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Released first as three EPs, 9PM, 12AM and 3AM, each explores a different moment of the night, from the anticipation of getting ready, to the unifying energy of the dancefloor, and finally the conversations and reflections that linger long after the music stops. Together, they culminate in The Night's Not Dead, a complete body of work that celebrates nightlife as far more than a party.

The duo Jolie Gentiane come to us straight from a wild and unpredictable mountain peak, a perched place far from civilization, where the beauty and cruelty of mother nature reign but harmonize the elements. They walk the high, steep paths, looking down on the chaotic and industrial world. This increasingly smoky world, which, from the top of the mountains, looks metamorphosing dangeroulsy, but would only need a few changes to make it less crazy. Or perhaps infinitely more so. Jolie Gentiane is a skilful concoction of sound and daring. Unclassifiable, impalpable, the contemporary embracing the tradition and the acoustic swinging with the electronics. Autotuned/vocoderized vocals, 4th world, kitsch sax, psychedelic arpeggios, acoustic guitar, techno, it's all there: the story told by Jolie Gentiane on this album is rich and complete. Nature, love, celebration, struggle, work. Yes, even work. Because the energy deployed to create this album was surreal, patient, extremely methodical, and the abnegation of the protagonists has been vertiginous: the cliff of the highest peak is finally climbed. This album is like an ode to the earth, to the respect we owe it, an ode also to music in its purest essence, that which does not confine itself to borders, but shout for federation, dance and uprising.

2026 Repress

Prologue: Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs. I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching. 'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.' --

After 10 years of Andy Shauf"s The Party... it"s time for the afterparty. The Party (10th Anniversary Edition) adds nine never-before-released tracks to the original studio version of this essential indie album of the last decade, including two brand new songs plus alternate cuts and demo recordings. With The Party, Shauf masterfully creates a cast of memorable and unique characters. They show up "Early to the Party," reveal secrets ("To You") or try to reveal nothing ("The Magician"). In "a city the size of a dinner plate," everyone knew the guy who keeled over after smoking what he promised would be his last pack of cigarettes ("Alexander All Alone"). There"s the girl dancing by herself in the middle of the room, with the "Eyes of Them All" upon her. One moment you"re dancing with someone who bears an uncanny resemblance to your ex ("Martha Sways") and later slagging your best friend as way of endearing yourself to his recently dumped ex ("Quite Like You"). All of this is set to ornate arrangements of fuzzed-out guitars, string sections, clarinets and dreamy synths, all draped over delicate piano, acoustic guitars and rainy-day drums.

Jus-Ed's Underground Quality label has been living up to its title for more than 20 years now. The brief is simple - deep, smoky house music with soul, and it keeps coming at a steady rate from a blend of newer names and more established stars. Next up this late summer is a three-part remix package that revisits a gorgeous original by Nathalie Capello and Rose Lonegran. TrackHeadz kicks off with a nice swaying and dubby rework that is blissed out and spine-tingling, while Melchior Sultana taps into a melodic and Mediterranean sound perfect for sunset. DJRYDER's closer is a more percussive and prickly affair and Patrice Scott locks you into a zoned-out, late-night roller. Top-notch deep house.

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

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

Nach dem TETZLAFF-Comeback AUTOMATENHALLE folgt nun eine außergewöhnliche Reise mit der neuen Langspielplatte INTERKONTINENTAL!

The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.

The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.

The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.

The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.

Emerging from the dark Olympic forests with a new album and a full bag of chanterelles, fish narc's Ben Funkhouser has shifted the damp melancholy characteristic of his earlier work towards the sun. Uncle is at once a cry of resignation ("say uncle!") and a declaration of seniority, a set of observations steeped in the blues of youth, delivered with Westerbergian inclination. Recorded and produced by Alex Farrar, the album's 11 tracks bear the hallmarks of his style: textured rock `n' roll somehow both raw and polished. Neither waxing pathetic nor sugarcoating, fish narc and the band are at peak form on Uncle, strumming out the complexities of aging with the conviction of a group that's fully found its footing in well-crafted rock and powerpop. Uncle KLP313, is a culmination of the punk rock musical work fish narc has done in his native Northwest environs. Says Funkhouser, "I feel like Uncle is the best record I've ever made. The songs grew without changing, the textures are spot on, and Alex [Farrar] and I saw eye to eye about almost everything. The album represents what I want for my band and songwriting and is the touchstone on which all my future work will be based." fish narc is a rocker and producer from the Pacific Northwest, recently relocated to Los Angeles. As a member of GothBoiClique, his innovative guitar playing became iconic of the group and helped shape the style of the movement that they pioneered. As a songwriter, fish narc leans more on influences from SST, K and the diy scene he grew up in. Catch him with a full band for the true intended experience. Previous records include WiLDFiRE in 2020, Camouflage in 2022, fruiting body [KLP295] in 2023 and frog song [KLP298] in 2025. This autumn fish narc will tour the United States with his punk horde.

Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more

Healing Patterns is the debut full-length release on Appendix.files from Clima, following 2025's Transient State EP. Written between 2025 and 2026 during a period of chronic illness, the seven-track LP translates physical restriction into deep, spacious electronic compositions. Using palatial pads, slow-decaying echoes, and bodily low-end, Clima reminisces over residual club ambience and shared listening experiences with friends.

The record moves from the gradual, dub-heavy pressure of "Weight" through ASMR-like vocal glitter and tight rhythmic clusters, before dissolving into the quiet introspection of the title track's theme. Healing Patterns is a patient study in focus, repetition, and the spaces left behind.

Artist Info: Clima is an experimental electronic music project exploring spatial sound, texture, rhythm and the emotional residue of club culture. Their work moves between ambient environments, dub-weighted rhythm and abstract electronic composition, with a focus on deep listening and subtle shifts in perception.

Superfan is the songwriting veil of Kali Priya Flanagan, the Brooklyn-based multi-instrumentalist and producer. While initially imagined as a solo act, ambitious string arrangements crafted in collaboration with cellist Omeed Almassi have come to define Superfan’s noisy and magnetic pop soundscape.

Today, Superfan announces their forthcoming album ‘My Piledriver Heart’ (MPDH), out October 16 via new label home AD 93 (Joanne Robertson, Dagmar Zuniga, YHWH Nailgun). Along with the announcement, Superfan presents his new single “In the Gold Room” paired with the live version filmed by Garrett Winston inside Agger Fish Building in the Brooklyn Navy Yard.

MPDH marks the first release outside of the record deal Flanagan signed at age 14. The album finds Flanagan embracing a more expansive, experimental vision of indie rock - melding deeply tuned acoustic guitar, cello, and Eastern musical influences into what he calls his “Acousticello” sound. Recorded largely live with cellist Omeed Almassi and producer Hudson Pollock, the record explores heartbreak, independence, and hopeful melancholia. Kali says “This time around it was about being (myself) versus becoming myself. This album was made to acknowledge the ebbs and flows in chugging along with life and love, from a place of comfort within the self that opens you up to the beauty in everyday life.” He does so through intimate performances that blur the line between folk, chamber music, pop-rock ballads, and alternative rock. Last year, he released the singles “Apeiron (Fantasy Football)” and “Miss W Jones” and earlier this year he released “Picture of Return.”

