shows, monster street parties, incredible new music (EPs and Deluxe LP)… and most recently ‘The Resistance’ AV show world premier at UNVRS Ibiza and the EU tour. The new ‘The Resistance’ EP is hard, fast, and uncompromising. It features Theo Nasa, whose raw, deep techno EP ‘Lifeline’ was released on her KNTXT label; vocal artist / longtime collaborator XSALT, (previously on ‘No Division’, ‘Overdrive’, ‘Roar’, ‘How You Move’); and Charlotte’s own vocals on a personal track ten years in the making.

‘The Resistance’ EP title track feat. Theo Nasa is urgent, demanding, unapologetic. Juddering main theme, rattling hyperspeed beat, spacey hoover swoops form a matrix for the deep, amused authoritative voice of Nasa – ‘we are unity, we are techno’. The brief ‘The Resistance (Intro Version)’ opens with futuristic FX and Nasa’s voice to the fore introducing the techno credo.

‘Never have I ever teased a track this much as I teased ‘The Resistance’. From the moment the track was being made in the studio, I knew this was going to be a special one. Theo Nasa captures the spirit of the underground and guides you through the essence of club culture like no one did before. An entire A/V show grew out of this feeling, this philosophy. It’s one of the biggest tracks I’ve ever made.’ Charlotte de Witte

‘See Through The Lies’ feat. XSALT: futuristic FX, fast stabby synth theme, and XSALT intoning ‘see through the lies. It’s time to take control’. A message of defiance. ‘XSALT delivers again on ‘See Through The Lies’, offering his own take on the EP's theme. Open your eyes. Break the illusion, see through the lies. Release the pressure. It’s time to take control!’ de Witte says.

‘Another Place’ has relentless pace, twanging pizzicato synth, and de Witte’s whispered phrases becoming full voice. ‘’Another Place’ has been in the making for over a decade. It saw the light of day in Brussels, where the lyrics took shape together with my friend One Track Brain. The track was forgotten and resurfaced years later, leading to an entirely new track created around that magical vocal from all those years ago. This is an EP very close to my heart.’

At the heart of ‘The Resistance’ EP and AV show is a message central to de Witte’s work: Protect Club Culture and the communities that sustain it. That’s why de Witte is donating all proceeds from The Resistance EP to The Nighttime Foundation, a global nonprofit dedicated to safeguarding and shaping the future of nightlife, empowering grassroots communities and promoting nightlife as a vital form of culture worldwide.

Colours, to the mast, well and truly nailed.

CLUB U NITE RECORDS PRESENTS: HIS MASTER’S VINYL EP

Club U Nite Records takes it straight back to the early ’90s with four raw and swinging house cuts.

Manhattan Project opens with “Shufflin’ On” – a fat, slamming shuffle groove packed with jazzy touches, swinging drums and a classic old-school organ. “Everybody Move” follows with chunky Rhodes loops, soulful samples and a straight-up floor-moving vibe. Killer!

On the flip, Black Chunes Productions delivers “Jerk Yu Body”, channeling the raw swing and chord-driven energy of the early-’90s New Jersey vibe. Shuffled hi-hats, snares and dark leads bring the groove of that era straight back.

Reign Of Rhythm closes things out with “Organic Pressure” – stripped-down, driving, dope organ house. Minimal, but seriously fat.

Four cuts of pure 1991-inspired house gold.

Electronic mainstays and longtime collaborators Steve Bug and Stefan Braatz return to cult NYC label Nu Groove with the vinyl edition of their four-track EP, Circles. Showcasing a refined blend of new deep house, acid and underground club sonics, the EP opens with ‘Circles’, featuring the Chicago legend Virgo Four whose vocals bring a timeless energy to the record. A driving Beat Mix follows, transforming the original into a tougher, more DJ-ready cut. On the flip, ‘Nu Acid’ dives into raw machine funk and hypnotic pressure, while ‘Thiz Mood’ closes the EP while highlighting the duo’s mastery of tension and rhythmic detail. Rooted in the spirit of classic house while sounding firmly contemporary, Circles EP is another essential addition to the Nu Groove catalogue.

