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Acid Pauli's new album "Mystic Meltdown" is hypnotic mystery, textural mastery, all hurtling through your system at peak velocity, unrelenting yet full of mischief and spirit.
The first full-length Acid Pauli album since 2020's MOD, here the artist, Martin Gretschmann, who you might also remember from Console and The Notwist, reaches out to collaborators, unearths new sounds through travel and then brings it all together with one long, sweeping breath - an album to take in as a whole, to ride its compulsive energy to the end and then back to the start, over and over again.
While the album's been brewing for some time, "It took months and months to find the coherency and the story that this album is telling," Gretschmann recalls, "Arranging the pacing, feeling how the tracks come together into one album", it reads as effortless. It draws from Gretschmann's various musical languages, from the techno, house and ambient of Acid Pauli, even reaching back to the electronica of Console, but it places them in new contexts, at new speeds and in rich, giddy contrasts. Mystic Meltdown feels like endless pleasure, unflagging energy.
It's also an album rich with multiplicity. There are many voices that visit us at the Mystic Meltdown, from Hani Mojtahedy's Kurdish vocal on "Goman (Remix)", through to Lhasa de Sela's "Con Toda Palabra" in Spanish. A sample of Kingdom Molongi's voices opens the title track and returns on "Mystic Feedback" - this feels like a particularly profound connection, given the inspiration that Gretschmann has gleaned from the musical community surrounding the Nyege Nyege Tapes label and organisation over the years. He's also appeared at one of their festivals, by all accounts a revelatory experience.
Sometimes Gretschmann reaches back yet further. "Yes, Caroline" hints at an abstract relationship with the Beach Boys' pop masterpiece, Pet Sounds. Yet the way he draws these various influences into his own music always displays more than a touch of transmutation. Releasing the album on his own label All Is Acid which has recently been undertaking a reissue program of some of Acid Pauli's earlier works, "Mystic Meltdown" feels like a complete expression for Gretschmann; from beginning to end, from creation to reflection. "Building up, going into different spheres and emotions," Gretschmann concludes. "Working through some darker shades, trying to find light. Pouring in to get through."

The Forbidden Planet is the new album by Tomorrow Comes The Harvest, featuring Rasheeda Ali. The album explores a wide range of electronic and acoustic improvisational conversations, creating expansive and constantly evolving sound landscapes.

The recording carries forward many of the qualities that have made Tomorrow Comes The Harvest so distinctive from its beginnings. The project originated through the percussive dialogue between Jeff Mills and the late Afrobeat pioneer Tony Allen. When thetwo creative forces first came together several years ago, what emerged was more than a collaboration or musical conversation. They opened a pathway-a way of creating through instinct, exchange, rhythm and freedom. That pathway continues to lead toward new horizons, and The Forbidden Planet is evidence of just how far it can travel.

The album is the result of an intricate creative process spanning nearly two years, connecting a series of recording sessions at notable studios including Criteria Studios in Miami, Soda Sound, and the legendary Studio Ferber in Paris, France.

The Forbidden Planet explores the more cerebral dimensions of the band's vast musical language. An idea is introduced, and almost immediately it begins to transform. Themes are questioned, reshaped and redirected as the musicians respond instinctively to one another.

As Tomorrow Comes The Harvest is known for, the performances were recorded largely through improvisation, often capturing the energy and spontaneity of an almost one-take process. These recordings were later carefully refined and shaped into the compositional structures heard throughout the album.

The creative seeds have been planted in fertile ground, allowing ideas to grow naturally and without restriction. In rhythm and in spirit, each musician contributes an essential voice to the conversation. Within that collective precision lies something even more important: a shared love of musical freedom and the possibility of creating without boundaries.

Prabhu Edouard - tabla and vocals
Jean-Phi Dary - keyboards
Jeff Mills - percussion and electronics

Featuring Rasheeda Ali on flute, with a special guest appearance by Laurent Vernerey on electric bass.

The Forbidden Planet will be released November 20th, 2026 on Axis Records on Double-Vinyl & CD + DVD. The DVD features selected live footage from Tomorrow Comes The Harvest, featuring Jeff Mills, Jean-Phi Dary, Prabhu Edouard and Rasheeda Ali.

Filmed & recorded live at London Jazz Café on September 27th, 2025, the footage captures highlights from the band's unique fusion of electronic music, jazz, percussion and improvisation.

SOMA35.4 - Slam 'Activate' Remixes

Soma's 35th anniversary remix series continues with SOMA35.4, turning its focus to one of the label's more recent defining tracks - Slam's 'Activate'.

Originally released as part of Slam's catalogue over the last decade, 'Activate' quickly established itself as one of the duo's most recognised and widely played tracks of the period. For SOMA35.4, the track is handed over to four artists who each bring a distinct perspective to its driving, functional foundations.

Luke Slater takes 'Activate' and applies his trademark precision and raw club-focused approach. Oscar Mulero delivers a tougher, more industrial interpretation, pushing the track deeper into his characteristic high-pressure sound. Phil Berg brings a hypnotic, groove-led edge to his version, while Nastia Reigel offers a more contemporary, atmospheric take that reshapes the track through a different sonic lens.

SOMA35.4 continues the ethos behind the 35-year project: bringing together established figures from Soma's history and artists operating within its wider sonic sphere.

Tracks 1, 3 & 4 Mastered By Conor Dalton @ Glowcast Mastering
Track 2 mastered by Carlos Koschitzky

Celebrating 30 years of ‘Filthy Lucre’ Live, the incendiary 1996 recording that captured the Sex Pistols’ explosive reunion tour of the same name, this landmark live album returns for the first time as a 2LP, set on red vinyl. The album documents Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock reuniting nearly two decades after their original implosion, revisiting the songs that transformed punk and the world we live in today. Recorded at the band’s Finsbury Park performance, the release delivers a raw and uncompromising snapshot of the Sex Pistols at full volume, reaffirming their enduring influence and confrontational spirit.

Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.

Lex Walton (née Alex) is an American songwriter, actress, prose poet, and filmmaker whose work is unflinchingly confessional, and whose live performances are filled with ecstatic masochism and flailing. In addition to her catalog of a dozen or so mostly home-recorded albums, EPs, and singles, she has recorded collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's five-hour epic film Castration Movie Anthology II: The Best Of Both Worlds.


ULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. Some of the tracks already have fans and the music press heated up, so we’ll let the critics do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... anachronistic collage of Edwardian portrait artists, country greats, and noise rock heroes… a roadside altar… with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: "For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you. And also, later Jonathan Richman."


ULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner, recorded, mixed, and mastered by Ben Greenberg at Thump and Circular Ruin in Williamsburg, with assistant engineer Alice Cohen. ULTIMATE LOVE FOREVER features appearances from Boeckner (Wolf Parade, Handsome Furs), Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Greenberg (Uniform, The Men), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).

*The Mood Mosaic Vol. 12 – Mondo Porno* returns in a special new edition. This cult
compilation explores the sensual, cinematic side of rare groove, bringing together
funk, soul, erotic lounge, psych-funk and afro-funk through a selection of rare tracks
by artists including Chakachas, The Afro Rhythm Group, Bill “Ravi” Harris, Rita
Cadillac and South African Combo.
Fully remastered and expanded with a previously unreleased track, the reissue comes
as a double LP on white vinyl and includes an exclusive 50 × 70 cm poster.
A collector’s edition created for lovers of irresistible grooves, vintage sounds and cult
cinema.










j D1. Partners In Crime – Inspector 2211 (3:06) Bonus Track










[j] D1. Partners In Crime – Inspector 2211 (3:06) [Bonus Track]










[j] D1 | Partners In Crime – Inspector 2211 (3 06) [Bonus Track]

Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself.

Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz.

»Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.«

»Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks+Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«

In 1990, John Williams created the compilation album John Williams Conducts John Williams – The Star Wars Trilogy, which features 13 of his most memorable tracks from the original Star Wars Trilogy. All performed by the Skywalker Symphony Orchestra, it features the iconic “Main Theme” and “Throne Room / Finale” from Episode IV – A New Hope, “The Imperial March” from Episode V – The Empire Strikes Back, and “Luke And Leia”. The album brings together some of the best-known themes from the original trilogy in one collection. The result is a varied selection of music from across the three films.

John Williams Conducts John Williams – The Star Wars Trilogy is available on black vinyl. This 2LP package includes an insert with liner notes by the creator of the Star Wars franchise, George Lucas.

Eve 6 is the debut studio album by American alternative rock band Eve 6, originally released in 1998. The lead single and popular song "Inside Out" became a hit and reached #1 on the Modern Rock charts. Other singles include "Leech", "Superhero Girl", "Open Road Song" and "Tongue Tied", all contributing to the album's wide recognition.

The album was produced by Don Gilmore, known for his work with Linkin Park and Good Charlotte. Eve 6 became certified Platinum, selling over one million copies in the United States and achieved high positions on the Billboard charts, making it a hugely successful rock debut.

Eve 6 is available as a limited edition of 1500 numbered copies on yellow & white marble vinyl. The record comes in a deluxe sleeve finished with leather laminate and includes an insert with lyrics and liner notes.

Amazing Part 2. all groove, all dancefloor, no filler. across all four sides the mood stays the same, beautiful, groove first, dancing first. Nothing forced, nothing loud for the sake of it. Four artists, four classics, one record that just wants people moving

Glasgow’s Hot Towel are a DJ & production duo, community dance party organiser and now record label reimagining the balearic spirit far from its original context and sunnier climes.

This debut EP contains 4 dance floor focused tracks tested and developed on the Hot Towel dance floor and beyond. Produced over the last 4 years in grey and rainy Glasgow these 4 tracks reinterpret the joy of warmth, connection and world building in dance music.

Warm in Your Office is a feet on the floor, head in the clouds, bouncing 90’s piano house inspired track with warm driving bass, punchy gated snare, percussion samples and a surprising nostalgic drop for fans of late 90’s and early 00’s Serie A.

The lo-fi beatbox rhythm of Low Pressure in Paradise features a melodic, rumbling bassline, vintage synth string stabs and a warm melancholic synth pad swell reminiscent of the day after the night before, or the thunderous ambience of an oncoming storm and the reflection that brings. Think warm orange and magenta sunset overcast with heavy mauve clouds and possibly a hangover from one too many negronis.

A sunbaked synth flute melody shimmers like heat haze in the latin / balearic inspired beach bar romp Last Minute Staycation. Cowbell and syncopated piano move the hips, while romantic synth strings pine for that magical other world away from the mundane. A shift in tone midway evokes the peril of a balearic dream turned nightmare, capped off with timbale and a shredding electric guitar solo serving Lambada meets Zappa.

Endless Cosmic Procession is a downtempo balearic builder that chugs along with minimal effort. Tuned percussion drives the groove, with bass and synth punctuations that reverberate into space and swirl with delay. A rising arpeggiator gently brings melody to complete the harmonic space of the track that rounds off the EP with a contemplative dance floor moment.

This year marks the 40th anniversary of one of the true cult classics of the Italo Disco universe: Mike Mareen’s “Love Spy.” Released in 1986, the track sounded strikingly different from much of the dance music around it: futuristic, dramatic, playful and instantly recognisable. It quickly found its way into DJ cases across Europe and became one of the records that would define Mike Mareen’s electronic sound.

But the story actually began under a different name. An early incarnation of the song was called “Batman,” with lyrics inspired by the adventures of the famous comic-book hero and the villains surrounding him. A small number of promotional copies circulated before copyright concerns meant that the concept had to be abandoned. The title and lyrics were rewritten and “Love Spy” was born. The early “Batman” version has since become one of the most fascinating curiosities in Mike Mareen’s catalogue.

Four decades later, we felt an anniversary like this deserved something special.
LOVE SPY 40th Anniversary will therefore arrive in two parts, bringing together some of our favourite producers from today’s Italo, synth and electronic scene.

Part One features brand-new remixes by Luca Dell’Orso, Flemming Dalum, Also Playable Mono and Disco Computer. And enthusiasm was never going to be a problem here. “Love Spy” is not simply an ’80s classic, it remains a genuine DJ favourite, loved by old-school collectors and a new generation of Italo-wave selectors alike.

Alongside four killer new interpretations, we are bringing back the original Badman Mix, plus the highly sought-after “MAKE YOUR OWN MIX” material – rare set of individual elements created for DJs to deconstruct, combine and rebuild “Love Spy” themselves. These samples have become particularly desirable among collectors and make the perfect addition to the first chapter of our anniversary edition.