Following his acclaimed debut Tow Truck Jesus, Flanagan opened for The Strokes at Red Rocks, and has quietly become a fixture of New York’s DIY scene, performing alongside artists like Horsegirl, Knifeplay, and Quiet Light, while also playing support shows with King Woman and Victoryland this summer. He is also in the rising emo band Holidays in United States.

Before Superfan, Flanagan found success during the pandemic under his first moniker, “KALI.” His initial releases garnered millions of streams and led to collaborations with seasoned high-profile producers and industry teams. Despite his budding career as an indie-pop star, Flanagan was dissatisfied with the conditions of his artistic output and community as he reached adulthood. His coming-of-age years in Los Angeles were marked by an ever-present new-wave pop music oblivion: “hits” made in 5-hour sessions with strangers, a social life suffocated by others’ aspirations for fame, and an absent audience for live music that pushed past the prescriptions of recorded music. On MPDH, Kali says “I can’t help my urge to write these pop-rock ballads, but we really wanted to push the boundary of genre and expressing the sentiments of the songs through experimentation.”

British electronic music pioneer Dave Angel returns to R&S Records with “A Time And Place”, his first full-length album release for the seminal Belgian label. Arriving thirty-five years after Dave first joined the R&S family, the album reunites one of UK techno's defining voices with the imprint that helped launch his career, renewing one of electronic music's most enduring creative partnerships.



That relationship began in 1991, when R&S founder Renaat Vandepapeliere discovered Angel's ‘Rolling Thunder’ project and invited the young London producer to Belgium. Personally welcoming him into the R&S family alongside a new generation of forward-thinking electronic artists, Vandepapeliere released the landmark “1st Voyage” EP, helping establish Dave Angel as one of British techno's most distinctive new voices. A succession of acclaimed releases followed, including “Stairway To Heaven”, “3rd Voyage”, appearances on the influential “In Order To Dance’” compilation series, and releases on sister imprint Apollo, charting an artistic partnership that helped shape both Angel's career and the wider evolution of UK techno.



Three and a half decades later, “A Time And Place” feels less like a return than the continuation of a conversation left unfinished. Rather than revisiting former achievements, the album reflects the perspective of an artist whose creative journey has continued to evolve. Reconnecting with the label that first championed his work, Angel delivers his most personal and musically expansive statement to date.



Across fifteen compositions, “A Time And Place” reaches beyond the conventions of techno to reveal the full breadth of Angel's musical identity. Drawing on jazz, soul, improvisation and richly textured electronic production, the album balances rhythmic precision with warmth, melody and emotional depth. Reflections on family, heritage, nature and the communities that have shaped his life sit alongside broader observations of the world around him, creating a body of work that feels both intimate and expansive.



That openness is reflected in a carefully chosen cast of collaborators. Celebrated trumpeter Steve Waterman features on both “Réflexion” and “The Yellow Butterfly”, bringing a lyrical, Miles Davis-inspired voice to the album after first catching Angel's attention through his work on Paul Hazel's “Out Of This World”. Elsewhere, legendary Chicago vocalist Robert Owens appears on “Harmony Serenade”, while guitarist Merv Carswell and vocalist Aurii Sky (Dave’s daughter, adding a poignant family connection) add further colour and texture to a record rooted in musicianship and shared expression.



While Dave Angel's influence on British electronic music has long been established, “A Time And Place” reveals another dimension of an artist whose foundations were laid long before techno. Raised in a household immersed in live music and jazz culture, Angel has spent a lifetime absorbing sounds beyond the club, allowing those influences to surface naturally throughout a career defined by curiosity rather than convention.



For R&S Records, the album renews a relationship that stretches back to the label's formative years. For Dave Angel, it reflects both the path travelled and the road ahead. Thirty-five years after “1st Voyage” first announced his arrival, “A Time And Place” reunites artist and label with the same forward-looking spirit that brought them together in 1991, proof that the strongest creative partnerships continue to evolve.

Whilst Animalia's worldwide web of a family grows, we're also fostering relationships with our integral alumni, the ones that have helped build Animalia's identity, and made the label what it is today. A year on from part one, chapter two of Sub Basics' series has arrived, flowing organically from his 2026 release ''Wavelengths''. Familiar textures are woven throughout the release; the signature Sub Basics sound; dubby interpretations of UK techno, dubstep and tech house, all interwoven with an undefinably Animalia sound. The artists classic, rolling tunes slide naturally into the labels catalogue of psychedelic, groovy and genre bending sounds.

"Here is a tender journey through loss and rebirth — a raw exploration of grief, heartbreak, and the emptiness that follows. It unfolds the fragile moments after losing a beloved friend, the fragile attempts to mend a fractured love, and the sudden rupture that shakes the soul to its core. Amidst the turmoil, anxiety pulses and the body aches with memories too heavy to hold. Yet, slowly, the darkness gives way to light. Breath returns. Support is found in unexpected places. Memories surface through hypnotic whispers, guiding the way back to softness and hope. This is not a story of instant healing, but a delicate awakening — a reckoning with old patterns, a reclaiming of the self, a learning to love differently.

Intimate and universal, fragile yet fiercely alive."

Almost immediately after hearing the Beatles' North American debut album at eight years old, Al Di Meola decided he wanted to become a musician. Just 11 years later, he was recruited by Chick Corea to replace Bill Connors in the legendary jazz fusion band Return to Forever, together with Stanley Clarke and Lenny White. His tenure turned out to be a short one—just two years—but turned out to coincide with the group's career peak.

Around the time the group broke up, he released his first record Land of the Midnight Sun, followed by Elegant Gypsy in 1977. On this album Al showcased his prowess for fast electric guitar riffs, lyrical acoustic passages, and every technique in between. The record clearly showcases his predilection for flamenco and Latin jazz, exemplified by the record's two most important tunes: "Mediterranean Sundance" and "Race With Devil On Spanish Highway".

Elegant Gypsy is available as a limited edition of 1000 individually numbered copies on red vinyl and includes in insert.

A glorious night of no particular significance, Totally, the new album by Baba Stiltz. Recorded in Helsinki in studio with a drummer and overdubs committed in 5 days. Ballroom- sink songs of loss, grief, long drives on the I-5, centralized acquisitions, and corrective conditioning towards the prolonged effects of computerized lifestyles.

Every song looks you straight in the eyes, crooked and veering towards a light fixture off the side of the mirror. Ambivalence and assertions track us, down some gauzy networked afternoon. Relatively, perfectly, three dimensional. Proportions as they appear to us from outer intuition. Sometimes meaning is evoked through pure nothingness. Concealed and nothing known. We have no need for any paradise informed by anything beyond what is directly in front of us.

Stone repetition thwarts the possibility of control and surrenders itself to understanding. Who are we, and what are we trying to understand? To understand being universally greater than being understood. There are soap operas everywhere for those with eyes to see. You don’t have to look as hard as we currently look. The dramatic is everywhere, we breathe it unintentionally, then we come to hate it. Haptic, embodied facts of a tedious life lodged in the jowls of history. Everything under the
sky being the best bedlam has to offer. Your family, your relationships, your memory. As you eat a burger you are reminded of every sharp protrusion and corner under the florescent lights, the same lights you see when you’re born, and although unconfirmed, when you die.

