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‘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)

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.

The album This Heat, also known to fans and critics as the ‘Blue and Yellow’, was their eponymous debut release, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation (producing for example the proto-drum and bass ‘24 Track Loop’) with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio.

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. 


In Lande’s words: “It’s a daydreaming song about wanting a life of excitement and adventure rather than a dull and ordinary life - one where people underestimate you and belittle you. And where you’re forced to buy into capitalism and become a pathetic, losing player in a game that you hate. I’d rather escape and live in a queer space fantasy and be brave.”

Available on limited turquoise vinyl and digipack CD

It is with both pride and excitement that we announce the reissue of ‘House Without A View’, the out-of-print second album by singer-songwriter Lande Hekt – the first of a three-part reissue series on Circuitry, with ‘Going To Hell’ and ‘Gigantic Disappointment’ (first time physically) to follow in the coming months.

With a new album ‘Lucky Now’ released on Tapete in January, supported by an extensive spring UK tour (dates below), Lande’s contemporary twist on the classic C86 indie sound - with a queer feminist punk identity lyrically explicit throughout – is drawing in an ever-growing audience of devotees, such is the consistent quality of her songwriting, and the personality within.

The opening track of the album is ‘Half With You’ which “is about growing into yourself as a queer person, and enjoying who you are after not enjoying it for so long,” says Lande. ‘Cut My Hair’ is about how her relationship with her gender has changed over the last few years, becoming more comfortable in herself and understanding more about what makes her happy. “It’s also about how easy it is to not talk to people when you’re struggling, which is something I did for a long time,” admits Lande.

The title track of ‘House Without a View’ deals with childhood trauma and how events of our formative years “affect us so much into our adult lives and are intrinsic to our personalities and the way we cope (or don’t) with life and relationships,” says Lande. Although there’s darkness and sadness within the record, there’s also some shining beacons of positivity and a light-hearted side, albeit with a side of frustration. ‘Lola’ was written about Lande’s cat shortly after she came to live with her and her girlfriend. “She’s the first pet I’ve ever had and I wasn’t quite ready for how hard it would be to not be able to verbally communicate with her. I worried constantly that she was depressed because all she did was sleep, but my girlfriend assured me that that was regular cat behaviour.”


APRIL 2026 DATES: 4th Cardiff/5th Trowbridge/6th Penryn/7th Portsmouth/9th Ramsgate/10th Cambridge/11th Norwich/12th Nottingham/13th York/19th London/20th Brighton/21st Bristol/22nd Exeter/23rd Manchester/24th Sheffield/25th Oxford

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

DJ support comes from Roger Sanchez, Bob Sinclar, Claptone, Purple Disco Machine, Audiojack, David Penn, Sam Divine, Laurent Garnier, Chloe Caillet, Nicole Moudaber, Carlita, Groove Armada, Barry Can’t Swim, Bakermat, Danny Howard, Gorgon City and more!

Toolroom’s next Sampler showcases 4 big releases from Jesus Fernandez, Alex Preston, CASSIMM and Jewel Kid.

Erstpressung des Soundtracks zum Netflix-Originalfilm mit Cillian Murphy, Tracey Ullman und Jay Lycurgo. Die Originalmusik wurde von Ben Salisbury und Geoff Barrow komponiert und enthält außerdem ,Don't Leave Too Soon" von Little Simz (die auch in dem Film mitspielt), den sie exklusiv für die Figur Shy geschrieben hat. Der Soundtrack enthält auch Beiträge des renommierten Elektro-Produzenten und DJs Slipmatt. Ben Salisbury und Geoff Barrow haben unter anderem die Soundtracks und Filmmusik für Annihilation, Ex-Machina, Civil War, Black Mirror und Devs geschrieben und produziert.

Acid House! Old-school 303 sound, tightly mastered by the sound alchemist Rashad Becker, unfolds with precision and points toward another possible tomorrow. Each track is a sketch, carrying you through a timeless landscape of rhythm and texture and reaffirming Suzuki's unique command over sound and space.

Katerina is an old friend from the early trips to Helsinki, a Finnish Bulgarian queen of the dance, having commanded the wood floors of Kaiku since its inception. Her debut EP with the ESP Institute, 'Natural High' is something special if we may humbly brag. It is the electronic embodiment of our annual journey around the sun, with its release landing just in time for this year’s Summer solstice. Over 4 tracks, the narrative shifts are technically subtle but emotionally palpable, presenting moods that swing both warm and cold but maintain a delicate balance start to finish, a confidence that speaks of true experience and understanding the dynamics of dancefloor moods. Our typical verbose track-by-track dissection feels unnecessary as Katerina’s work here is most legible as a whole. 'Natural High' is a cozy and honest offering, a soft-edged cerebral antidote to the daily falsehoods perpetrated by mankind, and a reminder that in the end, we are all just children of Gaia. Run Free!

Original Funk Band from Paris

With just three years on the scene, Jéroboam is already considered as one of the most exciting and essential new voices in contemporary soul funk.

A true manifesto for live music and the dancefloor, this 11-piece live machine hits the stage like a juggernaut and doesn’t just play funk, they live and breathe it.

After a slew of certified underground classic releases on Space Grapes and Chuwanaga which have been supported worldwide by tastemakers and connoisseurs, Jéroboam is now presenting its long awaited first LP on Favorite Recordings.

From boogie-funk to 2-step soul crossover, Jéroboam delivers 8 heartelf songs, combining razor-sharp compositions with genuine and relatable lyrics.

Achieving such an exciting and challenging piece of work is the outcome of a long and inspiring process started more than 10 years ago in Paris.

From their early beginnings on the local scene, the core musicians of Jéroboam thrived on their mutual love for funk music under the name and concept of Echoes Of.

Building on these successful experiences and expanding its line up over the years, the band has been able to sharpen its sound, craft a distinctive crossover identity and create its own original music under a brand new entity : Jéroboam.

This momentum culminates in their debut full-length album, set for release in june 2026 on Favorite Recordings, a defining moment for one of Europe’s most vital modern funk acts.

Luis Ripa is already making big waves, with a number of his tracks receiving support from someof the most respected DJs in the underground house music scene. As part of Amsterdam’s Naked collective, he is one of the most promising talents carrying theflag for raw, stripped-back grooves and drum aesthetics. Pisco Slap EP marks his debut on Salty Nuts and showcases his ability to create energy and atmosphere without overproducing. Elegant yet edgy drum programming, combined with innovative sample chops, adds a special essence to his outstanding grooves. The title track, Pisco Slap, is already gaining support from some of the biggest names in the scene and has already caused serious damage on dancefloors worldwide. Accompanied by two more high-end grooves, A10 and Hippie Joint, the release is completed on the flip side by Fabe’s twist on Pisco Slap - a deeper stomper that delivers the well-known signature groove Fabe is known for.