Four new remixes. Two pieces of history. Forty years of LOVE SPY.

And we are only halfway there.

LOVE SPY 40th Anniversary Part Two, featuring another line-up of major names from our scene arrives in November.

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

Oráculo Records joins forces once again with Unknown Pleasures Records under the banner of “The Black Alliance” to celebrate one of electronic music’s most influential acts: SUICIDE. Widely regarded as pioneers whose radical approach helped lay the foundations of minimal synth and darkwave, Alan Vega and Martin Rev receive a tribute from artists who carried their influence into new territories. Absolute Body Control, Gabi Delgado of DAF, Patrick Codenys and Richard 23 of Front 242, and Dirk Da Davo of The Neon Judgement appear alongside some of the most compelling contemporary projects in the international dark music underground. Spread across two records, this collection of cover versions also features SUICIDE songs revisited by Alan Vega himself with Marc Hurtado, presented on vinyl for the first time. Their presence creates a direct connection between the original voice of SUICIDE and the generations shaped by the duo’s uncompromising vision. An instant classic in spirit and scope, “SUICIDE Pioneers’ Celebration” honours a legacy that continues to resonate across the underground. Produced in a one-off pressing of just 500 copies, this is a collector’s edition to discover, play and treasure for years to come.

Nail is one of our favourite house artists. He was a key player in the 90s, not least with Nottinghman's DiY, then disappeared for many years before returning a decade or so again. Since then he has kept on turning out unique house jams (there have been tens of them by his and others on his latest label in the last six months) and now curates the first volume of House Fire Records material for his In The Dance label. This compilation brings together his aliases Scorpio Parish, DJ XE0re, George F, Peoples Inc. and Five Bagonag. The grooves are killer, the production perfectly undercooked, the swing often central to everything.

2026 Repress in White Vinyl
There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.

Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).

This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

A cassette-only collection of scratchy one-away dubplates and 45s from the vaults of Jah Massagan Sound, featuring plates cut at the studios of legendary producers and engineers such as King Tubby, Lee Perry, JoJo Hoo Kim, and Joe Gibbs among others during the peak of the roots sound in the mid 1970s through to the early 1980s.

Beginning in Leyton in 1972, owner-operator Lloyd alongside childhood friend and amp builder Tony Mass were part of a wave of reggae soundsystems formed in London and across the UK immediately after the Windrush generation. Focused on preserving and promoting the authentic Jamaican roots, Jah Massagan has remained a small but steadfast cornerstone in the East London scene more than 50 years later. Eljay Mass, the son of owner Lloyd, takes the reins for this cassette-only document, as the torch is passed on inter-generationally to continue the sound’s work.

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

Magazine Announces 15th Anniversary Remaster of Barnt’s Techno Classic Geffen

Cologne-based record label Magazine celebrates the 15th anniversary of Barnt’s visionary anthem Geffen. One of electronic music's most defining tracks of the 2010s will be reissued in a 2026 remaster edition, marking the first time it receives its own dedicated standalone release.

Originally published on the legendary Cómeme imprint as part of the Various Artists EP The Power Of Now, the track rapidly became a global phenomenon. Looking back, one can hardly imagine Geffen without the 2010s, or, conversely, maybe even electronic music of that era without it. The composition mirrors the expressive possibilities of bedroom producers at the beginning of that decade—an era where artists could launch tracks into the world and have them resonate through their sheer sonic power, without major marketing efforts.

Barnt remembers: "It was one of my earliest tracks. I had just entered art school and didn't own much equipment. My MIDI keyboard only had two octaves. I would always play notes with my right hand while simultaneously shifting through the octaves with my left. This is how the hook line came to life. The production only consisted of seven or eight stems, and barely any equalizers were used during the mixdown. In hindsight, this sparse approach to production probably made it sound different and is why it hits so hard on big sound systems (while sounding unfinished to some on YouTube). At that time, we were doing a small festival on a playground in the center of Cologne. When I played the CDR there, Matias Aguayo demanded it right after. That is how it ended up on Cómeme."

The release comes with two very Magazine-esque reinterpretations from the label's two other co-founders alongside Barnt: a powerful atmospheric club remix by Jens-Uwe Beyer, and Magazine Hallucination, a wild, collaborative, psychedelic mutation by Crato and Beyer.

Jörg Burger, who already mastered the original track, is also responsible for the mastering of this release.

Body Clinic enters the realm of Big Trouble Records with 4 no nonsense, hard hitting club tools.

“Connection Lost” EP tells a story, between the influences of the early 2000’s East London scene, and the classic elements of House with an ever-evolving modern yank. Deep rolling subs keep the body moving, while classic organ sounds weave through the soul. A true diggers paradise, with tracks that journey their way through all hours of the night.

FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.

David Rodigan MBE and Defected Records announce the release of House Of Roots; a specially curated three-track remix project by the legendary tastemaker, DJ & broadcaster, reimagining Defected classics as they’ve never been heard before.

House Of Roots has been born out of a partnership that’s blossomed since David first touched down at Defected Croatia in 2025, with his performance becoming one of the defining moments of the entire festival. After returning to Croatia for this summer’s festival finale, Rodigan - this time armed with the House Of Roots remixes - delivered another landmark set, underlining exactly why he remains such a revered DJ & selector.

The House Of Roots project reimagines Defected’s rich catalogue through the lens of reggae, dub and drum & bass in a celebration of music genres that have continually inspired one another throughout the decades.

Enlisting legendary drum & bass originator Shy FX, jungle maximalist CLIPZ, and fabled dub reggae producer & engineer, Prince Fatty, to remix three of the label’s seminal records - Fish Go Deep’s 2006 classic ‘The Cure & The Cause’, Soul Central’s ‘Strings Of Life’ (2004) and The Vision’s ‘Heaven’ (2019) - House Of Roots marks some of David’s most important and intriguing curatorial work yet.

House of Roots comes as a limited edition 7” box set including the 3 remixes plus exclusive dubs and instrumentals plus a 16 page sleeve note collectors booklet.