Some of these songs were written years ago, some recently. The bookshelf and television set come into full view. Women/men come and go. Stars and poseurs collapse under their alienated contradictions, the search for truth yields to continued gradients of probability (collapse). Spatial order maintains itself through perceptional feeling. Silence, singing along to Roger Miller, people entering and leaving, figures hovering over you in your dreams and waking hours. Cool and fun, Totally

Text by Barrett Avner

Zum 50-jährigen Jubiläum der „Muppet Show“ singt und swingt Seth MacFarlane auf „Sings The Muppets“
beliebte Songs aus der „Muppet Show“, den Muppet-Filmen und der „Sesamstraße“ im Stil opulenter orchestraler Jazzstandards neu. MacFarlane, preisgekrönter Schöpfer von „Family Guy“ und gefeierter Sänger
im Bereich Swing und Jazz, verbindet dabei seine Leidenschaft für das klassische American Songbook mit
diesem legendären Repertoire. Mit Songs von Joe Raposo, Paul Williams und Jeff Moss sowie Arrangements von Andrew Cottee entstand das Album unter der Leitung von Dirigent John Wilson mit einem
erstklassigen Orchester im Studio der Skywalker Ranch. Inspiriert von legendären Arrangeuren wie Nelson
Riddle und Billy May, feiert das Album den warmherzigen Humor und die zeitlose Magie der Muppet-Songs.

Kvrk makes a debut on Distant Gaze with Synthetic Memories, a four-track EP exploring shadowy electronics where organic textures and synthetic forms constantly blur into one another.

Opening with Pulsewidth, the EP begins as a slow burn – a restrained piece of synthwave shaped by drifting ambience, hypnotic sequences and a steady sense of tension.

The pace gradually lifts with Void Caller and title track Synthetic Memory, pushing deeper into prog sound. Straight, driving rhythms form the backbone, occasionally dissolving into broken-beat passages, while warped synths and psychedelic details keep everything in constant motion.

Beneath the electronic framework runs something more primal: forest-like soundscapes, mystic undertones and subtly shamanic motifs give the music an earthy, ritualistic dimension.

Closing the release, Blu:sh reworks Void Caller through his signature deep and trippy approach, stretching the original into a spacious late-night interpretation with a submerged, dreamlike pull.

Community Function’s debut release presents four raw, floor-focused cuts from Detroit’s Hood: three originals spanning high-energy breakbeats and atmospheric techno-house and a low-slung, chest-rattling remix from France’s Cruise Control.
Rooted in traditional Middle Eastern music with a percussive background, Hood channels a rhythm-centric mindset through machines to deliver fat grooves, funky basslines and drums that don’t quit.
ANEMOIA opens as a lean, late-night warehouse tool locking a sultry breakbeat over a driving 4/4 pulse, bridging raw machine funk and classic electro with a cheeky vocal sample, a dominant low-slung bassline, and constantly shifting top-end percussion for unvarnished, high-energy club material. XATION shifts into heavy, driving yet atmospheric territory that blurs the line between Detroit Techno and '90s Tech House, held together inside a deeply textured sonic environment that moves between rhythm-centric and melodic structures before a massive breakdown of lush pads and warm strings lifts the floor and grounds it back in groove. PLAYTEST tracks out live with the foundational 707 and SH-101 combo, relying on a single chord, a dystopian vocal sample, and raw, on-the-fly programming to deliver a relentless, hypnotic chugger for the purists. XATION (Cruise Control Remix) closes out with a low, heavy bassline that hits the chest first, dragging bodies into its sway and taking its time to build tension before releasing it.

Theory Therapy presents “Smoker’s Choice,” the second release and first full-length from Alien D, the project of New York producer Daniel Creahan. Following last year’s “For the Early Hours of a World in Bloom” EP, the record takes on a decidedly more spacious, inward bent, with softened rhythms and arrangements given more room to breathe, folding electronics and acoustic composition into a shifting, ethereal wash.

Featuring a range of collaborations across the record, including guest vocals from his wife Ellen, Creahan’s electronics serve as a base for a series of dubwise interpolations of his collaborators’ work, from washed-out zither and bowed banjo to scorching saxophone leads.

There’s a particular pleasure in the obfuscation here, each instrument buffed into a mass of sound. A sub-bass tone might linger beneath the surface before receding into the haze; a groove can feel steady one moment and subtly shift the next. Repetition becomes less about locking into a pattern than watching it slowly change, like the same view seen through moving water.

“Smoker’s Choice” finds its depth in these small shifts, with dub rhythms, soft-edged electronics and acoustic inflections reaching something dreamlike but tactile, where atmosphere and groove are never quite separate. The record feels like a snapshot of several forces moving in slow motion – a landscape of drifting forms and blurred boundaries, where nothing feels entirely fixed.

With the fire of chariots, these moments are passing us. Preserve me with your tears, come save me from the burning years. The Burning Years. An album by Jason Priest.

The Antoni Maiovvi-fronted Jason Priest returns with new album The Burning Years. On this latest effort, the band draws influence from 90s shoegaze, indie alternative, and Britpop. For fans of Slowdive, New Order, The Cure, and Smashing Pumpkins.

Midnight Mannequin Records is proud to present Jason Priest's The Burning Years on deluxe transparent orange vinyl, complete with insert and OBI strip.

Major figure in electronic music and pioneer of cosmic disco, Space was founded in 1977 by Didier Marouani.
"Magic Fly", its first single, embodies its futuristic DNA (a melodious, cosmic and disco-inspired composition). Following its worldwide success, 3 albums were released in 2 years :

- "Magic Fly" (1977), blending melodic richness with synthetic innovation, delivered both dancefloor hits and midtempo tracks.
- "Deliverance" (1977) is a typical 70s concept album, ranging from disco to cosmic electronic music.
- "Just Blue" (1978) is a more melancholic album featuring broader orchestrations and complex harmonies.
These 3 records sold over 10 million copies worldwide.

"The Art Of Space Disco (1977-1978)" presents Space's most iconic tracks and sums up two fruitful intense years of musical innovation.

- The Vinyl comes in as 1LP Crystal Clear. It includes 4 edits : Carry On Turn Me On, My Love Is Music, Deliverance & Running In The City.
- The Double CD features original versions . It includes 2 additional tracks (Symphony, Velvet Rape) and 8 remixes (never released physically before) produced in 2026 by artists whose musical careers were shaped by Space.
- CD & Vinyl Exclusive liner notes by Jean-Yves Leloup.
- All tracks have been remastered by Alex Gopher

It's hard to explain an album when one listen is enough. All the more so with MaMaMa: there's no room to stay passive. Listening to his new album, EST, means immersing yourself in an atmosphere that's softly psychedelic, comforting and organic all at once. A dreamy, electronic pop that proves this Strasbourg-at-heart, Paris-by-adoption musician, arranger, singer, songwriter and producer never stops reinventing himself. After changing his name — formerly Petit Prince — and delivering two critically acclaimed albums ("MaMaMa-gnificent." / "Hooks you carry in your head for a long time" / "sumptuous arrangements"), Elliott Diener now offers an even more sincere record. Real songs in French, after two albums where production sometimes took up all the space: "when you make heavily produced music, once you strip away the layers of sound, there's no fruit left underneath. On EST, I don't need makeup for the songs to work," he admits.