Golden Earring were together between 1961 and 2021, and their last and best known line-up included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone) a member since 1968 and Cesar Zuiderwijk (drums) a member since 1970.

They had over 40 hits and released 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single "Radar Love" and their 1982 single "Twilight Zone".

Around 1992, the unplugged sessions on MTV were a trend; almost every rock band or artist was doing them. Bass player Rinus Gerritsen suggested to record an acoustic album themselves. The record company wasn't very enthusiastic at first so with a small budget the band recorded the album live in an intimate cafe in Amsterdam. The Naked Truth turned out to be the Golden Earring's best selling album.

The Naked Truth is available as a limited edition of 2000 individually numbered copies on purple vinyl. The 2LP is packaged in a deluxe sleeve with linen laminate finish and includes an insert.

Digi Dub re-enter the vinyl world with a handful of archival 10” releases, the first collating tracks harvested from four releases which originally came out in the early 90s.

The Aliens EP provides a perfect showcase of the adventurous and experimental approach that the label took at a time when breakbeat hardcore was starting to fragment. Taking none of the paths that their peers took, the artists in the Digi Dub stable infused their breakbeat science with a playful dubwise methodology to create idiosyncratic dance music operating at the interstice between modern dub mechanics and rave dynamics that was a premonition of much of the experimental bass music that the UK has become known for.

The first track comes from the trio L.S. Diezel whose Alien In The Woods marries cosmic interference with a steppers reinforced breakbeat and a tough digital bassline. The Diezel boys are joined by label owner Lee Berwick under his Launch DAT pseudonym for the second track Rougher Than A Lion. Beginning with what sounds like a sort of distorted tribal ritual, the track erupts into a symphony of skittering breakbeats, processed jazz lines, bursts of acid and discombobulated ragga chat.

On the second side the collaboration between Diezel and DAT continues with Poor Mans Glory that sees a weighty sped-up funk break allied with a suitably robust dub bassline overlaid with bursts of rasta invocation rattling around in the echo chamber. L.S. Diezel’s Get Your Spear Out rounds out the package with a clangorous proto-dubstep breaker forging the link between a Jah Shaka dance and Horsepower Productions.

With the original 12s now rare as rocking horse shit, grab yourself a 10” and make your bass bins smile.

The second in a series of releases from Digi Dub’s archives, this 10” serves, as the title suggests, as a tribute to the late, great Julian Fairshare.

On the A-side, Julian vocalises, in his unique style, his crazy finger flicking lyrics over a slinky Digidub riddim that was always a favourite on his sound system. Repent, the (only) slightly more traditional flipside, finds him commenting on the politricks and lies of those in charge, asking them to change their ways, with backing vocals by Helen Macdonald.

A true rasta with firm principles and a heart of gold, Julian was brought up by his Windrush generation parents in a Brixton house that hosted blues parties, and as a result became deeply involved in sound system culture from an early age. For years he ran the Fairshare Unity Sound, working with people from all cultures and walks of life, always maintaining an inclusive attitude while also favouring the more experimental side of dub. In later years he used the name ‘Unruly Julian’, which suited him somehow.

He toured widely around Europe and was one of the first to take a roots and culture sound system to the USSR. Nearer to home he played regularly on the London underground scene, which is where Lee Digidub and Julian first met, leading to a steady supply of dubplates for his sound. On a memorable visit to the studio, Julian announced that he wanted to voice a dub that Lee was working on, which led to them releasing I Scream and No Way on David Records.

“Sadly missed, it’s such a shame that the great man isn’t here to enjoy this release in person, but it’s wonderful that people get a chance to listen to Julian Fairshare: a unique vocalist, soundman and mentor to so many” Lee Digidub Berwick

A-Side: Spiralen - DJ Koze
It is said that DJ Koze creates musical universes - yet what many don't realize is this: the universe itself was created 13.8 billion years ago by DJ Koze, before he condescended to become physical matter. He was the force of gravity that held everything together - and today, as for over 35 years, he continues to surprise again and again, scattering his stardust across the night sky.
It's simply unbelievable.

"In your eyes, spirals are turning
They pull me deeper than any mind can reach
The world goes soft around its edges
And everything drifts into no man's land"
B-Side: "Wo's Patric?!?" - DJ Koze
The title says it all - fortunately, Patric is always there. So beautiful that he exists.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

he voice of the 1983 soul smash “Love Town” features on these two songs recorded in 1995 but only released now for the first time. Booker Newberry III was an original member of 70s soul group Sweet Thunder (“Everybody’s Singin’ Love Songs”). Mike Stevens is the UK sax player who in the early 90s collaborated and played on productions for Wag ‘Ya’ Tail (a version of “Expansions” released as ‘Xpand Ya Mind’) and Dreaming A Dream (a version of “Mister Magic” with Solar DJ Louie Martin) before joining Take That as a regular musician and Music Director.
In 1995 Booker was visiting the UK and worked on sessions which remained unreleased until now. A cassette of the songs was given to soul DJ Richard Searling in the early 2000s, and his plays over the years has lead to an insatiable appetite for them to come up. “Just Can’t Give You Up” was originally by Mystic Merlin, “I Can’t Forget About You” a soul gem Ronn Matlock first released in 1979, now both given the powerful Booker Newberry III vocal treatment only he could give.

Basking in the glow of Lightsaber, the swashbuckling synthesizer synergy of Tending Tropic, Kay-Chi and Sharlese debuts. A cross-continent collaboration that bridges the Atlantic, this group joins forces through a shared passion for italo and wave with their sound set firmly on the floor. The title track is analogue brightness, drums drive a melody that dips and soars next to Sharlese’s uplifting lyrics. Energy levels are high from the needle drop. Cymbals crash for “Timeloop.” Vocoder words are softened by gently scaling chords before generous builds give way to sparking synthwork. Disco flourishes and bongos break to spiralling notes in the playful “Luminara.” Cosmic influences radiate through key shifts and understated toms in this celebration of the night sky. “Inertia” marches to a heavy-hitting beat. Industrially dipped, the percussion is fortified by a simmering melody that spills over into a bold body-throbbing close. Despite being oceans apart, this is a partnership light years ahead.

2026 Repress

Fresh his Keysound D&B opus Blue, Sully returns to Astrophonica with four pristine slabs of breakbeat science. "Flock" places the full strength melodic elements over the faraway amen echoes in a way that's not dissimilar to early Good Looking. "Helios" is a much colder flashback to the darker corners of jungle's formative dance; all breathy minor key chords and vapour trails of paranoia countered neatly by a precision dub vocal sample. "Crystal Cuts" recalibrates the focus to the drums by way of broad jazz chord strokes while "Hours/Miles & Still" concludes affairs on an emotional electronica tip where the breakbeats thanks to a beautifully arresting intro. Powerful.