Elypsia Records presents A Future Tribe, the new album from Italian electronic music producers CEM3340 & 2030. Rooted in the formative language of electro and early techno, A Future Tribe channels the past through a lens very much focused on the future. Across the album, analogue warmth, machine-driven funk, synthetic textures and futuristic atmospheres come together in a sound that channels the pioneering spirit of early Detroit while remaining unmistakably connected to the present. For CEM3340 and 2030, machines are not simply tools, they are central to the creative process. Both producers have spent years immersed in the culture of electronic hardware. They've been carefully building and refining their own approach to production through an extensive collection of synthesisers, drum machines, sequencers and studio equipment. Based in Bari, southern Italy, their work reflects a deep fascination with the physicality of electronic music: oscillators, circuitry, voltage, rhythm and the unpredictable character of machines programmed and played with a human touch. That philosophy is deeply embedded in A Future Tribe. Rather than treating the early years of techno as a museum piece, CEM3340 & 2030 approach its foundational ideas as a living language - one that can be stripped back, re-translated and taken somewhere new. The influence of Detroit's first generation of electronic innovators is unmistakable. There are echoes of the futuristic electro and techno pioneered by artists including Juan Atkins and his contemporaries, where funk, science fiction, machines and the possibilities of tomorrow became part of a new musical vocabulary. It is an approach that has already earned the duo recognition within that lineage. Their previous Machines Awake EP, released through Atkins' Metroplex Records, was described as paying homage to the classic foundations of the genre while pushing them into new territory. Juan himself gave the release his sonic approval. But A Future Tribe is not an exercise in retro-futurism for its own sake. The album comes from two producers who understand the history, have the hardware to explore it and, crucially, are interested in what happens when those influences are given space to evolve. The result is electronic music that is full of funk, groove and a kind of nostalgia that is pure and intentional without being a pastiche. Together, they make music that is rooted in one simple truth: machines can't come to life without human creativity.

Format: LP , Limited
With his first longplay EUROSTAR, the Danish disco-dj-turned-rock-crooner Boogie Rookie seeks to bridge the troubled waters between UK new-wavey rock and sleazy euro-disco. It's a ten track italo-rock outburst uniting extreme hedonism, climate crisis and the European railnet.

The album is produced partly in Copenhagen with Danish disco royalty Vinnie Who and balearic-proghouse wunderkind William Winding, and partly on the hills of Napoli with the Neapolitan Italo-don Whodamanny. In the middle of the album there are steamy vocal features from the Parisian disco queen Corine and the Danish model-chanteuse Klara Kristin.

The album is already remixed by the likes of Prins Thomas, Italo Deviance and Danger Boys and has gained traction amongst DJ's all over who fear neither kitsch or raw rock'n'roll power.

When he's not busy making punky HI-NRG tunes, Boogie Rookie is one of the busiest European cosmic disco dj's. On weekend nights, you're very likely to find him with a glass of red wine behind the booth of his countless Copenhagen residencies, his residency at Paris' hyped disco La Fète or at happening disco dances elsewhere in Europe.

12" , transparent vinyl with black dots

pdqb has been spending an increasing amount of time on the Blue Planet lately. From his perspective, this was never going to end well.
With an intelligence operating several evolutionary levels beyond anything currently available to humanity, pdqb identified the problem almost instantly. Humanity's operating system had developed a number of serious inefficiencies, and the planet was clearly heading in the wrong direction. Even artificial intelligence would not be of much help here: created by humans and trained on human knowledge, it remains, in pdqb's estimation, a rather primitive form of intelligence compared to the cognitive systems he carries within himself.
So pdqb has decided to intervene - personally, and in human form. His identity will remain undisclosed. His intervention, however, will be unmistakable: a brief intelligence boost, followed by approximately 10.000 years of world peace.
It will be fine.
Contact Imminent contains three transmissions from pdqb himself, carrying his characteristic Electro-Cognition signature sound - three pieces of evidence that the future is still worth saving.
For the B-side, pdqb selected two Earthlings whose music he already appreciated, but whose name was particularly appropriate for the occasion: Extrawelt.
Because after the intervention, this planet will no longer be what it was. It will not be the old world, nor simply a new one.
It will be an Extrawelt.
A slightly improved version of reality, with another 10.000 years to get things right.

5. VITAL SALES POINTS:
" transparent vinyl with black dots
" mastered by the infamous Andreas LUPO Lubich
" cover artwork by SUPERFLEX
" two remixes by Extrawelt

Originally released on Flying Nun in 1983, Fall In A Hole is a double LP of an especially incendiary Fall show at Mainstreet Cabaret in Auckland, NZ in August 1982. The second of a two-night stand, this would be the band's final concert of its successful first tour of Australia and New Zealand. Recorded by longtime Flying Nun associate Chris Knox – who also made the striking cover artwork – Fall In A Hole follows the release of earlier live albums Totale's Turns and A Part of America Therein, 1981.

Besides capturing The Fall onstage during one of its most feral and exhilarating periods, Fall In A Hole is historically significant for several reasons. It heralds the end of Marc Riley's tenure with the band, an era considered by many Fall fans to be the group's peak, and showcases the two-drummer lineup heard on 1982's Hex Enduction Hour, with both Paul Hanley and Karl Burns sharing drumkit duties onstage. With Riley and Craig Scanlon on dual guitars and Stephen Hanley on bass, The Fall was stepping out in its final iteration with a majority of personnel rooted in their late '70s lineup.

The setlist is peppered with a mix of singles and album tracks old and new – including several that had yet to be released. Rarities like "Fantastic Life," "Backdrop" and "Solicitor In Studio" are given epic, feedback-drenched airings, while fan favorites like "Hip Priest," "Prole Art Threat" and "The Classical" radiate with lively, raucous energy.

Superior Viaduct's edition is the first time that Fall In A Hole has been reissued on vinyl. Includes liner notes by Roy Montgomery. Digital transfers made from analogue master tapes in the Flying Nun Collection and Chris Knox Collection held at the Alexander Turnbull Library (National Library of New Zealand).

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.

The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”

SUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.

The compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.

Framing the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely SUNN O))).

he four tracks of his 2013-released „Feldspar“ EP see Romanian producer YVAT at the absolute peak of his sonic journey.
Roughly operating within the confines of IDM, Braindance, Phonk and Post-Dubstep YVAT serves a highly seductive sonic menu for advanced late night dancefloors with this one, amalgamating his signature backbone of highly detailed and well crunchy beats, shimmering harmonies and warmly caressing, comforting, all embracing low end goodness for those in the know. Criminally underrated and for the first time available to a global
audience.