We release our second record, COPPIES002. Another hand stamped white label EP, collecting tunes from thecommunity, for the community. This time with tracks by Kerr Wilson, Salomo, illousion and APRS. Kerr starts on A1 with his "The Key To My Heart". He showed the first version of the track to Robert around 4 years ago in a memorable summer spent together. We made the promise that this will be pressed on record one day and, here it is! Thanks Kerr! It's a melancholic late-summer tune that makes you tear up and feel like the warm euphoria won't last forever, but it will surely return if you're patient. Salomo follows with a similar moody approach on "Say less (on the DF)", even though we can argue about the meaning of the title ;). illousion builds more tension on the flipside with "Masc or Mask". Entering dubby, rolling terrains with more high intensity drum patterns for later moments of the night. APRS is closing the EP with "I Want to Speak" on B2, maybe the counter argument to Salomos desire of a less noisy dancefloor. He crafted a minimal, loopy trip that drags you down the rabbit hole and won't iet you go til the party is over. COPPIES002 is available on vinyl only with digi download option

With Picture About You, Recut opens a new chapter, blending the heritage of house music, acid textures and underground electronic culture into a contemporary vision for today’s dancefloors. Rooted in the essence of club culture, the EP explores hypnotic grooves, evolving patterns and the timeless dialogue between the DJ, the sound system and the crowd, where emotion, movement and energy become a universal language. The title track, “Picture About You”, reflects Recut’s artistic identity through the lens of his personal history and family roots. An important part of this story comes from his uncle, known as Mr. Steve, who in 1975 founded one of the pioneering independent radio stations in Southern Italy during the early years of independent broadcasting. His connection with radio, disco culture and the first generation of Italian clubs embodied a spirit of discovery, sharing and musical exploration that continues to shape Recut’s approach to music.

Musically, “Picture About You” unfolds through a hypnotic and emotional groove, blending old-school character with a contemporary perspective. A timeless club track where past and present come together in Recut’s own musical language. “Hey Jack” is a powerful dancefloor weapon driven by unstoppable grooves, hypnotic acid lines and captivating arpeggios. Built for peak-time moments, it pushes the energy forward with a relentless rhythm designed to ignite the crowd.
“Subwave” takes the journey into a deeper and more massive dimension. Driven by powerful low-end pressure, evolving dynamics and explosivetransitions, the track builds tension throughout its progression before releasing its full impact on the dancefloor. Closing the EP, “Neon Flux” delivers the final impact: fierce, electric and uncompromising, a track designed to push intensity beyond the limit and leave a lasting impression. Recut Music — Fun for DJing!

Son Of first surfaced in 2015 with Social Zombies on Opal Tapes. A decade on, he returns with YYY on his own label, Digital Empathy, the fifth in its sinister futurism catalogue. Unconventional minimalist Detroit electro, eroded IDM, 8-bit dungeonstep, and deconstructed funk interlace into one unifying sonic world of YYY. The dawn of the anti quasi-replica is here. Only taste will survive.

The latest update to the Dream Software sonic catalogue is a glossy re-mastered version of the 2003 release ‘Fears’ from ‘Shuffle Progression’. A soundtrack for the space between reality and the higher spiritual planes. Grounding yet otherworldly, an organic groove doused in a warming sensuality and atmospheric liminality. This one is optimised for hazy spaces, morphing layers of floating essence, slowly obscuring all thats visible into blurry shapes of an abstract existence.

To call this album important would be an understatement - Space Time Continuum is the culmination of everything ASC has been building with the Spatial family of record labels, comprising the very best of what atmospheric music can be, and showcasing what is to come. Label stalwarts and debutants combine to bring you the ultimate compilation of this music. ASC is proud to present to you Spatial’s magnum opus: Space Time Continuum - Chris Hayes" Featuring new original music from: ASC, Aural Imbalance, Chronicle, Eusebeia, Ghosts of MIDI, JLM Productions, KMC, Law, Probe-One, Reviver, Senses, and tdel. ● Deluxe Foldout Box Set with Full Artwork Print Inside and Out ● Marbled Vinyl 3x12" ● Each 12" has it’s own individual Full Artwork Sleeve