That's what this new album is about: the song and the French language first, then the pleasure of sound. An album less concerned with talking about its own making, more inhabited, more embodied, within a contemporary folklore. With this new album, don't expect to be bored: EST is his best record yet.

No pretense


Entirely conceived in his studio in Pantin — a room of his own, at last — imagined as a space free of any daydream, open to every sonic landscape, MaMaMa offers a record that's both hazy and downy soft. Often composed very early in the morning, it has become nostalgic without being dark, melancholic without being sad, with a few lineages showing through: Flavien Berger, Moodoïd, Feu! Chatterton for the taste for words and unease, Mount Kimbie for the approach to sound and rhythm. Unsurprising, given that EST was finalized with the British duo's producer. Live, MaMaMa is preparing a show in the style of Nicolas Jaar or UTO. Hypnotic and immersive.

The most liberating thing is that EST is an album without pretense. With it, we move through perseverance (in Aussi loin qu'il tiendra debout), the small arrangements we make to avoid facing reality (Tout sauf la vérité), and the fragility of bonds we thought were solid (Si bien ensemble). We also touch on lasting conflicts with the people we love (Anywhere You Are, There You Are), misunderstanding (Elle me parle une langue), and the erosion of friendships (S'envoler). EST draws an intimate and redemptive map of human relationships, in a body of work that's both lucid and sensitive — like when he also addresses social masks such as filial love (in Beau garçon, dedicated to his son) or relationships that have become impossible.

"It's really the album that sounds most like me, in terms of sonic landscape," Elliott points out. A record that rises above the noise of an imperfect, shifting world — like us — joyful in its words, liberating in its production. A true gem.

Selva Discos is proud to present its latest release: the EP by the band Discoteca Tropicana. This record features 4 original tracks that celebrate the rhythms that have influenced Brazilian disco music, showcasing the best of this fusion: the swing and tropical flavour that bring sunshine to any dance floor.

The project is the result of a collaboration between Kiko Costato, the enfant terrible of the Brazilian music scene, and Zé Nigro, a producer and multi-instrumentalist who has won two Grammy Awards and has worked with major names in Brazilian and international music such as João Donato, Antonio Carlos & Jocafi and Natasha Diggs.

This EP is based on 4 different themes. For each one, Kiko and Zé Nigro recruited some of Brazil’s finest studio musicians – people who work with Seu Jorge, Céu, Criolo, Metá Metá, Cidadão Instigado and Tulipa Ruiz – as well as pioneering artists from the Brazilian Black music scene, such as the backing vocalists who work with the legendary Gilberto Gil.

“Corpos Celestes” is a more classic “disco diva” track, featuring string arrangements and a grand piano, as if it were the start of the evening, a magical moment straight from the heyday of disco in the United States; “Corpo Treme” is the sweat, the vuco-vuco, a song for that moment when you’ve already let yourself go, a sprint to the frenetic rhythm of the carimbó; “Tobina” is the meeting of Brazil and Africa, from which Brazilian swing is born, an original chant straight from the Congo, with a characteristic African guitar, adapted to Brazilian rhythms, just like the afoxé. Finally, the dancefloor hit “Não Pode Acabar”, a more urban disco track, which works just as well for kicking off a party with the right vibe as for closing a set with the highest energy.

Iconic Dutch techno pioneer Stefan Robbers returns to De:tuned with Nodes, a mesmerizing new 8-track album under his legendary Terrace alias. Serving as the sixth Terrace LP and the highly anticipated follow-up to 2025's Branches, Nodes further refines Stefan's signature blend of Detroit-inspired futurism and warm, dub-infused textures. Drawing on decades of studio experience, he delivers another finely balanced collection of expertly produced techno, enriched with warmth, groove and precision. Stefan's relationship with De:tuned spans many years and reflects a shared passion for timeless electronic music. From his acclaimed Phosphenes EP (2017) and his memorable remix of LA Synthesis - Agraphobia, to standout appearances on label compilations such as 10 Years of De:tuned with Estrings, Terrace has remained an integral part of the label's catalogue. Nodes is the latest chapter in that enduring collaboration. Rich in detail, depth and emotion, Nodes once again demonstrates why Terrace remains one of the most respected and enduring names in Dutch techno. The creative heartbeat of Eindhoven is still beating stronger than ever. Artwork has once again been created by Al White and Kevin Foakes (Openmind, DJ Food, Ninja Tune), while mastering duties were handled by Matt Colton at Metropolis. A separate digital edition will also be available through all major digital platforms.

Iconic Dutch techno pioneer Stefan Robbers returns to De:tuned with Nodes, a mesmerizing new 8-track album under his legendary Terrace alias. Serving as the sixth Terrace LP and the highly anticipated follow-up to 2025's Branches, Nodes further refines Stefan's signature blend of Detroit-inspired futurism and warm, dub-infused textures. Drawing on decades of studio experience, he delivers another finely balanced collection of expertly produced techno, enriched with warmth, groove and precision. Stefan's relationship with De:tuned spans many years and reflects a shared passion for timeless electronic music. From his acclaimed Phosphenes EP (2017) and his memorable remix of LA Synthesis - Agraphobia, to standout appearances on label compilations such as 10 Years of De:tuned with Estrings, Terrace has remained an integral part of the label's catalogue. Nodes is the latest chapter in that enduring collaboration. Rich in detail, depth and emotion, Nodes once again demonstrates why Terrace remains one of the most respected and enduring names in Dutch techno. The creative heartbeat of Eindhoven is still beating stronger than ever. Artwork has once again been created by Al White and Kevin Foakes (Openmind, DJ Food, Ninja Tune), while mastering duties were handled by Matt Colton at Metropolis. A separate digital edition will also be available through all major digital platforms.

PSR003 – Lorenzo Panico – The Me Inside Forged for dark rooms and relentless sound systems, The Me Inside explores hypnotic textures, raw groove and deep-driving pressure. No compromises. No trends. Just pure underground techno built for those who know. Limited vinyl only. Secure your copy before it disappears into the crates.

Manfredi and Marijn met for a studio retreat in Paris and quickly found common ground in their love for synthesizers, strange vocals, punk, leftfield electronics and music that doesn't necessarily fit into one box.

In the early '90s, Manfredi joined Wide Records in Pisa, becoming part of a post-punk and DIY network that stretched from Fugazi and The Make-Up to Coil, Clock DVA and early Nine Inch Nails, while spending time on the road tour managing bands across Europe.

Marijn grew up in a completely different generation, but has always had an old soul when it comes to making music. He's drawn to old machines, unconventional sounds and records made long before he ever entered a studio himself. The weirder the vocal or synthesizer, the better. credits

Originally released in 2003, Gravel Muncha became one of the biggest and most recognisable records of the Bassline Breaks era and remains one of DJ Quest’s defining productions.
More than two decades later, this breakbeat classic returns on Cyberfunk as CFUNK 040, pairing a brand-new remix from Datafunk with a fully remastered 2026 version of the original.
Built around everything that made the early Quest sound so distinctive - huge rolling basslines, tough breakbeats, twisted synth work and relentless dancefloor pressure - Gravel Muncha is a record that has never really disappeared. The original continued to surface in DJ sets, mixes and collections around the world, earning genuine classic status within the breakbeat scene.
For 2026, Datafunk takes the track into new territory while respecting the character and attitude of the original, giving one of breaks’ most enduring records a fresh weapon for modern dancefloors.
A piece of breakbeat history, rebuilt and reloaded for a new generation.