Press quote:
„You used to dig Autechre but you think their best days are long gone as they've lost their bouncy beats vs. deep strings and nice little melodies path? Went off into deconstruction?
I'm totally with you here and that's why I love Yvats's recent "Feldspar EP" on the great Minor Label so much. The man named Octavian Justinian Uta - and which is better known to his parents under this name - brings back this special and long time missed twist again, serving the best Electronica 12" I've come across in ages. Limited to 200 copies in greymarbled vinyl and hardly available via regular distribution channels. Get your copy, now! “
baze.djunkiii / nitestylez.de / 04/2013
Never officially distributed before and available limited quantities only.
Limited edition of 200 copies. Grey-marbled vinyl pressing

"ASSEMBLE MUSIC 15 YEARS - Part III : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part III brings together another five artists particularly close to Assemble's musical universe. Lowtec has spent decades developing one of the most distinctive languages in European house and techno, both through his own productions and his own label Workshop. His music shares something fundamental with Assemble, restraint, depth and an unwillingness to follow obvious paths and thats exactly what he delivers with "Dutch Angle" exploring the more ambient and abstract side of house. Welsh modular artist Steevio, co-founder of Freerotation, approaches electronic music through improvisation and live interaction with machines. His contribution to the compilation reflects the human, unpredictable side of electronic music that has always fascinated the label. Reedale Rise returns after becoming an important part of Assemble's recent chapter. Moving naturally between electro, techno and house, his music combines precision with an unmistakable melodic and emotional quality. With his track he explores a slightly darker path here, with deeper, more shadowy melodies revealing a different side of his distinctive sound. Lerosa's "Love Money" and Vera's "Take Me" are two very special tracks in our back catalogue, and we felt it was time to bring them back to life for our 15th anniversary. Vera was one of the first artists to collaborate with Assemble, with Lerosa joining not long after. Over the years, both have become an important part of the label's story, through releases, many shared showcases, and above all, a great friendship that has grown along the way."

"ASSEMBLE MUSIC 15 YEARS - Part I : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part I opens with XDB, an artist whose relationship with Assemble goes far beyond a single record. His deep, understated approach to house and techno has always been closely connected to the musical identity of the label. Aubrey, one of the enduring figures of the UK underground, follows with decades of experience behind him and a catalogue that stretches back to the early 1990s. Synchrojack connects the compilation to another important lineage: the raw and deeply individual British house music with a track produced and never released in the 90's. Activ-Analog bring their machine-driven, analogue approach back to Assemble after previously releasing on the label, while Kumquat Kids aka Julian Phethean & Steve O'Sullivan with a track originally released in 1999 on the Various Positions EP for UK label Organised Sound. "Surface" is a genuine late-90s underground rarity! Over the years, the original 12" has become increasingly sought-after and notoriously expensive on the second-hand market."

"ASSEMBLE MUSIC 15 YEARS - Part II : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part II begins with Eduardo de la Calle, whose uncompromising approach to techno and electronic music has made him a natural part of Assemble's more recent history. His contribution continues a relationship that has developed through releases and appearances around the label showcases. Tom Dicicco & Roger 23 move into deeper ambient techno territory, bringing together two producers whose work has always pushed beyond the conventional boundaries of house and techno. Radboud Mens is a Dutch sound artist and composer whose work has long explored the space between experimental electronics, minimalism and techno. Active since the early 1990s, his approach is built around repetition, texture and the physical qualities of sound. His contribution to the compilation reflects this perfectly with a deeply minimalist piece, stripped back to its essential elements, where subtle shifts and details gradually shape the track. Chicago's Hakim Murphy represents another long-standing Assemble connection. His relationship with the label goes back years, and his raw, instinctive approach to house and techno embodies much of what Assemble has always looked for in an artist, individuality before formula. Closing the second record, Myles Serge delivers a pure definition of deep techno, hypnotic, atmospheric and deeply immersive, built on subtle movement and timeless Detroit-rooted sensibilities, establishing a new connection with the label."

Toka Project was a collective from Nottingham's fertile 90s party scene, including members Andrew Macari, Andy Riley and Steve Walker amongst others, and they dropped their 'One Day' EP in 1999 on Filter Flow, which now revisits the title cut with a new set of remixes. The original is a deep house sound with a rough metallic edge and humid pads infused with whispered vocals. Di Saronno remixes it into something more light and airy, with a subtle skip in the drums that recalls the best of Melchior LTD. Andrew Macari's version has a little cheeky wiggle and sunny synth work, then Latenight Society remixes it into a slower sound with a swirling backdrop of pastoral melodic colours. A dreamy close to a fine set of new versions.

Sweep returns with its second release, bringing together Jigit co-head O.Bee and Unreleased boss Cem G. ‘Makes Me Feel’ is the first music to see the light from a long-standing friendship and collaboration shaped between their two homes, New York and Istanbul, and comes backed with a stirring remix from Giegling’s Edward.

O.Bee and Cem G bring forward a sound rooted in Istanbul’s music culture, developed through ReSolute’s warehouse parties on the outskirts of Brooklyn and refined at Berlin’s Club der Visionaere. It’s music that feels equally at home in all three settings. Dyed Soundorom’s Sweep is built around underground sounds with depth and groove — much like his own DJ sets — and this second release sits naturally within that world.

On side A, the original mix of ‘Makes Me Feel’ rolls out with a sturdy groove from the start. O.Bee and Cem G build the energy carefully, peppering the ethereal atmosphere with a repeated vocal clip as the tension grows. A variety of percussive layers and pads add depth, keeping you locked in. Halfway through, the vocal goes into full flow — scattered words bounce around like a jumbled poem, evolving into a call and response of dissipating voices on top of the rolling bass, fully hypnotizing. Underground music par excellence.

The flip features a rework from one of Giegling’s central figures, Edward, who adds a tougher edge to the original. Still operating in the deeper end of the spectrum, the remix plucks out the ‘Make me feel’ part of the vocal and uses it throughout. Dark, brooding and enchanting, Edward’s reinterpretation progressively adds more layers, increasing the dynamism while bringing further nuance to the atmosphere. A real treat for Edward fans…

If you caught Dyed Soundorom playing anywhere, you surely would have heard these cuts in the mix. Perfect dancefloor groovers… Now they’ve finally arrived on Sweep — c'est l'heure de la fête!