Tronic has a 20-30 year long history with releasing melodic house and techno. While we opted for the more raw sound in the past few years, Christian wanted to go back to his roots and produce more emotive, groovy, and melodic house and techno again. Lamour Toujours is a progressive groover that has a disco-influenced bassline and adds an emotive chord progression in the break. We asked Argentinean legend Hernan Cattaneo to make a remix. As a long time supporter of Tronic we felt that he would be a great candidate for this remix. Hernan Cattaneo and Kevin Di Serna teamed up and delivered a stunning remix focusing on the melodic chord progression of the original! Italian maestro Gai Barone mutates 'L'Amour Toujours' into a stunning, mind-bending interpretation that proves his insane ability to rewrite the rulebook. Meanwhile, Colombian powerhouse Kamilo Sanclemente stays closer to the original, injecting a massive, chord-driven progression built to elevate any room. Three classy, high-caliber remixes. We're absolutely buzzing with this drop.

‘I have always been drawn to those ambiguous territories between beauty and terror, and the Trinity test is their epitome: magnificent, sublime, terrifying, annihilating. A destructive power that, somehow, only love can compare with.’

The prescriptive art and performance of Berlin based, French producer, Julienne Dessagne, has concluded with a starkly beautiful reimagining of Chris Isaak’s Wicked Game.

As Fantastic Twins, her continuing creative manifestation for music and performance, has released an array of electronic art for the body and mind. A sonic exploration of dual characters shaped through experimental pop, cinematic electronics and the outer edges of techno.

First appearing on the cult Hippie Dance label, before establishing a long and warm collaboration with Keith McIvor aka JD Twitch and his inspiring Optimo Music label, as well as her own House Of Slessor label, this release comes full of mythology and symbolism.
Immersive sound design, narrative tension, and emotionally charged atmospheres, the origin of the project – Wicked Game (Trinity Version) – was composed for a live performance at the Beta Biennale Of Architecture Of Timișoara in September 2024 and given a limited digital release soon after.

The impact on the artist and the music was multi-layered:

‘While recording this cover, images of the Trinity nuclear test, as reimagined by David Lynch in Twin Peaks (Season 3 / Episode 8) kept resurfacing, almost on a subliminal level, suggesting another wicked game: humanity’s love affair with science and technology, driven by the same mix of desire fascination and inevitability that animates Chris Isaak’s original song.’

Approached by Emotional Response, this updated “vinyl” edition is re-recorded / remastered and comes with new interpretations by Julienne herself, as well as remixes by Aho Ssan and Optimo (Espacio).

Dessagne offers a spectrum of mixes and moods; the centrifugal ‘Trinity Version’ a sweeping cinematic masterpiece, between beauty and terror, the artist transmits the aesthetics of sublime; while ‘Thousand Suns Version’ fuses industrial and techno soundscapes for a beatdown reimagining; the melancholia ‘Atomic Love Version’, where the beautiful vocals are matched with a glitchy, clipping ambience; and the finale, the ‘Core Version’ shines a personal, drifting odyssey.

The accompanying remixes see Aho Ssan (Niamké Désiré), composer and sound artist, his remake merging a love of darkcore drone with moments of uplifting energy, the ‘Core Version Aho Ssan Remix’, a fusion of craft and Dessagne’s vocals.

To close, taking up the Optimo remix mantle, Jonnie Wilkes embraces the propulsion, his ‘Thousand Suns Version Optimo (Espacio) Remix’, offering brooding, electro-driven percussion that overflows with emotion and completes this stunning, evolving, organic and singular remake.

NNHMN — DARKLINGS: a lethal club edge of dark electronic, pounding EBM and gothic synths that turn floors into battlegrounds. Headliners at Ombra, Grauzone, Extramuralhas, Subkult, Infest and Unterwelt Berlin.

Opera of Lust & the Art of Sorrow II — an intoxicating, cinematic opera of longing and loss: razor‑sharp arpeggios, cavernous bass, hypnotic rhythms and ghostly vocals—sensual, melancholic and brutally dancefloor‑proven.