One of the best mid 70s roots tunes, reissued the way we always wanted to see it. The Officials (later known as Earth & Stone) "Babylonian" was released on a very rare Jaguar 45 as a solo vocal, but also had a lesser known release on a Dynamic Sounds compilation album. That album cut is a duo harmony vocal over a slightly different take of the rhythm, and never reissued on vinyl before. Both vocal cuts are now paired back to back in crisp master tape quality.

DJ Support: Enzo Siragusa, Traumer, Laidlaw, Voigtmann, Janeret and many more

Mateo Dufour and Cosenza return to Key Records as part of the label’s family, this time joining our second vinyl release with Sweat, representing the Rio de la Plata sound on the dancefloor.

The A-side is led by ‘Sweat’, a high-impact, peak-time track driven by a penetrating vocal and a distinct vintage character. Road-tested over the past months, it has become a true secret weapon in sets by artists such as Traumer and Enzo Siragusa. Following that, ‘Girl (I Want To)’ lowers the intensity, moving into a more groove-driven and sensual territory, creating a natural contrast within the side.

The B-side shifts into a more playful and character-driven territory, suited for transitional moments, whether at sunrise or during deeper phases of the night — perfectly fitting summer settings. ‘Why So Freak?’ stands out for its distinctive synth line and catchy vocal, giving it a strong and recognisable identity. Closing the EP, Dan Ghenacia delivers a deep and refined remix, adding an elegant layer to the release.

From peak time to early morning, just drop it and let it speak.

A record that balances impact and subtlety, reinforcing the connection between the artists and the Key Records universe.

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

"raqs", which translates to the Dari noun for "dance" is written the same way like its Arabic original made of the three root letters: ra qa sa - to dance. under this premise of cultural kinship Afghan-German producer artist Farhot is about to addanother sonic layer to his discography, this time designed for the dance floor - a space, where culture can be shared by many, which invites movement and connection.while his earlier work was heavily influenced by the various traditions of hiphop, which later was enfused with sounds inspired by his Afghan roots, on "Raqs" he explores the vibrant musical heritage of mostly Arabic speaking regions from North Africa to West Asia, where as his fascination for Somali music also took him to East Africa. Like a well versed HipHop producer Farhot"s approach to "raqs" was guided by a virtual sampling journey which allowed him to connect and fuse sounds from Egypt, Lebanon or Somalia carefully woven into an EP that stands apart from his previous work but nevertheless carries his sonic signature: productions, that can sound as complex and immense as they sound playful and simple or creating intensity through unconventional ways of chopping and distorting vocals - amongst others one will find samples of Lebanese legend Fairuz dressed in an almost experimental uptempo production. Whoever followed Farhot"s work around the release of his sophomore LP Kabul Fire Vol. 2 via his own label Kabul Fire Records will know that he releases music intentionally alway ensuring a new quality to music, especially when he samples from cultures that are often times overshadowed by conflict or simply forgotten. With "raqs" he reminds us of the rich musical traditions that always existed beyond the west. he also reminds us of the ways that music can connect beyond borders, like an Afghan producer from Germany, who loves Somali music and Fairuz.

Koaraktor is a magic nobody from the end of the street - as per his words. We know that he"s a versatile beatmaker who only produces tasteful hiphop instrumentals in lo-fi fashion. With his debut album "Hikikomori" he pays tribute to the reclused life style he chose over participating in any form of society - leaving no traces or clues about who he really is. So this hiphop instrumental album is the only way you can catch a glimpse into an hikokomori"s creative genius.

Newly signed to Heist or Hit (Westside Cowboy, Her’s, Nature TV), Georgian's forthcoming debut EP 'Crackled Grounds' reads like an anthology in the vein of The Ballad of Buster Scruggs. These aren’t just songs, but scenes, self-contained worlds that glimmer with strange detail before dissolving into mirage. “We recorded on a farm just north of Amsterdam” states James. “It gave us space and focus and helped us channel the Western feel we wanted to impress upon the tracks. Arno gave us lots of pedal board options and guitar choices. Those things in particular helped us fine-tune the sound we were chasing.” The resulting collection chronicles the ups and downs of existence and blooms with natural imagery. ‘Strike a Wound’ seethes with revenge. The slow attack on the guitars has the onomatopoeic effect of enacting each blow. ‘Crackled Grounds’ conjures an apocalyptic wilderness that wouldn’t be out of place on the ‘Kill Bill’ soundtrack. ‘Medusa’ is a parable of strong women overcoming obstacles and jolts with the energy of those early Johnny Cash Sun recordings. ‘Gardens’ lingers on the awkward tenderness of running into a long-lost lover; while ‘Californian Jeans’ pays homage to denim as talisman, armour, and second skin.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

n a career spanning over 50 years James Brown became known as a progenitor of funk music and influencing the development of many other genres. All his hit songs, hidden gems and collaborations are now bundled on Collected. It contains 29 songs, including music from his early days with the Famous Flames, the J.B.’s and a wide collection of tracks from his solo career.

Brown began his career as a gospel singer and joined a rhythm and blues vocal group, the Famous Flames, as the lead singer in the 1950s. Later on he formed his own band and released successful singles as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". While developing the funk to a new level he created the J.B.’s, with which he scored hits like "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame, the Rock and Roll Hall of Fame and Songwriters Hall of Fame. During the years he gained different honorific nicknames including "Godfather of Soul", "Mr. Dynamite", "The Hardest Working Man in Show Business" and "Soul Brother No. 1".

Music On Vinyl proudly presents a special coloured edition of the James Brown Collected compilation, which is available as a limited edition of 7.500 individually numbered copies on gold vinyl, and includes an insert with liner notes.

Sophisticated Boom Boom is the 1984 debut album by the pop group Dead or Alive. As one of the first synth-goth bands they created a new landmark with this record. Pete Burns' outrageous appearances and his dramatic singing style were characteristic for this new band.

Synthpop and dance elements were integrated in their songs. The album contains the band’s first single hit, a cover version of KC & the Sunshine Band's "That's the Way (I Like It)". The music has monotonous grunting and groaning and some decent dance rhythms can be found on this record. The other single hit from the record is "Misty Circles".

Dead or Alive gained success in the mid-1980s and sold over 50 million records worldwide. Founder and vocalist Pete Burns passed away in 2016 and since the band discontinued.

Sophisticated Boom Boom is available as a limited edition of 1000 individually numbered copies on purple vinyl, and comes in a deluxe sleeve with leather laminate finish.

Angel Witch is a pioneering British heavy metal band formed in London in 1976. Together with bands like Iron Maiden, Saxon and Diamond Head, Angel Witch is a key part of the New Wave of British Heavy Metal (NWOBHM), they are recognized as a major influence on early 1980s metal, including bands like Metallica, Slayer, and Megadeth.