Rosa Balisteri was one of the brightest stars on the Italian folk scene of the 1960s and 1970s, certainly far too little known given her talent and expressive power. Her life story is marked by a tormented nature, punctuated as it is by traumas, anguish, injustices, and wounds that forever scored her turbulent existence. Through her songs, Rosa relives the suffering and despair for the devastating challenges and trials of her harrowing life. The archaic and expressive power of her dialect stirs the emotions, exuding anger and pain, but also love and devotion. Through her, all of Sicily sings as well, that of the marginalized people, of peasant struggles, of miners, of cart drivers, and of war. The significance of her protest places her alongside the similar experiences of the historic voices of American blues, the great folk singers of the 1960s such as Odetta and Joan Baez, and the social commitment of two South American heroines like Violeta Parra and Mercedes Sosa. The edition includes a 20-page booklet that tells the story and features the lyrics.

Classic Barrington Levy Album from 1984 restored and remastered for best ever sound. Features the hit singles 'Money Move; and the Jah Shaka sound system anthem 'Praise His Name'. Unavailable for 40 years and first time ever released outside Jamaica. Sleeve artwork design by the great Jamaican illustrator Limonius - highly collectable. Solid all-star roots backing from Sly & Robbie, Lloyd Parks. Recorded and mixed at Dynamic Sounds and Channel One.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

SHORT INFOS
Because Music celebrates the 50th Anniversary of Cerrone's debut album "Love In C Minor (Cerrone I)" .
A record which is one of the mots important of its time. It brought French Disco to the World and established Cerrone as the French King of Disco.
- Pressed in exclusive 2026 Apple Green Crystal Clear vinyl
- Original 1976 artwork - Digitally remastered from original tapes.

BIOG
Cerrone I
Love in C Minor (1976)
The story behind Cerrone's first album could be summarised in the libertarian atmosphere and the creative energy of the 70s, inherited from the 60s revolutions, spiritual, aesthetic or sexual. Looking back now, this record is one of the most important of its time. It helped creating the sound of an era and brought French disco to the world. It is also, and this is fundamental to understand its success, the result of a man's vision: Marc Cerrone, a free spirit inhabited by music, who ended up with a major work of art. With this album, Cerrone accumulated the main elements that make a record timeless, even bigger than its creator: the pure originality, the madness of a vision without compromise, a sense of the market and a great dose of luck too. To some extent, this is the perfect record to start a career, even though Cerrone's one already existed in an implicit way. He actually began in a rather popular band, Kongas, signed by Barclay. Between 1972 and 1974, the band was famous and made it abroad, particularly in Japan, where people loved its sound. Despite this success, probably fed up with the music and not ready to follow the orders of a label that wanted the band to sound more pop, Cerrone disbanded Kongas. He had the sound of his instrument in mind and mostly its central element: the bass drum. The idea of this first solo album came to him after a detour via selling records. Wishing to forget about the studios, he took the head of a small chain of stores, selling records imported from the States. That's when he discovered a daring new sound coming from New York: disco music. This energy inspired him to record again. He then remembered the crazy reaction of the audience when, during the Kongas' concerts, he used to hit his bass drum hard. Cerrone felt like going back into the studio but to make something different. He decided to record a sixteen minutes long track, driven by its beat, that would fit on its own on one side of a LP (during these vinyl days, musicians used to think in terms of sides…), with girls' voices simulating sex. This concept of musical and physical orgasm was recorded at Trident Studios in London (where pop stars used to record at the time… ) with Don Ray, of Kongas, man in the shadows and brilliant arranger who'd follow Cerrone during his whole career. Obviously, like always in pop music (it happened to the Beatles), record companies started by turning this weird track down, convinced that radios would never play sixteen minutes of beats and moaning. Cerrone, a born fighter, decided to trust his instinct (a mix of ego and business sense) and chose to believe that if the radios wouldn't play the track, people would dance to it in the clubs. He released the record himself, with a sexy cover a bit provocative where he wore a black bathrobe, a young short-haired girl leaning on him. Being played here and there, thanks to Cerrone's own network, the record started to work a bit in France. But luckily, things really happened in the States. Due to a mistake, a box of "Love In C Minor" albums were sent to the States via Cerrone's record shop instead of some unsold American LPs. Once in New York, the box was opened and the record with its intriguing cover was instantly loved and passed through the hands of radio and club DJs. All of a sudden, and unknown to its creator, the track that was turned down by every French label, became a hit on the New York disco scene. Casablanca, the US disco label, released a cover recorded by an ad hoc band because nobody knew Cerrone of how to find him. Once he discovered what was happening in the States, Cerrone flew to New York. He realised he had a hit, one of the biggest then, that opened the doors to every record company and especially Atlantic. He was welcome by Ahmet Ertegun, one of the main visionaries of the American music who, among other artists, signed Aretha Franklin and John Coltrane. It's believed that Ertegun understood that the French young musician, like some Atlantic artists, was about to define the sound of his time and that his work would live long after its birth date. "Love In C Minor" was the first step, adamant and successful.

Mario Batkovic’s music occupies a singular space between composition, performance and sonic experimentation.
Based in Bern, Switzerland, the composer, accordionist and multi-instrumentalist has developed an intensely personal musical language rooted in a radical interrogation of the accordion — its timbre, mechanics, physicality and rhythmic potential. In Batkovic’s hands, the instrument becomes something far beyond its conventional role: a source of intricate, evolving sound in which performer and machine appear to become one.
Batkovic received International critical acclaim when his eponymous debut album was released on Invada Records in 2017, with Rolling Stone listing it in the top 10 avant-garde albums of the year. ‘INTROSPECTIO’ followed, a self-questioning, self-examination of society which featured collaborations with Colin Stetson, James Holden and Clive Deamer (Radiohead / Portishead).
II sees Batkovic venture further into radical, uncompromising and experimental territory, both in the reduction and the expansion of sound. Voices overlap, rhythmic structures develop an almost mechanical force, and layers of sound evoke analogue synthesizers. Then everything falls away: near-total silence, the breath of the bellows, a single frequency. Sounds emerge that can barely be traced back to any particular instrument.
The album is built entirely around the physical relationship between one musician and one instrument. No loops, no electronic layers. Everything you hear comes from an uncompromising exploration of the instrument itself. A primal force of creation and destruction.
With credits that include music for the global hit game 'Red Dead Redemption II’, commissions for AMI Paris, Cartier Fondation, Hugo Boss, Chanel and film scores ‘Mad Heidi’ and ’Shame and Money’ his compositional work has extended into some of the most distinctive fields of contemporary culture.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

CASSETTE VERSION

*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

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.