Detroit techno visionary Keith Tucker returns through his acclaimed alter ego Optic Nerve with AUGMENTATIONS EP, a forward-thinking exploration of minimalist machine funk, futuristic sound design, and deep electronic movement.

Crafted with precision and unmistakable Detroit character, AUGMENTATIONS merges hypnotic analog sequences, mechanical rhythm structures, atmospheric synth textures, and driving electronic beats into a powerful sonic statement rooted in the city’s enduring techno legacy. Sparse yet immersive, the EP balances raw underground energy with cinematic futurism — designed equally for dark warehouse floors and deep headphone listening.

Pressed as a Limited Collector’s Edition Clear Vinyl 12-inch, PBX-38 captures the sleek, transparent aesthetic of the music itself: pure signal, machine emotion, and uncompromising Detroit innovation.


A1 — Augmented 1 (Optic Nerve Original Mix)

A deep, stripped down Detroit techno workout driven by pulsing drum programming, evolving synth modulation, and hypnotic minimalist sequencing. Functional futurism engineered for late-night motion.
B1 — Augmented 2 (Infinite Worlds Mix)

Built around a rolling funky bass line and eerie flowing string textures, this expansive composition moves through layers of atmospheric electronics and mechanical groove architecture. The track creates an immersive sense of drifting through endless digital landscapes while maintaining a sharp rhythmic intensity designed for the underground dance floor.
B2 — Augmented 3 (Visual Shapes Mix)

Abstract melodic fragments, and precision electronic rhythms collide to form a futuristic minimalist soundscape filled with movement, tension, and cinematic pulsed chords.

Drawn From Life, originally released on Virgin Records in 2001, was a full collaboration between Brian Eno and J. Peter Schwalm, the two having met through Eno’s longtime friend Rolf Engel. It will carry that joint billing for the first time. The album featured Holger Czukay, Laurie Anderson, Nell Catchpole and Leo Abrahams, and was supported by a tour taking in Porto and Lanzarote before a headline appearance at Japan’s Fuji Rock Festival. The rights to Drawn From Life reverted to Opal when Citigroup acquired EMI and the album has not been available since. The 2026 reissue will be available across all formats and includes the bonus track ‘Bloom (Instrumental)’.

Waage has long been an established force in the dub techno community, and he is no stranger to working with Quantal. This outing on the don of dub techno labels features four tracks that strike the signature mix of meditation and dancefloor tool. 'WM13' is a wide-open underwater dub with a slow-motion rhythm, 'W14' has more hunched over drums and plenty of open space littered with delicate FX and textures, then 'W15' glides on silky drum loops that could play for days and never get annoying. The closer is the most serene and sublime of the lot, with lovely smeared chords drawn out across the frictionless drums.

2026 Repress


10" Yellow Marbled Vinyl

2026 Repress

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

Vinyl in kraft sleeve

Across four tracks of lean and potent workouts with his unmistakable sonic signature, Peverelist returns to Livity Sound with his first release of 2026. After three years shaping out the Pulse series, Pace The Wrecks EP finds Pev shifting focus in subtle ways while upholding his focus on impactful, sprightly club modernism.

It's clear there are fresh inputs into the Peverelist sound from the very first note of 'Wreck I', which opens on an ominous lower-register piano note leading into a brooding house-tempo cut laced with sci-fi synth licks. On 'Wreck II' the dial shifts towards a more rapid-fire, electro-informed rush before swerving towards the bass-heavy, bleep-loaded jack of 'Wreck III'. 'Wreck IV' closes the EP out on a more sparsely arranged broken beat tip primed for lighter moments in the mix.

True to Pev's singular sound while maintaining the consistently fresh, uplifting energy of his recent output, Pace The Wrecks opens up the next phase in his studio work with assured poise and a sustained commitment to keep pushing forwards.