The band lineup back then consisted of Kevin Heybourne, Kevin Riddles and Dave Hogg. Angel Witch's self-titled 1980 debut album is considered a seminal, influential work, and to this day metalheads all over the world sing along to the title track Angel Witch whenever it's played. The album cover features an image of a well-known painting; The Fallen Angels Entering Pandemonium by John Martin.

Angel Witch is available as a limited edition of 750 individually numbered copies on silver vinyl.

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

For catalog number 19 Rødhåd teams up with Munich based artist Polygonia. In 2025 these tracks were recorded over multiple sessions at the WSNWG studio in Berlin. The result is MAUVIER a four track EP showcasing the fusion of the two creative minds.

Written & Produced by Polygonia and Rødhåd at WSNWG Studio Berlin.
Mastered by Conor Dalton at Calyx Mastering in Berlin

a a1 MAUVIER 01 [250120]
[b] a2 MAUVIER 02 [250331.1]
[c] b1 MAUVIER 03 [250331.2]
[250401]

From his birth place in Tokyo, to New York and now Germany, Nao Katafuchi’s sound has travelled across many terrains in music. A dichotomy of tight staccato beats overlaid with sweeping gestural melodies, he leaves an electronic imprint on the mind of the listener, transferring a world of lyrical possibilities from his imagination to ours, bringing us synth full of expansive romantic sensibility.

Born out of frustration with the obsession over A-side bangers, Besides flips the script : two B-sides, where depth, detail, and personality thrive.

Same rules, new game : Caught In Between places and ideas, Namur returns to find his home on Besides.

2026 REPRESS

COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. Its addressed to the clubs and night owls out there, who turn night into day and won't stop dancing!

The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs & rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven. The four Originals are a great next step in the COEO evolution. The unique warm, catchy atmosphere of the tracks can create that special COEO euphoria which made them a lot of fans. From Moodymann to Disclosure, Mall Grab to Kenny Dope, the list is long.

It’s fantastic to see how popular they became over the last couple of years. The last COEO vinyl sold over 2500 copies and some of their tracks have millions of Spotify plays. It’s DJ FOOD. Pure bliss!

»Single #Two« offers another bite-sized portion of Muslimgauze. This one almost falls into traditional »A-side/B-side« territory, with side A containing a single buzzy, frenetic track just over 3 minutes in length. Densely looped percussion, vocal sample, and fuzzy keyboards meld together into a blurry rush.

The side B is longer, more chill, and less immediate; still utilizing the same ingredients but here spaced out, with the sampled singing only coming to prominence a few minutes in. If the first might provoke a twitch response, the second seems calibrated more for head-nodding.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Dave Wallace is one third of Aquasky, as well as a founding member of Mad Dog and Fugitive. He also released his own EP’s on Moving Shadow and R&S in the 90’s and more recently an EP on TeeBee’s Subtitles label as well as a return to the rave with various Fugitive tracks and remixes on Vinyl Fanatiks over the past few years.

But one track has always alluded a release, there was always something that prevented it from being released. Originally written in 1995, it wasn’t until 1996 that he sent it to LTJ Bukem who went nuts for it, advising Dave to speed it up from its original 156bpm so he could play it. Upon doing so, it was also sent to Fabio and the pair of them played it on Kiss, Radio 1 and various gigs and festivals across the world. Dave was just in discussions to release it when Dillinja made a Bladerunner track using the same samples. In light of that and how the hierarchy worked in the 90’s drum and bass scene, Dave decided to pull the release and the track went back into the DAT draw… for 26 years!

This track has been requested by many to be pressed since Vinyl Fanatiks started as it had such a huge fanbase, so many people loved the track after hearing it either back in the day or on copies of mixes uploaded in recent years to the internet. An extremely desired track! But there was never a B-side to it… until Dave stepped into his Fugitive guise and brought the track up to date with one of the baddest basslines we have released on the label.

Join us as we take you on a ride from the smooth to the ruff!


Its all an expression!

7 Inch Vinyl in Picture Sleeve

Jazz legend Grady Tate steps into silky soul territory on this essential two-sider. Both tracks — long sought-after by collectors and selling for over £300. The tracks showcase Tate’s smooth vocals and tight production, blending jazz sophistication with soul warmth. The A Side is a hyper rare version of Jon Lucien’s Lady Love, where the B Side is his version of Van Morrison’s Moondance - essential soul. Remastered and Redesigned labels and sleeve.

Tim Reaper cited My God as his favourite jungle tune so we had to see if he fancied remixing it for us. And we think this is possibly the best remix he has ever done - but we are biased somewhat!

Then on the flipside Da Big Dawgs came back to the kennel - the original Mad Dog hit the studio together for the first time in over 30 years. Dave Wallace and Shaun O'Hara absolutely loved doing this remix and working together again - so hopefully we will see more new music from them as either Mad Dog or Fugitive in 2026.

Pressed on 10" vinyl. Handstamped vinyl and sleeve and comes with a 3mm spine black housebag.

LP in Picture Sleeve

Following his acclaimed gospel compilations, Greg Belson digs deeper into the private soul and R&B world with The House of Beauty — a stunning new compilation focused on independent releases tied to chicago’s HOB label. Beautifully remastered, this Celestial Echo release tells a story of DIY soul at its purest and Carmen Murphy’s legendary work. An RSD 2026 special that embodies the day’s spirit — discovering overlooked voices and celebrating the communities that brought us some of the best gospel soul. 1xLP, Picture Sleeve, Remastered.

Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.

From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

7 Inch Purple Vinyl in Picture Sleeve

‘Red Moon’ is Alannah’s second solo single and marks her first ever physical vinyl release. The song reflects on growth, misdirection and self-reconnection, told through a woman looking back at her younger self. Written on a quiet beach in the Algarve, under a striking red moon, the moment became the catalyst for the lyrics, carrying a deep, spiritual stillness into the music. Alannah is a 23-year-old singer-songwriter whose sound blends RnB, jazz and hip-hop with soulful, storytelling vocals. Influenced by artists such as Sarah Vaughan and Billie Holiday, she views songwriting as a form of emotional release and shared healing. With performances at iconic venues including Ronnie Scott’s and Pizza Express Jazz Club, her voice carries a timeless energy, full of heart, vulnerability, and quiet power. Stanley Hood’s remix reimagines ‘Red Moon’ into a moody Deep House cut. Alannah’s layered vocals float over warm keys, late-night percussion, and thick, club-ready production, shifting the emotional core towards the dancefloor while preserving the intimacy of the lyrics. Supported across specialist radio and tastemaker sets. Released as a Record Store Day exclusive on coloured 7" vinyl with full picture artwork. Strictly limited run. When it’s gone, it’s gone.