At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.

More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world


Album Background

The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.

At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.

More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world


Album Background

The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

10" series

Exos inaugurates the new sub-label on SHDW's Mutual Rytm with four 90s techno cuts, with offshoot imprint X building on the main imprint's DJ-friendly tools to delve deeper into a broader spectrum of electronic music.

Founded in 2022, SHDW's Mutual Rytm label has quickly become one of techno's most supported labels, with wide-reaching love and well-earned hype following a series of carefully curated VA offerings and solo EPs from a wealth of the scene's best. Continuing to push the pace, with more records capturing high-quality, fresh soundscapes, April brings a new project to the mix with the launch of a new sub-label X, with techno pioneer Exos drafted to deliver the first instalment.

Hailing from Iceland, the Planet X boss is a master of crafting perfect dancefloor weaponry. Over the last twenty years, his high-octane sounds have come via vital labels like Figure and X/OZ, never failing to make an impact with both DJs and dancers. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s sound, and he brings this signature sound to four fresh productions across his 'Infrared' EP, marking an impressive debut for both label and artist.

The title cut 'Infrared' opens up the package in style and showcases a track that looks set to be a go-to anthem for many in the months ahead. With searing synth lines and drilling bass, the blistering production delivers a thrilling, high-impact techno sound that will devastate the dancefloor. The well-designed 'Kaldur Klaki' ups the ante even more with tightly coiled loops of drums, rusty hi-hats and stuttering synth lines that canter along with a muscular feel. 'The Bad' is twitchy and paranoid, anxiety-riddled techno that is perfect for dark warehouses and freaky dancers before digital bonus 'DS4BR' lands with a more stripped-back aesthetic with dubby undercurrents and static electricity fizzing across the face of the cut.

Each of the releases on Mutual Rytm X will be available on limited edition, coloured 10" vinyl, hence the Roman numeral X, and Exos' 'Infrared' EP kicks off the series on 19th April ahead of a new wave of killer releases scheduled across 2024.

Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.

Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.

Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.

Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.

Ruf Kutz reaches release twenty-two with something close to heart...

Mike Kee is a face from the early days - red-lit rooms of the Bodega mushroom squat parties in Sydney. This is a second release for Mike Kee on Ruf Kutz since 'Seeing Crystals' on RK2 in 2010.
Recorded in the rainforests of Bundjalung Country (northern NSW, Australia). Making good use of a Fender Rhodes and a JX-8P synthesiser.

WHITE CLOUD PLACE is a destination that doesn't exist. Glimpsed once on a street sign, filed away in the imagination and allowed to bloom into an imagined geography of warmth and weightlessness.
The music is lush dream house that elicits euphoria out of the speakers and into the body. Mike Kee has been chasing this feeling across his music and here it lands cleanly.

Flip the record and the temperature ratchets up. BANANA MOON is one for the dancers - shuffling congas push the pace while Rhodes chords and those big analog synth strings hold the whole thing aloft.

Where the A-side invites you to float, Banana Moon keeps it pitched up and jazzy.

Excited to share this bomb new release from Scottish techno/house legend Stephen Brown, whose discography reads like a Who's Who of classic techno labels: Transmat Detroit, Djax-UpBeats, Cocoon, Subject Detroit, Theory...

With its instantly recognisable vocal hook, Test 1 is a bona fide, party-starting hand grenade of a tune and destined for track ID requests wherever it drops. Backed by the raw, Chi-town groover Move It (which wouldn't have sounded out-of-place on one of Brown's Djax-up-Beats releases: all off kilter pads, detuned hats and a slamming kick) plus the deeper Tell Him, itself a masterclass in subtlety and groove, this 3-tracker really is quite a package.

All killer: no filler, The Safari EP is essential for fans of proper underground house & techno. Stephen Brown's releases have been falling into the "buy-on-sight" bracket for DJs in the know for many moons now. This release is no different! High quality from Edinburghs finest.

Outer Place Records proudly presents its seventh vinyl release: Jungle EP by Kamyar Keramati with included a remix from Domenico Rosa . A sonic expedition through intricate rhythms and emotive textures, this EP marks a significant chapter in our label's journey. Berlin-based Iranian producer Kamyar Keramati delivers a compelling four-track EP that traverses the realms of techno, breakbeat, and ambient soundscapes.

A1. "Jungles"
An immersive opener that sets the tone with layered percussions and atmospheric depth, inviting listeners into a dense sonic forest.

A2. "Sakhiff"
A rhythmic journey blending intricate beats with subtle melodies, showcasing Keramati's prowess in crafting dynamic electronic narratives.

B1. "One For All"
A unifying track that melds diverse sonic elements into a cohesive whole, reflecting the EP's complete theme of interconnectedness.

B2. "Jungle (Domenico Rosa Remix)"
Italian producer Domenico Rosa reinterprets the title track, infusing it with his signature minimalistic but techno flair, adding a fresh perspective to the original composition.

Each track demonstrates Keramati's ability to weave complex rhythms with emotive undertones, creating an EP that resonates on both the dancefloor and in introspective settings. Visual Identity by Henrik Delehag Complementing the auditory experience, the EP features cover art by Swedish artist Henrik Delehag . Known for his distinctive black-and-white iconography, Delehag's work explores the interplay between chaos and harmony. His art distills complex realities into symbolic forms, providing a visual narrative that mirrors the EP's sonic journey.

This collaboration marks the beginning of an ongoing partnership, with Delehag set to design all future vinyl covers for Outer Place Records. His unique artistic vision aligns seamlessly with our label's vision, enhancing the holistic experience of our releases.

Jungle EP is more than a collection of tracks; it's a curated experience that fuses sound and visual art.

Available soon on vinyl and digital platforms.