TIM HECKER’s latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality.

Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

While the title of the piece “Hatred of Music” might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckerʼs continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears.

This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.

RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK.

4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”

4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”

NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."

NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."

WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’

Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.

While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.

Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.

It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.

Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.

For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.

Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.

'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.

'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.

Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.

On Oath's latest, the imprint keeps the jazz-fuelled atmospheres going with 'Seven Dogs', an EP that serves up an astonishing excursion through deeply hypnotic melodies and idiosyncratic grooves, courtesy of an iconic link-up between Rteph88 aka Robin Taylor-Firth and Steve Cobby.

Taylor-Firth and Cobby are musicians whose careers are so richly storied, broad-ranging, and impactful that it's difficult to summarise their output and impact in so few words. Both Taylor-Firth and Cobby firmly established themselves in the 90s, being involved in some of the era's most prominent and celebrated groups and for releasing some truly era-defining records. As such, their discographies reach far and wide, from house and techno cuts through to downtempo, drum'n'bass and leftfield, there is little that is left uncovered, and this spirit remains with them both as they continue to explore the outer parameters of their sounds.

Taylor-Firth, a songwriter, arranger, and producer, is perhaps best known for his long association with Warp Records and its sublabel Nucleus, and for his work as a member of Nightmares on Wax, where his signature keyboard playing style became a staple of the group's legendary sound. Alongside this, he has hundreds of songwriting and arranging credits on a dizzying array of records, and was a member of house music group Anon and Pio Bo alongside Richard Barratt - to name but a few selected highlights of his extraordinary career. Cobby's career is distinguished by his multitude of releases under a variety of aliases, along with his helming of a number of imprints, including Pork Recordings and his most recent label Déclassé. Experimenting with a wide variety of genres and sounds, perhaps his best-known work was with the duo Fila Brazillia alongside Dave McSherry, who released a plethora of immersive and innovative records in the 90s and beyond.

'Seven Dogs' represents a shared passion, vision, and musicality, two languages borne of similar spaces but reaching through time, space, and existence in creating a richly veiled musical experience that draws from lifetimes spent within the nucleus of music's soul. The EP speaks of the present as such as the past and indeed future, hinting with motifs that feel right at home within sun-kissed skies and within the walls of the chill out rooms. 'Early Doors', the EP's opener, displays the core fundamentals of the unfolding experience, namely the intrinsic relationship between keys and drums and how they express tone and mood. The piano gently caresses, ethereally floating with space to grow, as the drums lightly swing into life, providing an engrossing and rhythmically diverse groove that nods as much as it dives. The title track lands next and leads with a more driving feel. Sonically, the track leads with an oozing bass sequence that worms through the mid range before retreating under an array of compelling piano chords. The drums once again provide a strong backbone, allowing the melodic elements up top to fully express themselves - in a myriad of ways, murmuring and clamouring all at once.

'Visiting Hobo' brings the groove down a few notches. Slightly sombre in its delivery, the piano and bass interchange above a sparse yet hard-hitting groove, with as much emphasis placed on the emptiness as on the melodically full sections. The piano has a certain tonality here, with the notes containing a large amount of textural reverb that helps the track feel alive, almost growing out of the speakers. Wrapping things up is 'Titled', which begins with the keys and an array of whimsical features. The drums allow themselves time to grow into being, but when they do, they simmer within an enriching melange. It's a fitting end to a record that abounds with sonic consideration, environmental and emotive feeling, where two technicians bring their best and serve up four tracks of such sublimeness and thoughtfulness. One to drift deep within, on those hot summer days….

Dja Dja is Marina Herlop"s most ambitious work yet, blending emotional intensity, self-affirmation, and cathartic release into a deeply personal musical journey. Conceived as a single interconnected piece, the album follows an intricate structure inspired by the Hero"s Journey while remaining open to individual interpretation. Combining avant-garde experimentation, classical composition, orchestral brass, and Balinese gamelan, it expands Herlop"s sonic palette in bold new directions. Entirely self-released and largely handcrafted, Dja Dja reflects Herlop"s commitment to artistic autonomy and music as a self-sufficient form of storytelling.

A cosmic collision between Perzeptiverdampfkesselqualmtbesinnlich, the psycho-cognitive alter ego of acclaimed electro alien entity pdqb, and Edward Ka-Spel, experimental music icon, apparent half-Earthling and vocalist of The Legendary Pink Dots and The Tear Garden - and, according to pdqb, the owner of the most beautiful voice in the universe.

A storytelling dream team brought together by a fortunate twist of fate, with visual transmissions by the enigmatic Nicola Samorì.

Two Songs. Four Transmissions. One Missing Captain.

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

In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.

Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.

There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.

In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.

Die hochgeschätzte Sängerin, Songwriterin und Produzentin Mary Bragg aus Nashville legt ihr erstes neues Album seit über vier Jahren vor, das in den FAME Studios in Muscle Shoals zusammen mit dem Grammy-Gewinner John Paul White und dem gefeierten Produzenten, Toningenieur und Keyboarder Ben Tanner aufgenommen wurde. Jeder Song ist im Grunde ein Geheimnis, das man einem Fremden anvertraut. Wenn die Wahrheit klar wird, erkennt sich der Fremde darin wieder. Mit ihrem sechsten Album in voller Länge präsentiert Bragg der Außenwelt eine Sammlung zutiefst persönlicher Geschichten. Mary Bragg wird von einer Begleitband aus Größen des Southern Rock unterstützt, darunter Chad Gamble (Jason Isbell & the 400 Unit), Zac Cockrell (Alabama Shakes) und Jay Gonzalez (Drive-By Truckers), und liefert ein Album, das zugleich weitreichend und intim ist. Secrets to Strangers" ist ihr eindrucksvollster Beweis für Seele, Verletzlichkeit und hart erkämpftes Selbstbewusstsein, getragen von prägnantem Songwriting und unbestreitbarer Kunstfertigkeit. Auch wenn frühere Beiträge in Rolling Stone, NPR und Forbes bereits für sie gesprochen haben, zeigt sich Bragg hier in absoluter Bestform.

GERBlair / Huber - ECLIPSE ist das eindrucksvolle Debut eines der spannendsten neuen Jazz-Duos Europas. Der preisgekronte Frankfurter Saxophonist Darius Blair und Gitarrist Niko Huber entwickeln in reduzierter Besetzung einen eigenstandigen, modernen Sound zwischen Jazz, Hip-Hop-Asthetik und improvisierter Musik. Entstanden aus ihrer langjahrigen Freundschaft und intensiven Zusammenarbeit seit der Pandemie, lebt das Album von intuitiver Interaktion, klanglicher Prazision und emotionaler Tiefe. Die neun kompakten Stucke verbinden subtile Grooves, atmospharische Weite und starke melodische Ideen. Aufgenommen im Berliner Funkhaus mit einem Grammy-pramierten Produktionsteam, steht ECLIPSE fur die kraftvolle Verschmelzung zweier musikalischer Personlichkeiten - reduziert, innovativ und zeitlos.ENGBlair / Huber - ECLIPSE marks the striking debut of one of Europe's most exciting emerging jazz duos. Award-winning Frankfurt saxophonist Darius Blair and guitarist Niko Huber craft a distinctive and modern sound from a minimalist setup, blending jazz, hip-hop influences, and improvisation. Rooted in a long-standing musical partnership, the album thrives on intuitive interplay, sonic clarity, and emotional depth. Across nine concise tracks, the duo balances subtle grooves, open textures, and strong melodic ideas. Recorded at Berlin's renowned Funkhaus with a Grammy-winning production team, ECLIPSE captures the powerful alignment of two artistic voices-refined, innovative, and timeless.