Ja:ck is an artist who moves beyond fast-paced trends, focusing instead on a clear, driving vision. His releases on the renowned label Cocoon Recordings represent an uncompromising sound that balances hypnotic techno and energetic club dynamics. With a keen sense of tension and atmosphere, he has developed a signature style over the years that works as effectively on large floors as it does in intimate sets.
His new track, Dinamo, perfectly encapsulates this energy: pulsating, powerful, and precisely crafted. The track builds with subtle intensity before erupting into a forceful, captivating movement designed for the peak time.
Notably, Ja:ck has been supported for years by techno icon Sven Väth, who consistently integrates Ja:ck's sound into his sets. This ongoing backing underscores not only the quality of his productions but also his relevance within the international scene. With Dinamo, Ja:ck delivers another clear statement: raw, direct, and absolute club material.
The Oliver Keim remix of Ja:ck’s Dinamo translates the original track into a clean, stripped-back club aesthetic with a steadfast focus on groove and energy. From the start, a driving flow emerges: precise, dry drums meet a deep, rolling bassline that constantly pushes forward. The arrangement remains intentionally minimalist, yet leaves enough room for subtle details to unfold and build tension. Finely placed breaks provide dynamics without losing momentum, leading back into powerful, controlled drops.
The remix eschews clutter, relying instead on clarity, punch, and timing. This makes it versatile enough for both intimate club settings and larger floors, fitting seamlessly into Tech House, Melodic Techno, or driving House sets. It is a modern, functional remix—minimalist in sound, powerful in impact, and strictly geared toward the dancefloor.

Ja:ck ist ein Künstler, der sich jenseits schneller Trends bewegt und stattdessen auf eine klare, treibende Vision setzt. Seine Releases auf dem renommierten Label Cocoon Recordings stehen für kompromisslosen Sound zwischen hypnotischem Techno und energetischer Club-Dynamik. Mit einem feinen Gespür für Spannung und Atmosphäre hat er sich über die Jahre eine eigene Handschrift erarbeitet, die sowohl auf großen Floors als auch in intimen Sets funktioniert.
Sein neuer Track Dinamo bringt genau diese Energie auf den Punkt: pulsierend, druckvoll und gleichzeitig präzise ausgearbeitet. Der Track baut sich mit subtiler Intensität auf, bevor er sich in eine kraftvolle, mitreißende Bewegung entlädt, gemacht für die Peak-Time.
Besonders bemerkenswert: Ja:ck wird bereits seit Jahren von Techno Ikone Sven Väth unterstützt, der seinen Sound immer wieder in seine Sets integriert. Diese kontinuierliche Rückendeckung unterstreicht nicht nur die Qualität seiner Produktionen, sondern auch seine Relevanz in der internationalen Szene.
Mit Dinamo setzt Ja:ck ein weiteres klares Statement : roh, direkt und absolut clubtauglich.

German Text:
Der Oliver Keim Remix von „Dinamo“ von Ja:ck übersetzt den Original-Track in eine klare, reduzierte Club-Ästhetik mit konsequentem Fokus auf Groove und Energie.
Von Beginn an entsteht ein treibender Flow: präzise, trockene Drums treffen auf eine tiefe, rollende Bassline, die sich konstant nach vorne bewegt. Der Aufbau bleibt bewusst minimalistisch, lässt aber genug Raum für subtile Details, die sich im Verlauf entfalten und Spannung erzeugen. Fein eingesetzte Breaks sorgen für Dynamik, ohne den Drive zu verlieren, und führen kontrolliert zurück in kraftvolle Drops.
Der Remix verzichtet auf Überladung und setzt stattdessen auf Klarheit, Druck und Timing. Dadurch funktioniert er sowohl in intimen Clubsettings als auch auf größeren Floors und lässt sich vielseitig zwischen Tech House, Melodic Techno und treibenden House-Sets einsetzen.
Ein moderner, funktionaler Remix, reduziert im Sound, stark in der Wirkung und konsequent auf den Dancefloor ausgerichtet.

A raw, groove-driven selection of previously overlooked 1990s recordings by legendary Turkish jazz impresario Okay Temiz, compiled here for the first time.



As the story goes, throughout the 1990s, Okay Temiz roamed the nights of İstanbul in search of rhythm — moving through its far corners, from the seedy underbelly to gypsy neighborhoods, from the outskirts of the city to smoke-filled taverns where cigarette haze turns into a living cloud atlas — capturing a largely unknown and maverick period of his work.



Compiled by long-time producers Haluk Damar and Erinç Güzel, the album brings together Turkish folk textures, İstanbul tavern sound, spiritual jazz, raw street groove, and flashes of Turkish psychedelia — with moments shaped by Temiz’s own distinctive vocals. The result is a deep, percussive, and highly playable set.



Positioned between global jazz, rare groove, and dancefloor material, İstanbul Groove is a strong crossover release with appeal across both listening and DJ set contexts.

RICE TBC

Songs Before Bed (2022) marks Otto Benson’s first physical release under his own name, following earlier
work under aliases including Memo Boy, OTTO, and Pudding Club.

Originally published as a digital-only release through Otto's own WNOADIARWB website and platforms on
New Year's Eve 2022, Songs Before Bed bridges the gap between the more experimental psychedelic
electronic works of OTTO and his most recent release, the acclaimed Peanut, released on NYE 2025.
Blending brief pop fragments with melodic bedroom guitar, droning ambient shoegaze textures, and blissful
IDM jaunts reminiscent of the Rephlex catalog, the album offers a seamless overview of Otto Benson's
genre-defying sound. Originally conceived as a late-night record, Songs Before Bed (2022) rewards
listening at any hour.

Remastered for vinyl by Stephan Mathieu and pressed on Sonopress EcoRecord, an environmentally
conscious alternative to PVC, special care was taken by Palto Flats and Otto Benson to make a sustainable
product without sacrificing sound quality.

Get The Hose is the fabled, long awaited debut release from Montreal duo Plumbing, featuring Martyn Bootyspoon aka Jason Voltaire (Fractal Fantasy/LuckyMe/Fool’s Gold Records) and Stephen Ramsay of Young Galaxy (Paper Bag Records/Smalltown Supersound).

Born in 2018 as a live, analog hardware-based studio project, the duo worked quietly on the periphery of the left-field electro scene, only venturing out to do occasional, legendary winter warehouse DJ sets and a still-vaunted live set at MUTEK in 2021, which was so visceral that it knocked every person present into their seats simultaneously.

As cheeky and playful as it is gritty, relentless and overdriven, Plumbing’s new EP showcases their love of the raw and grimy, bare-bulbed basement aesthetic of underground dance music, where Paranoid London, Drexciya, MMM and Blawan meet to steal your drink and ignite the dancefloor.

It’s getting hot in here, it’s time to Get The Hose…

The craft of making music and the exploration of new methods for creating sounds were at the very heart of producing markmechanik’s LP “Invest in Rest”. The months-long production process led to one key insight: music is a tool. And this tool opens up possibilities for slowing down, sets a counterpoint to the fast-paced digital age, and leaves intellectual overthinking behind.