Corps Perdu emerges from Lamin Fofana’s ongoing practice of creating immersive and multisensory sound environments, informed and inspired by the historically rich texts of scholars and poets working in the tradition of Black Studies. The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present.
The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text.
Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to its eruption, and lets us listen to Césaire’s ‘flying seed dreaming very loudly’. The album’s track titles and narrative arc hum in and out and alongside Césaire’s poetry, mainly Césaire’s 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants—a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland.
The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we’ve heard Fofana craft on previous albums (think of the ‘Obscure Light’ pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire’s Corps Perdu begins with: ‘Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word’. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a ‘lost body’.

Another Day on Earth (2005) was Brian Eno’s first song-based album since Nerve Net in1992, and remains one of his most acclaimed solo records. It featured a young Jon Hopkins alongside long-standing collaborators Nell Catchpole, J. Peter Schwalm and Leo Abrahams, with lyrics co-written by Michel Faber and Danny Hillis. The album was launched with a public conversation between Eno and the writer Michael Bracewell at the Marble Palace in St Petersburg and its cover photograph was taken by Eno himself in Beijing, during his first Chinese audio installation in the city’s Ritan Park. Following Warner Bros’ purchase of Hannibal Records in 2006, the licence for Another Day on Earth lapsed in 2008 and the album has been unavailable outside Japan ever since.

“Grand, sweeping choruses ... that insinuate themselves deep into the memory, but also moments of whispering intimacy - a wistful, haunting record that runs warm with understated emotion. ★★★★★” - Matthew Collin, The Observer (2005)

Nach ersten limitierten Singles veröffentlicht The Operator Sound INC. sein Debütalbum "Esoteric Audio For Space Age Witchcraft" innerhalb der "21st Century Library Music"-Reihe des englischen Labels Library Of The Occult. Die Aufnahmen erfolgten direkt auf Tonband unter Verwendung modularer Synthesizer, einer alten elektronischen Orgel und einfacher Rhythmusmaschinen und liefern den klassischen Space-Age-Lounge-Vibe der 1960/70er Jahre, jedoch auf eine düstere und okkulte Weise verfremdet, die aus einem Planetarium der 70er Jahre zu stammen scheint.

Kito Jempere has spent more than two decades building a universe of his own, with releases on Mule Musiq, DFA and other influential labels, alongside remixes from Ewan Pearson and others. With Other People’s Aesthetics, that universe finally opens outward. After years of protecting his own musical language, Kito lets the outside world in—embracing the sounds, artists and scenes that have shaped him, from house and techno to Aphex Twin, Warp, Ninja Tune and Omar-S. The result is a personal universe merging with the world beyond it. The album opens with “Change For Now,” a collaboration with longtime friend Lipelis (L.I.E.S., Public Possession, Running Back), marking a friendship that has grown over the past decade. “Teaser,” originally released on Mule Musiq, returns in a new album “Dub” version, with fewer vocals and a stronger garage-house feel—a direct statement of love for David Lynch. “OPA” looks back to Kito’s original half-jazz, half-drum’n’bass sound and the Uniquetunes era of the early 2000s, alongside the music he absorbed from CDs by Amon Tobin, Squarepusher, Skalpel and The Cinematic Orchestra. “Listens To Selected Ambient Works Once” is a direct homage to Aphex Twin, given a Warehouse-style treatment for bigger dancefloors. “I’m Not A Doctor, Either,” featuring mishinuki—previously heard on Green Monster in its Moloko homage—builds towards an epic, euphoric string finale. “Kobayashi Porcelain” closes the record by combining memories of Usual Suspects with Moby-like atmosphere and an Omar-S-type beat. The release of Other People’s Aesthetics will be followed by a Japan tour in December 2026 and Kito Jempere’s ongoing residency at Honeycomb Hi-Fi in Dubai. Early support from: Ata, Reznik, Horse Meat Disco, Vladimir Ivkovic, Tim Sweeney, Max Pask, Rich Thair of Red Snapper, Ame, Ellen Allien, Benji B, John Tejada, The Blessed Madonna, Hard Ton

Daydream: 30th Anniversary Edition is a 2-CD set featuring the original multi-platinum-certified album Daydream, which includes the smash hits “Fantasy,” “Always Be My Baby” and “One Sweet Day." Disc 2 collects remixes and rare B-sides, including a brand-new remix, “Underneath The Stars (Eric Kupper Klassic Club Mix) (Radio Edit).” The second disc also features a writing session demo for “I Am Free.”