The fifth album from Saint Abdullah & Eomac began as a poem and became a record that refuses to stay in one place. The title arrived in a cab in Paris. Mohammad Mehrabani read it aloud from a list of options. Ian McDonnell said: that's interesting, what does that mean? The answer, it turned out, was the album. Their fifth album When The Sandbox Has No Edge is rooted in hip hop, but its cast tells you how far it travels. Abbas Zahedi, Richie Culver, and Armand Hammer contribute vocals and poetry. Lester St. Louis brings cello. Che Chen of 75 Dollar Bill brings guitar. The producer and sound designer Seraphim contributed textures and sound designs throughout. Samples run deep, from records pulled from charity shops to market stalls on road trips across the UK. Raw fragments were shaped into fully formed compositions, structuring the chaos without flattening it. The sandbox, rendered without an edge.

The Civil Wars is the second and final album by americana/folk duo The Civil Wars (Joy Williams and John Paul White). Their songs can only be described as intimate and deeply personal. Although John and Joy's collaboration only lasted from 2009 to 2013, the duo was highly acclaimed, won 4 Grammy Awards, worked with Taylor Swift and toured with Adele.

Their swansong studio album features the Grammy Award Winning Song “From This Valley” plus the singles “The One That Got Away” & “Dust To Dust”. The album also includes a brilliant cover of the Smashing Pumpkins classic “Disarm”.

The Civil Wars is available on black vinyl.

Hallelujah Trial is Tom Roberts (Cranebuilders, Beatowls) and John Canning Yates (Ella Guru): two Liverpool songwriters who knew each other for twenty years before they ever played a note together. Roberts brought a folder of songs to Yates' front room. Yates answered with piano. A weekly ritual of tea and talk became a repertoire, the repertoire became a debut performance at the final La Violette Società, and a few weeks later the songs became an album, recorded in May 2026 in the Gustav Adolf Church, the Scandinavian seamen's church on the edge of Liverpool's Baltic Triangle.

The sound is spacious, stripped back and gloriously melodic: voice, guitar and piano, songs in a room, storytelling that recalls Bill Callahan, Lee Hazlewood and the late Johnny Cash records. Yates' Ella Guru drew a Peel session and 'the best debut album since Marquee Moon' from the Independent on Sunday. Roberts' Cranebuilders recorded two Peel sessions of their own. The pedigree is genuine. The songs are better.

Recorded, mixed and produced by John Canning Yates. Mastered by Jason Mitchell (PJ Harvey, Aldous Harding). Sleeve by Pascal Blua, after a rose from William Turner's herbal of 1568. The closing 'Reprise' carries a hallelujah chorus of friends and family, recorded live in the ch

Following hot on the heels of the Frequency Damage EP, DJ Quest returns to Cyberfunk with Squeaks / Snake Style— a two-track release that dives deep into the unmistakable sound that made Quest’s productions stand out during the early 2000s.
Rather than simply recreating the past, both tracks tap directly into the DNA of the original Cyberfunk sound: rolling breakbeats, huge basslines, twisted analogue synths and the kind of distinctive production that became synonymous with DJ Quest at the height of the Bassline Breaks era.
Built around original analogue synth work throughout, Squeaks / Snake Style is a deliberate throwback to the raw, futuristic sound of the early 2000s, produced with the weight and clarity needed for today’s sound systems.
It’s classic Quest, strange noises, big bass, rolling drums and plenty of attitude.

A. Squeaks
Everything DJ Quest became known for rolled into one track. Squeaks is an unapologetic throwback to the classic Quest sound of the early 2000s, driven by heavyweight breaks, deep bass and original analogue synth work throughout.
Twisted electronic squeaks and evolving analogue sounds weave their way around the drums, giving the track that instantly recognisable combination of funk, darkness and futuristic weirdness that characterised so many of Quest’s early productions.
Raw, energetic and built firmly for the dancefloor, Squeaks takes the spirit of the original Bassline Breaks era and brings it straight back onto a modern sound system.
AA. Snake Style
On the flip, Snake Style takes the same analogue-driven approach but moves into deeper rolling territory.
A more hypnotic, heads-down breaks roller, the track develops around a heavyweight bass groove, rolling drums and constantly shifting analogue synth lines. There’s less emphasis on the immediate impact of the A-side and more on building a groove that locks into a DJ set and keeps moving.
Still unmistakably Quest, Snake Style combines the rawness and character of early-2000s breakbeat with modern low-end weight and production, proper rolling Cyberfunk business.
Special Vinyl Edition
Making this release particularly special for collectors, the 12” vinyl comes with an exclusive book showcasing the artwork from some of DJ Quest’s biggest and most memorable releases.
The book looks back through Quest’s extensive catalogue and the visual identity that accompanied the records, bringing together a selection of classic release artwork from across his career plus photo collages of memories made across his journey.
It turns Squeaks / Snake Style into more than just a new DJ Quest 12”, it’s also a celebration of the music, artwork and history surrounding one of the original pioneers of the Bassline Breaks sound.
For long-time followers it offers a piece of Quest history alongside two brand-new productions, while newer listeners get an introduction to the catalogue and imagery behind the sound

Renowned London producer, DJ, and Apron Records founder Steven Julien taps into his alter-ego with his new album, 808 PRINCE out 16th October.

Written and produced around iconic drum machines, 808 Prince embraces raw drum programming,
analogue textures, and bass-heavy compositions.The record moves fluidly between peak-time club energy and experimental rhythm studies, exploring the shared languages of techno, house, acid house, grime, and electro. Rather than looking back, the album reimagines the influence of the 808 through Julien’s distinct production style, creating a body of work that is both timeless and forward-looking.

The album features a strong lineup of collaborators, including James Massiah, J. Caesar, Jarren, Touch Sensitive, and KIAH, expanding Julien’s sonic universe while remaining anchored in pure groove and movement. More than an album, 808 PRINCE marks a new chapter in Steven Julien’s artistic practice, bringing together decades of club music influence, hands-on studio craftsmanship, and a lifelong fascination with rhythm into a singular statement designed for dance floors worldwide.

DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.

After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..

The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..

The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..

On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..

Reissued in 2026 for its 10th Anniversary on limited edition double vinyl 1 X Blue 1 X White, showcasing sought-after tracks from the catalogue.

Rebirth 10, a limited double CD released in 2016, celebrated the 10th anniversary of Rebirth Records. Curated by one of the greatest names in House Music, Larry Heard, aka Mr. Fingers, it featured key releases from the label's first decade.

Featuring original music and remixes from Larry Heard himself alongside further legends of the scene such as Motor City Drum Ensemble, Joe Clausell, Andrés, Jamie 3:26, Ripperton, and Mr Fingers himself. This compilation shines a light on forgotten classics from one of House Music’s most influential labels of the past 20 years. True house from THE house producer of the scene.