In his second solo release, markmechanik fully dedicates himself to blending sampling with digital and analog sounds. Between the sounds, you can hear the celebrated time spent in the studio—the playful tinkering with sounds and devices has been distilled into the LP’s eight tracks.

This release is an act of breaking out of conventional categories for Seismic records. Established boundaries of genres are completely dissolved into an unpredictable flow of sonic associations. It’s an unexpected collaboration, yet it makes perfect sense from the first kick. Two artists from seemingly opposite ends of the musical universe come together to create a project which fearlessly embarks on the synthesis of hypnotic trance-techno and utter sonic chaos. This project is anything but predictable.

The duality is noticeable from the very first moment. One side brings relentless movement forward in the project: a raw, hypnotic pulse based on rhythm and precision, locking the listener in the present moment and not letting go. Unpredictable textures and psychedelic ornaments are constantly weaving through the rhythmic framework.

A dedicated listener may recognize that the whole EP carries the legacy of David Lynch’s work. The sense of peculiar uneasiness and indecipherability, overridden by the desire to find out what comes next, are exactly what the artists manage to capture and what is so characteristic of Lynch himself. At one point, the EP even reveals a moment as if a red curtain parts in the depths of the track and the listener momentarily catches echoes from the town where owls are not what they seem. Hidden within is a playful nod to the iconic Twin Peaks soundtrack.

Zeb & Scotty without a doubt belong to the unsung heroes of the Jamaican-Caledonian underground, running tings during sound system nights all over Scotland in the 2010s – most notoriously for Mungo’s Hifi in Glasgow and Big Toe’s Hifi in Edinburgh. Wherever a heavy bass could be heard through wet nights, you could be sure the duo was tearing the place down inside.

Always getting the vibes best on a small stage next to a blasting rig, their vinyl releases remained scarce however. Luckily one of their magic moments, “Bring Di Sensi” on a Jahtari 8bit chip hop jam, was captured on tape in 2008 at the Glasgow School of Art during a Mungo’s Hifi session.

Now pressed to fine 7″ wax with an all new Dub cut on B and alongside beloved oddball reggae outro “Roll That Shit“, this heavyweight delivery is scheduled to arrive at all sound systems shortly!

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

i 9Overworld (Battle) original Soundtrack Version
[j] 10Battle (Shrine) [original Soundtrack Version]









[i] 9Overworld (Battle) [original Soundtrack Version]
[j] 10Battle (Shrine) [original Soundtrack Version]









[i] Overworld (Battle) [original Soundtrack Version]
[j] Battle (Shrine) [original Soundtrack Version]

Straight out of the Hungarian underground and straight onto marbled wax, Daniel Meister delivers his debut for Dubøka with the Euphoria EP, three tracks built for the dance floor.

Raw, hypnotic, and unapologetically groovy, Meister’s originals lock into that perfect sweet spot: driving basslines, and crisp percussion to keep the floor locked in. This is proper main-room business.

Rounding out the package is a special remix from Swedish veteran Chris Llopis. He takes one of the cuts and injects his signature warmth and swing, stretching the groove into something even deeper and more hypnotic, a proper late-night weapon.

Pressed on 140g marble vinyl, limited run, no repress planned.

This is the fifth chapter in our vinyl series and easily one of the strongest yet.

Support the label, support the artists, and get this one in the bag before it disappears.

Available now via selected record stores worldwide.

Dubøka Records – keeping the underground spinning since day one.

DBKAV003 – Daniel Meister – Euphoria EP

Out now. Play it loud.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

2026 Repress

Here's to a special one..

Ashtar Afterhours is Kenneth Graham - originally from Los Angeles, he has been a defining presence in electronic music ever since the 90s. Buying his first classic synthesizer, a Yamaha CS01, in 1984, he delved into music production at an early stage. Kenneth put out over 40 releases over the years- under his own name as well as stepping up under various aliases- Estelle Montenegro, KG Beat, Exit Strategy and many others. Kenneth also formed some super-groups together with friends, his Sun Children / Sunkiss project- together with David Alvarado- put out highly influential music on legendary Peacefrog Records.

Body Music was originally released on Plastic City in 2001 and it has been a Smallville favourite since a long time, so we are super happy to present this beauty as a repress, as always with a full cover artwork by Stefan Marx.

All tracks written & produced by Kenneth Graham, B3 w&p by Kenneth Graham & Gabriel Ortega
Vinyl cut by Helmut Erler at Lathesville

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

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

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

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

Always lurking amidst the underground Porto music scene is Spitbender, the most stable moniker of the ever-morphing Francisco Antão. Spin gathers a collection of tracks that demonstrate his experimentalism & coy sonic precision. Spitbender takes cues from Jungle & Hip Hop producers to create his own unique blend of Downtempo. What becomes clear throughout the album is the attention to detail: it is infused as much by Industrial's red-line spectra as it is by the dubplate logic of the Darkside Continuum, yet it does so at its own tripped out speed.

Spin begins with the laid-back but constantly shifting 'Global Overgroove'. Its breakbeat science moves in & out of DSP glitch-work & dub reflections. When its slinky bassline melody arrives, a certain dread sets in.

'Weyward Fold' drops into a driving, hard-edged chug, threaded with snippets of Malcolm X's disobedient pedagogy. The momentum carries into 'Headnod Doctor', where the bass distortion thickens & the cymbal circuit is overloaded, landing somewhere between Hip‑Hop grit & metal weight.

Side A ends with the downtempo roller 'Dogs and Moles (Skylurk Mix)'. The familiar break drifts into new territory, pulled along & wrapped in a slap-back echo. A quirky melody cuts through the haze, giving the track a fresh tilt. The mulch of the track forms a steady, unhurried pulse.

Spitbender's spacious atmospherics & groove-focused approach comes further into focus on 'Nothing Here But the Recordings'. Creating his own chapter in the book of Trip Hop, his minimalist touch is laid out in full.

'Force the Hand Ov Chance' pulls Boom Bap gently into dub mechanics, letting space do the heavy lifting. Its simplicity hides a deep pocket.

Returning to broken-up distortion, 'Mirrors of Flesh (Dub Mix)' finds Spitbender using the mixer as an instrument to push & pull the heavy drums of Benjamin Brejon of Méchanosphere alongside the voice of Rui intoning the title phrase.

Sitting between the album's two poles, 'Out Take Dub' fuses the clipped‑obsession timbres of Spin's heavier moments with its blissed out flow. Feedback & distortion are welcomed & drawn long.

In the end, Spin hits like a fully formed statement—lean, focused, & unmistakably Spitbender. Every track pushes its own angle, but together they land with a clarity that feels earned. It's a sharp marker in his trajectory, & it leaves a charge in the air.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.

OTON releases limited edition vinyl and CD box set of Alva Noto's Xerrox series.