You've never played a game like Blippo+ before, and you've never heard a video game soundtrack quite like Greatest Hits from Planet Blip.

Composed by Rob Kieswetter and Jona Bechtolt from the LA-based trio YACHT, the soundtrack collects 71 tracks from the cult classic video game Blippo+, reworked and sequenced into a continuous listen for this special release —a TV static-speckled gatefold double LP, out Oct. 16 via Hologram Opera, marking the soundtrack’s physical debut.

Taking the form of a cable TV simulator, Blippo+ captures the magical feeling of seizing a mysterious signal from outer space and discovering the television programming of an alien culture. Soundtracking the game’s pastiche of programs is Rob and Jona’s genre-spanning score—synth-heavy, eccentrically electronic, with a skewed sensibility that pays homage to cable access, library music, video art, and the late-night margins of the 80s and 90s underground.

TV obsessives will find plenty to love in Greatest Hits from Planet Blip: with surreal theme songs, jangly jingles, zippystings, catchy kitsch, period-accurate menu music and even pop hits from the alien airwaves, this propulsively playful soundtrack will have channel-flippers tingling with nostalgia.

“Planet Blip is an alien planet where art and music are the only currency and ‘consciousness particles’ form the basis of all media. To capture the spirit of this world, we drew inspiration
from all the music we felt best embodied this ethos and ran it through our own utopian blender,” say Bechtolt and Kieswetter.

Blippo+ is an award-winning, experimental, live-action video game created by YACHT and Telefantasy Studios, along with developers Noble Robot and Dustin Mierau, and published by Panic Games. It was released for Steam, Playdate and Nintendo Switch in 2025 to widespread
critical acclaim and has earned a devoted fandom. A Mac version followed earlier this year, and was nominated for an Apple Design Award.

"Simultaneously nostalgic and futuristic, otherworldly yet
welcoming, Blippo+ is an absolute artistic triumph.
" —Deven McClure, Screen Rant

"Blippo+’s presentation might ape old traditions, but the collective impact of its content is richer, deeper, and more entertaining than any mere remembrance.
" —Garrett Martin, Paste/Endless Mode

"In the increasingly reactionary and prescriptive landscape of video games, it is remarkable to encounter something so distinctive, so hopeful, so celebratory, so devoted to expanding the possibility space of art beyond a single medium." —Sam Bodrojan

And they can't. Tiny things are important - This house could be anywhere, These things could happen to anyone." With this reflection, Charlie Parr introduces the characters of Rooming House, a conceptual folk opera that chronicles the lives of Upper Midwesterners through his quietly raucous, deeply rooted, and empathetic blues. These are songs of lost memories and hardship, but also of the improvised acts of kindness that help neighbors make do. Joined by celebrated drummer and fellow Minnesotan Dave King (The Bad Plus, Happy Apple), Parr cements his role as one of the great troubadours of our time with an album that becomes its own small yet profound offering of care. * "A gritty blend of Delta blues and Depression- era roots music soaked in his hardscrabble voice. It's a sacred realm of folk wisdom and sorrowful vulnerability." - Rolling Stone * "Expertly-picked resonator guitar and lyrics that puncture the soul" - NPR * "Arguably America's finest living troubadour." - Songlines (UK) * Compelling character-driven portraits on a folk opera concept album that chronicles the lives of Upper Midwesterners through his quietly raucous, deeply rooted, and empathetic blues. Driving, groove- driven resonator guitar pulls you in. Working through the material realities of our contemporary moment but also weaving that narrative with his hypnotic sound reveals the near-mythic scale importance of these stories

Re-issue of Klakson 16! Dutch producer Frank de Groodt, well known for his projects like The Operator and Sonar Base, produces his 4th release under the name Fastgraph. He already made big impact on Adults Esatz Audio label and kicked ass with 2 releases on Klakson. Again he drops 4 deep and dark Drexciya style electro tracks!! The raw deal for what he is best known for.