Life In Patterns welcomes Uncertain for his first appearance on the label with “Defeat”, a five-track EP bringing together five warehouse-focused techno tracks, moving between darker industrial tones and the classic rave influences that have long been part of his sound. “Defeat” will release on vinyl and digital formats on 16 October 2026. Across the EP, Uncertain explores a broad range of peak-time energy. “Anxiety” and “Dismiss” take a darker route, built around tense atmospheres, heavy percussion, and industrial textures, while the remaining tracks introduce classic rave chords and a more open, melodic character. Despite the differences in tone, the five tracks share the same directness and focus, designed with the dance floor firmly in mind. Uncertain, formerly known as Boriqua Tribez, has been active in electronic music since 1989. Over the past two decades, he has released and remixed more than 50 tracks for labels including KMS, Recycled Loops, and Ingoma, before starting a new chapter under the Uncertain name in 2018. Since then, his more frantic approach to techno has found a home on labels such as Rekids, Symbolism, Beard Man, H-Productions, WRKTRX, ANAOH, Illegal Alien, Mind Medizin, Intec, and Uncage. Alongside his productions, Uncertain is an experienced DJ known for fast, precise three-deck sets, with international performances and support from artists including Ben Sims, Radio Slave, Truncate, Mark Broom, Carl Cox, Blasha & Allatt, Chris Liebing, Richie Hawtin, Luke Slater, DJ Rush, DJ Bone, and others. With “Defeat”, Uncertain makes his Life In Patterns debut with a focused collection of five techno tracks — from dark industrial pressure to classic rave energy, all built for the warehouse.

Verdad Y Error (2026) resides in the tension between the thrashing of external noise and beating centred internal calm. Gibrana Cervantes is known for her work across experimental music and contemporary performance, a practice with focussed intensity and surging physicality, often pushing the limits of endurance, presence, and embodiment. A central axis of her performance practice is her ongoing collaboration with acclaimed choreographer Florentina Holzinger, including composing the music for SEA WORLD (2026), Florentina Holzinger’s critically acclaimed installation for the Austrian Pavilion at the Venice Biennale. Alongside this, she is a core member of the experimental ensemble Amor Muere (Mabe Fratti, Concepción Huerta, and Camille Mandoki). Cervantes maintains an active recording practice that directly informs her live output including her collaboration Memoria (2025), with Colombian Drone Mafia (Nyksan) for Ambie-Tón (Tratratrax),

Verdad y Error is a record of her artistic approach which expands her body and the violin’s horizon of possibility to near breaking point. Cervantes uses a register closely associated with Metal, yet buried deep in the alchemy of these pieces are motifs which hark back to her classical background. Across these pieces the violin is used as an instrument with a fragmented and shifting voice — blurred, repeated, and reshaped through distortion. “Many of these pieces come from images, memories, and sensations that have stayed with me for years. I'm interested in the blurring of what actually happened and what time transforms.” The recordings are built with layers of violin tones which oscillate between recognisable, processed, stretched and shifted, and lay embedded in a frequency stratum of volatile static and noise. “The violin on this album doesn't appear as a clean instrument. I process it, repeat it, distort it, and multiply it until it begins to feel more like memory than melody. Something blurry, shifting, difficult to grasp.” The origins of the album were born at a time when Cervantes was seeking inner calm amidst a relentless external noise, questioning the validity or possibility of memory and its radically changing perception in relation to experience. Subsequent reflection on this contemplative moment allowed her to develop a relational music which moves through memory, erosion, repetition, and emotional ambiguity. Creating a space that feels both intimate and unstable, mercurial with the patina of lived imperfection.

Akin to the unreliable narrator and linguistic instability, each piece functions as an emotional landscape suspended between clarity and confusion. An album which balances melody, brutality, fragility and noise
throughout its sprawling recordings and artwork, which operates as an analogue to the music. The visual world of the album developed in collaboration with Mauro Ventura was compiled across various media with a mix of handwritten texts, burned typography, metallic textures, and fragile physical materials. “I wanted the record to feel tactile and imperfect — something emotionally direct but physically worn.” says Cervantes. More than offering explanations, verdad y error exists as a conversation between memory and disappearance, noise and stillness, truth and error.

In William Blake’s Jerusalem, he argues that imagination itself is “The real and eternal world of which this vegetable universe is but a faint shadow” – it seems Antoni Maiovvi, would agree. Especially given that Ye Gods, his latest and most monolithic project to date, arrived directly from a dream. In this dream, Jaz Coleman of Killing Joke took him to task for easing off on his longtime study of hermetic ritual magick, and instructed him to atone by making a record under the name Ye Gods. Convinced this path was the correct one, he was duty bound to comply.And sure enough, the Ye Gods project began to evolve and metamorphosise, until this vehicle for ‘Occult Devotional Electronics’, became a beast capable of delivering ‘Los’ the towering and transformative new album for Rocket Recordings. Rich with texture, emotive songcraft and cinematic atmosphere across three expansive tracks, it’s a work that breaks new ground for this intrepid polymath. Somewhat akin to the creative deep-dive that Scott Walker took int

With her fifth solo studio album, Half An Owl And A Full Moon Rising, landing on Dekmantel Records, Steffi harnesses the energy of the dancefloor for a powerful, uplifting ride into the core of what makes this culture so transformative. From her years as a dedicated raver in the late 80s, through to her global tours, prolific production and ceaseless love for music in its many forms, Steffi's innate understanding of the dancefloor informs this new body of work. Key to all of this is the joy of the club experience: the high energy and the vibrational field that's created when the DJ, their musical selections and the dancers align on the same wavelength. The "Feel Factor" as she calls it. Even the title is a reference: half an owl meaning half a pill.

Each track is imbued with pure, unfiltered club energy. Steffi's approach with her albums is to start from scratch, working up and out from a core idea rather than compiling music from an existing collection, and Half An Owl And A Full Moon Rising is comprised of eight cuts, whittled down from over 40. Opening with 'The Rolling Wave', the album immediately transports the listener into a world of emotionally and physically moving soundscapes. Across all eight tracks Steffi weaves together potent drum programming with ethereal pads, strings, heartrending melodies and straight up grooves: honest, no fluff productions that are designed for a very specific purpose. Listening to cuts like 'Sweeping Leaps', you can hear echoes of the huge variety of house and techno Steffi has absorbed. The title track wraps you up in its scintillating rhythms and heady strings, while, midway through, 'Acoustics Of Space' fires on all cylinders with its dynamic tempo, relentless drums and euphoric pad work.

Singer-songwriter Willis Alan Ramsey was 20 years old when he became the third signing to Leon Russell and Denny Cordell's Shelter Records – after Russell himself and the legendary J.J. Cale. The result was Ramsey's 1972 eponymous debut, a masterpiece of laid-back Texas country-rock, blues-inflected folk and outlaw ballads.

As a child, Ramsey was an obsessive radio listener – from Elvis and the Beatles to Delta blues, country and even classical music. By middle school, he had formed his first garage band and started writing songs. After a brief stint at the University of Texas, he took to the burgeoning coffeehouse circuit where he toured alongside folks like Townes Van Zandt, Jerry Jeff Walker and Keith Sykes. It was during these shows that Ramsey developed much of the material for his LP, a diverse yet coherent mix that revealed his varied influences.