Pioneering in his approach to digital sound and its materiality, Alva Noto (Carsten Nicolai) began his ongoing exploration of sampling, degradation and recontextualisation with the Xerrox series in 2007. Over the years, the project has evolved into one of the most distinctive bodies of work in contemporary electronic music, situated between minimalism, experimental sound art and digital abstraction.

Across five albums, Xerrox Vol.1 (2007), Xerrox Vol.2 (2009), Xerrox Vol.3 (2015), Xerrox Vol.4 (2020), and Xerrox Vol.5 (2024), Nicolai's method evolves from sample-based work toward original composition as he deconstructs and reassembles source material into precise, sculpted sound worlds that are at once minimal and emotive.

Remastered in collaboration with Bo Kondren of Calyx Mastering, the Xerrox recordings of Volumes 1, 2, and 3 are made available alongside Volumes 4 and 5 on vinyl and CD under the title 'reMASTER', presented in a beautifully designed box featuring original artwork by Carsten Nicolai.

Future Tones is back... this time with Fdez, label co founder. Four dancefloor killer tracks, and starts with Dr Blowfin, Dark and driving techno house tool. Rolling sub-heavy bassline, tight percussive groove and raw analog synth stabs.

The A2 is for Techcontrol, Stripped and hypnotic. Minimal drum programming layered with evolving analog textures and shadowy vocal fragments.

The other side starts with Sarcofago, Heavy low-end pressure with a punchy groove. Italo-tinged atmospheres and dusty analog sequences create a moody peak-time cut with steady progression.

And B2 is for Zigurat, Killer closer. Deep pulsating bass, restrained percussion and haunting vocal elements floating over warm analog pads. Perfect for late-night transitions and controlled energy shifts.

‘Perfect We Are Not’ the latest track from Soulwax, emerges directly from the band’s recent Abbey Road After Hours project - a unique collaboration with the iconic London studio that saw Soulwax take over the building for a series of recording sessions and a landmark live event.

Working across Abbey Road’s historic spaces - from Studio Three, to Studio Two, to Studio One - the band used all three rooms as a continuous creative environment, moving fluidly between them in pursuit of new material. It was within these sessions that ‘Perfect We Are Not’ was written and recorded with their full live band (including three drummers).

The track was cut using the studio’s vast array of analogue equipment before being pressed direct to vinyl and played as the opening moment of their 2manydjs set inside Studio One

Now released as a standalone single, ‘Perfect We Are Not’ carries that immediacy forward — a driving, full-bodied track that reflects the band’s instinctive, performance-led approach in the studio, and will also be released as a limited edition 12” via DEEWEE.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Oath sub-label Last Year At Marienbad is proud to present the latest spellbinding work from producer Holo, 'Astro', a record that emulates never-ending ethereal, emotively pure, and endlessly danceable frequencies…
Berlin-based Holo makes dance music that speaks in carefree whispers, through a brilliantly constructed sound that leans as much on the hypnotically emotive as on the core fundamentals of composition.
'Astro' is the next phase of his musical journey, and as a contained experience, it gives over all that Holo has become celebrated for, alongside explorations of invigorating spaces in which his sound has grown. The title track is an airy, free-flowing affair, with its semi-stepping drum pattern providing the frame for the light chimes of the keys to set the soul going. 'Spirits' ups the ante with its tempo change, its direction more towards a dancefloor in some faraway paradise.
'Sympatika' kicks off the B-side in a similar fashion, with its extensive groove fuelling bated breath for the arrival of the synths. 'Cycles' wraps up the EP, which again shifts focus to a more cavernous, absorbing kind of sound. A final blend of audio excellence that wraps up a one-of-a-kind record from a one-of-a-kind producer.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

Colophon creates electronic music using synthesizers and drum machines from the '80s and '90s that are no longer in production. Everything beeps and crackles, shaping atmospheric soundscapes layered with deep basslines and melancholic pads full of character.

'Dimension Six EP' delivers a six-track journey, moving through techno, acid, slow burners, and ambient. Imperfections are left intact, giving the music a raw, human feel rather than something overly clean, clinical, or artificial. It's the meeting point between old and new technology that makes the process so fascinating and inspiring - the endless places you can go, discovering new sounds within sounds.

Alongside producing music, Colophon also runs 'Loop of Life', a record label where music, fine art, and graphic design converge, releasing limited-edition vinyl with handmade artwork covers.

Reviews
'The excellent, excellent sounds of Colophon' Ben Sims on NTS Radio, London
'My favourite tracks of the moment' ASOK on Rinse FM, London

,,Hologramm" is the new EP by Schwefelgelb.

Remix contributions by Nastia Reigel and Norbak make it a 5 track Techno heavyweight.

An intriguing combination of positive, joyful atmosphere and gritty, pushy sound aesthetic spans all over the record. "The Show" and its euphorigenic rising stabs appears like what could be transformed into an Euro Dance anthem easily.
Yet the aware and well curated production holds it firmly in the zone of Techno and House underground. Speaking House, here's "In Mein Glas" - a sportive track with an irresistible bounce foiled by a lackadaisical vocal line, which gives it a comic twist.
As "Fieber" keeps the bounce we're getting a little more aggressive again: a delicate distortion, a dominant bass and a groovy drive. In all these 3 original tracks it's the melange of melodic motives, vocal highlights, crispy production as well as versatile creative details, which creates this specific sound that gets you hooked. It is lightness however wrapped in an Industrial musical language.

That said, the remixes proof how a new energy can be revealed by more minimal re-interpretations. Nastia Reigel, getting hands on "The Show", pushes drums and a fresh rhythmic play of vocal chops into the foreground. A sparse break followed by a powerful drop adds a strong climax. Norbak's approach on "In Mein Glas" takes the melodic motive and embeds it into a dubby space, not giving up on the hard-hitting kick.

"Hologramm" will be released on 140 g colored vinyl and digitally, April 10th, on n-PLEX.

2026 Repress

We feel like Frank & Tony and Smallville have been on the same musical wave-length since forever. Our musical paths have crossed back and forth over the years and we have always shared a lot of the same values- steadily putting out quality music, that stands the test of time - growing consistently - never stop following our very own way - always not-following trends forever..
Frank & Tony is the collaborative guise of Scissor & Thread co-founders Francis Harris and Anthony Collins aka Grant. Both have long been staples of the underground with material under their own names and numerous other guises shaping the musical landscape of House Techno and beyond since the turn of the millennium. Both lived together in New York and as Frank & Tony the pair have delivered multiple albums and many EP’s on their own label, Tokyo’s Mule Musiq and Pacific Rhythm- now they are warmly welcomed onto the Smallville Records roster with their latest collection of works.
‘Ways Of Mine’ leads on the A-Side and showcases the pairs signature deep hypnotic house style via soft billowing pads cascading metallic chimes psychedelic spoken word and dreamy dubbed out keys floating atop a robust bouncy rhythm
section.To open the flip-side title-track ‘After All’ lays down a subtly blooming chord sequence shuffled drums and bumpy bass stabs at its core all subtly nuanced while the latter half introduces more dynamic rhythmic elements and intertwined melodic touches. ‘Dimension’ then concludes the release diving deeper with saturated ethereal pads and bubbling resonant arpeggio lines alongside heavily swung crisp drums jazzy keys and delayed vocal chants.
After All comes with a full cover artwork by Stefan Marx.

All tracks written & produced by Francis Harris & Anthony Collins
Mastering and Vinyl cut by Helmut Erler at Lathesville

Near the end of fifth grade, Eli Edwards’ mom gave him $20 and told him to go find a friend. His team had won its soccer game that day, so they were out celebrating at a local pizza parlor with games. But, more importantly, there had been one other Black kid that day on the pitch in Spanaway, WA, a Tacoma suburb and military-base town at the rainy northwest corner of the United States. That kid just happened to be Xayvien Young. An instant deep connection was formed between Edwards and Young—Eli and Xay, as they prefer to be called were inseparable— and now twelve years later they are the electrifying, boundary-skipping duo Casi.

Along the way, Eli had relocated to Los Angeles with the indie rock band Enumclaw he had helped found, but he found himself flying home maybe a little too much. He was ostensibly visiting his girlfriend, but he spent most of his time with Xay. They cut tracks in every bit of free time they found until they had an epiphany: Maybe this music they’d made together for a dozen years was actually something special. Casi’s 10-track, self-titled debut out on Carpark Records is the electrifying proof they needed.

On the record, they enthusiastically explore every musical interest they have ever had—explosive hip-hop and unbridled hardcore, high-gloss nü metal and a little bit of emo—as a pair. These songs don’t ignore genre lines; they delight in destroying them, in finding ways to slam hip-hop and hardcore, emo and nü metal together until it seems illogical that they were ever apart. Take “Jumper,” where heavy metal guitars and face-kicking drums stir the moshpit for rabid verses about crushing ICE and the lessons you learn riding the poverty line. And take closer “Bridges,” where the melodic imprint of Deftones meets the relentless confessions of Death Grips. Here are the hard, funny, and loud stories of two 23-year-olds, screaming about the world over a breathless composite of all the music they’ve ever loved.

When Eli was in Los Angeles, Xay missed his friend. But in his absence, he also felt the spark of inspiration. Music was something that had just been their childhood hobby, but now Eli was in a rock band that had press accolades and tours. He got serious about the craft. Eli would write about the dislocation and isolation he felt in California, while Xay would document the hardships of being a young Black man with a complicated family while working menial jobs in Spanaway.

This isn’t a coming-of-age album for Casi; it is, instead, a raw and riveting snapshot of that process, painful as it can be. “Eleven87” is a breakup song, a soul beat springing beneath arching emo vocals. And “Intrusive Thoughts” treats that topic like a punching bag, Eli and Xav fighting against the mental habits that keep them down. These 10 songs instantly close that gap.

(*Previously unreleased)

Two lost cuts from the orbit of Tony Humphries surface at last, pulled straight from acetates in his private archive and pressed here for the first time. Unearthed like messages from the booth itself, they capture that raw, transitional moment when club music was still inventing its own language night after night.
On the A-side, Kerri Chandler with “Kerri Kaoz Beats”, a stripped, swinging tool full of basement pressure and early-morning intent. No excess, no compromise, just Kerri doing what Kerri does best. Flip it over for Dee Dee Brave – “My My Lover (Tony Humphries Dub)”, a previously unheard Humphries reconstruction that stretches the vocal into something deeper, moodier and unmistakably floor-ready. Spacious, patient, and quietly euphoric.
Two pieces of house history that never made it past the acetate stage until now. Not revisions, not edits, but originals finally stepping into the light. Essential documents from the roots that still point forward.

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.

‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.

The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.

From the coastal city of Paramonga, three hours north of Lima, comes one of Peru's most electrifying and unjustly overlooked stories. Victor Ramirez and his band forged a sound that fused cumbia with guaracha, salsa and guaguanco - psychedelic guitars, wah-wah pedals and Fender amplifiers driving rhythms that conquered first northern Peru, then the capital itself. Spread across four sides, this lovingly assembled compilation draws from their two landmark albums and their 45 singles catalogue, so it is a full colour capture of Los Orientales at their peak. A complete portrait of a band that helped define modern cumbia is long overdue.

We welcome Blade back to Metalheadz for his second release, the 4 track 'Times Gone Bye EP' arriving on Metalheadz Platinum vinyl.

Drawing influence from across the spectrum, from foundational artists to contemporary producers, Blade channels those reference points into a sound that feels rooted in the past but firmly present. There's a looseness to his process that gives the music its character, something that has remained consistent throughout his discography over the last 15 years.

With releases on now legendary labels like Kazumi or Holzplatten the Japanese producer Yamaoka has been rooted in the Techno scene since the late 90s, even though the stylistic range of his entire body of work over the past decades exceeds pure dancefloor functionality by far. Originally released via the Leipzig-based underground label Minor in 2017 the two tracks on this super limited 7“ vinyl release capture a raw, hounded and unpolished high octane take on Techno which is rarely to be found these days with especially the B-side cut „Low“ presenting an absolute peaktime weapon for the adventurous and experienced DJ's out there.
Never officially distributed before and only known and recognized by a few well informed selectors out there this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.
Limited pressing of 100 single copies on blue vinyl.

Vaalbara EP - Franco Rossi Sine Space 7 - Release date: 19 June 2026 - Vinyl

Franco Rossi makes his Sine Space 7 debut with Vaalbara, a five-track vinyl EP (including one vinyl-exclusive cut) that lands the Argentine producer firmly in the label's hypnotic and driving orbit. Following recent releases on Soma Records, MindTrip, and Secession, Rossi arrives with a record that feels both unmistakably his and right at home in the Sine Space 7 catalogue. His productions have already found support from the likes of DVS1, Richie Hawtin, and Setaoc Mass.

Opener Rodinia sets out raw and patient, with two rising builds carried by strange synthetic patterns over a darkening drone. Title track Vaalbara drifts on a modulating high synth line, locked into a hypnotic lower-frequency pattern that pulls the two registers into quiet synergy. Paramo keeps the floating quality but leans darker, with raw drums anchored by finely distorted rides and a backbone of dense texture. A Quemarropa pushes further into ear-candy territory. Distorted rides again, punctuated by one strange, track-cracking sound that refuses to let the listener settle.

The vinyl-exclusive closer Mar Adentro is the weight-bearer, a rolling low-end drive punctuated by a sub-heavy synthetic hit you feel in the chest.

Mastered by Robin Van Genechten at Wanton Mastering. Artwork by Norwegian macro photographer Petter Lilleengen.