Recorded in Memphis, Nashville and at Russell's home studio in the Hollywood Hills, the album features some of the era's greatest session musicians: Eddie Hinton on guitar, Red Rhodes on pedal steel and the rhythm section of Leland Sklar and Jim Keltner. A true songwriter's songwriter album, its tunes have been covered by Waylon Jennings ("Satin Sheets"), Jimmy Buffett ("The Ballad of Spider John") and, most famously, Captain & Tennille ("Muskrat Love"), but no cover can beat the originals from the wise-beyond-his-years Ramsey.

Though Willis Alan Ramsey has continued to perform regularly and write new songs, a second album is yet to be released. For years, whenever someone asked about it, Ramsey was known to answer "What's wrong with the first one?" The answer is, of course, absolutely nothing. In fact, it's perfect.

This first-time vinyl reissue reproduces the original lyric sheet. Includes new interview with Ramsey and liner notes by author Richie Unterberger.

David Norland is an Emmy-nominated English composer, known for his scores for drama and documentary, alongside his experimental choral and electronic music. Bringing stories to life through sound, he received critical acclaim for his debut solo album ‘Glam Tear Stain’ (2019) and is set to release follow-up album ‘La Source’ in June 2026 via Denovali Records.

Relocated back to his London home after many years in Los Angeles, and free from years of drug and alcohol problems, recent commissions for two choral works allowed Norland to return to the innocent origin of his musical world, and his experience as a parent prompted a lot of outward reflection. What kind of world are we leaving to our children?

Inspired by his score to the forthcoming silent black and white film ‘Carousel’ (2026), Norland found other music emerging that refused to be ignored. The film’s director opened the door to an entirely free scoring process – no temp music, no expectation, no guidelines, just pure intuitive expression. ‘La Source’ draws on this experience, alongside his childhood as a touring chorister, the honkytonk upright piano in the north-east London bedroom of his early 20s, his early recording experiments with a TASCAM 4-track cassette recorder, and his intense preoccupation with bells, flutes, stone architecture, and mysticism.

From the haunting, choral beauty of ‘E-Car Soul’ to the breezy album title track, Norland blends minimalist classical structures with electronics. A unified tapestry of blended voices, harmonies and textures, ‘La Source’ is a deeply emotional and melancholic journey for Norland. “In the end, I’m looking to find meaning through the music, like when I was a kid singing in choirs. But I get the most sense of meaning through transcendent experiences, rather than anything intellectual or dogmatic. I have to feel it, not think it. I’m trying to make work that’s luminous, wondrous, shimmering and strange, so I can keep having those experiences,” says Norland.

On his inspiration for the album, Norland adds, “I love making patterns in things and finding patterns. That’s why minimalism was so enticing to me, the patterns are so explicit. I love word play and anagrams. The big sadness coming through as I was making the record is this clarity over the future of my kids. Everything else is a complete distraction. This incredible nurturing planet and its ecosystem are being rapidly destroyed, and the forces destroying it are relentless and punitive. And they seem to be fine with consigning our children to live in an ever-more-hostile wasteland. You can’t pretend that’s not coming, if you do I think you’re lying to yourself. And perhaps eventually it will be the fact that people love their kids that will stir wider fear and action. It’s hard to think of anything more connected to the idea of spirit.” The result is the reflective, ecstatic, mystical and sad world of ‘La Source.’

Norland’s screen work includes the award-winning documentary Anvil! The Story Of Anvil (2008), directed by Sacha Gervasi, and since 2010, he has composed much of the music for US broadcasting giant ABC’s primetime news documentaries. His work for ABC is broadcast in the US and around the world on a daily basis.

In 2012, he was the music supervisor for Hitchcock (2012) featuring Anthony Hopkins, Helen Mirren & Scarlett Johansson and in 2017, he teamed up once again with Gervasi for the score to November Criminals starring Chloe Moretz and Ansel Elgort. The following year, he composed the score for the Emmy-nominated HBO film My Dinner With Herve, starring Peter Dinklage and Jamie Dornan.

Norland will be performing the score of Carousel later this year, and the score itself will be a forthcoming release on Denovali. 2026 will also see the release of documentary All Permits Secured, a valentine to the history of EDM, featuring Norland’s score.

Seven years after 2019’s ‘The Dusk Loom’, Petrels returns with a pair of new albums, Infangthief and Outfangthief. The first of these releases, Infangthief, was originally written and recorded in 2022, before being reworked in light of a subsequent album, Outfangthief, due to be released later this year.

The two albums act as companion pieces, mirrors revealing facets of the other, overlapping in sound and subject matter. Though Outfangthief may have been written after Infangthief, it is no mere follow-up, with it's own creation causing a re-visiting and re-working of the earlier album, which in turn informed the writing of its twin.

Taking their titles from Old English legal terms ("thief seized without" and "thief seized within”), the central thread running through both albums is the illusion of assumed human authority - that which is given and that which is taken by force. With Western society seemingly hellbent on willingly embracing a brutally destructive economic model (even in its death throes), these albums attempt - in their own small way - to undertake the essential task of imagining alternative ways of being.

Petrels is the solo project of musician and artist, Oliver Barrett. Since releasing his debut, Haeligewielle, in 2011 (#9 in A Closer Listen's Best Albums of the Decade), Petrels has toured across Europe and shared a stage with the likes of Jóhann Jóhannsson, Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Working from his home in Somerset, UK, Barrett has released numerous albums through his Floating Limb imprint, as well as mixing and/or mastering hundreds of releases for the likes of Keiji Haino, Loren Connors & Alan Licht, Judith Hamann, Incapacitants, Mette Rasmussen & Sofia Jernberg, Yasunao Tone and more

“Petrels sidesteps the chilliness found in much of the music of his peers, replacing it instead with an almost spiritual ecstasy, his ravishing synths and almost choral vocal treatments calling out in cosmic, wide eyed wonder at the universe.” – Paul Margree, Louder Than War

For more than 20 years, every CASPIAN album has been driven by a desire to stretch boundaries — a relentless ambition that's resulted in one of post-rock's most revered catalogs and established the Massachusetts quintet as an enduring, global force in the genre's modern era. On CASPIAN, the band’s first album in six years and debut for Wax Bodega, the more unexpected way forward was to stop searching for what they hadn’t yet done and instead trust what had defined them from the beginning.

The six-song, 39-minute effort draws freely from the musical vocabulary the band have spent their career writing: evocative melodic themes, dense textures, swelling crescendos and crushing heaviness that rolls in like a slow-moving storm on the horizon. But they still find new possibilities within those familiar contours, allowing patient development and repetition to carry as much weight as surprise. The nine-minute “Remain” turns a recurring melody into a sweeping study in tension and release, while “No One Left to Tell” layers subtle shifts around a hypnotic tremolo figure and “A Great Fire” sends serpentine guitars crashing into buzzsaw riffs. Even the graceful 3/4-time closer “Waltz for the End,” completed in a half-hour burst of inspiration, reflects the quiet confidence of five musicians comfortable enough in their skin to resist tearing everything down for the sake of reinvention, even as the circumstances surrounding them change dramatically.