2026 Repress

Assembler Code - We've Felt This One Coming For A Minute Now. After An Unstoppable Run Of Releases Along Side Jensen Interceptor On Labels Such As Cultivated Electronics, Private Persons & Boysnoize Records, Ac Is Finally Flying Solo With This 4 Track Electro Assault Masterpiece 'mental Escape'.

Plugging Into The Title Track 'mental Escape', It's A Rugged Machine Driven Work Out Through Idm & Industrial Landscapes Formulated To Present His Vision Of Futuristic Electro Whilst Still Providing All The Nostalgic Rother & Drexcyian Nods We All Love.

Now That The Tone Has Been Set, 'simulant' Follows Suit. Entering The Celestial Sphere Via Some Haunting Sci-fi Strings, We're Slapped In The Face With Slamming Percussion Followed By A Relentless Acidic Modulated Baseline That Takes Us From One Planet To The Next At Light Speed.

The Journey Wouldn't Be Complete With Out His Old Partner In Crime Jensen Interceptor Coming On Board For A Ride. 'type 2' Is A Classic Case Of Past Meets Present. Scrapyard Industrial Groove Ready To Split Speakers At Your Next Warehouse Party Married With A Selection Of Classic Alpha Sounds To Keep All The Purists In Check.

The Thunder Continues To The Very End. If You're A Tape Saturation Fiend Begging For Your Next 808 Crack Hit, Prepare To Have Your Back Bent In Half With Euphoria As Soon As 'hal's Machine Tool' Is Injected Into Your Ears. In Short, 4 Minutes & 44 Seconds Of Hard Nasty Robotic Electro Booty Sweat.

Local Tapes.Montenegro is a compilation of the independent music scene in Montenegro. It features 10 tracks by artists from different cities, recorded between 2024 and 2026. The tracks are in Montenegrin, English, and Russian.

The release captures a moment of the local scene and brings these projects into one coherent document of time and place.

Local Tapes a division of MixCult Records

Cacciamali is an exploration of diegetic sound, folk chants and traditional rhythms and instrumentation building upon Milan based Rosso Polare’s last outing Campo Amaro and the subsequent departure of co-founder Anna Vezzosi from the group. Where the 2024 album incorporated a heavy use of folklore as a new tool, Cacciamali explores the influence further by bringing in a host of collaborative players including Italian avant-garde veteran Riccardo Sinigaglia, sound artist and researcher HMOT (Stas Shärifulla) and Persian/Parisian electro-acoustic musician Cinna Peyghamy.

‘Scoff Back Sickness’, as the title loosely translates, utilises the same approach, one based on non-hierarchical authorship and leaning heavily on field recordings that both contrast and blend with the tonal material, focusing on biophony, landscape and environmental audio as compositional material.

a A1. xiv - pavo (ft. Cinna Peyghamy) [09:36]
[b] A2. falò [04:02]
[c] A3. monte (ft. Riccardo Sinigaglia) [05:46]
[d] B1. hastilude (ft. Riccardo Sinigaglia) [07:51]
[e] B2. 1744 (ft. HMOT) [06:06]
[f] B3. la cruma [07:29]

[a] A1 | xiv - pavo (ft. Cinna Peyghamy) [09 36]
[b] A2 | falò [04 02]
[c] A3 | monte (ft. Riccardo Sinigaglia) [05 46]
[d] B1 | hastilude (ft. Riccardo Sinigaglia) [07 51]
[e] B2 | 1744 (ft. HMOT) [06 06]
[f] B3 | la cruma [07 29]

Victoryland is the Brooklyn-based project of musician Julian McCamman and Dan Howard.. Their 2026 album, My Heart Is A Room With No Cameras In It, is a triumphant, despondent, and ultimately fun experimental pop-rock album. A year on, the record receives the deluxe treatment from new label home Dead Oceans. My Heart Is A Room With No Cameras In It (Deluxe) arrives December


11th 2026, on exclusive crystal clear vinyl, complete with new song “The Ugliest Girl On The Beach” and a new music video for album standout “I got god.” The sound of the album, recorded between Julian’s Bed-Stuy basement and Dan’s Williamsburg studio, is that of a bright and beaming collaboration. Blending lo-fi and hi-fi production, the songs have the glossiness of a radio-friendly hit mixed with the distortion and rough edges of a home demo. Every song keeps at least one element of the initial recording, while building around the loops and half-songs Julian scraped together. The lyrics on the record span from humorous self-aware popisms (“‘you and I’ will soon be, used to be ‘us’”) to crushing realities of bitterness (“i’ll never forgive you, that’s how I keep you close”) and abstract imagery (“mothers wave from doorways, in ostinato”), all delivered with such an immediacy and fervor that in the middle of singing along, you wonder if this guy slept much last night. Much to their surprise, My Heart’s release ushered Victoryland into a whirlwind of a year. Pitchfork praised the album’s “bright, madcap approach reminiscent of the New Pornographers’ Twin Cinema or Clap Your Hands Say Yeah’s Some Loud Thunder.” Stereogum named it their Album of the Week and proclaimed it “a surprisingly cohesive scrapbook of sounds from seemingly every corner of the indie pop umbrella.” The album also received support from Steve Lamacq at BBC 6 Music and Sian Eleri at Radio 1. After a string of sold-out shows in NYC, Victoryland later joined LCD Soundsystem on their North American tour and performed at Pitchfork London, Pitchfork Paris, among other festivals across Europe

Following the release of Haunted House Party, Bradley Thomas Turner was contacted by the Cryptozoological Society of New York City to create music for their museum’s holiday exhibitions. As enigmatic as they are controversial, the secretive society gave the composer free rein to create music that celebrated their profane (and, according to their critics, pseudoscientific) explorations of the darker side of yuletide folklore. The endeavour was denounced by religious groups, the scientific community and even parts of the cryptozoological community as “blasphemous,” “irresponsible”, and “a dangerous topic to make light of” respectively. Not much is known about the pandemonium that broke out on the night of the opening reception, but one journalist (who has been granted anonymity by request) infiltrated the event and captured the recordings that follow. Death cult ritual? Mishandling of cursed artifacts? Elaborate practical joke? Publicity stunt? No one can (or will) say for sure as no person in attendance has been willing to speak on record. Therefore, we present these recordings so the general public can decide for themselves.

2026 Repress.


There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.

After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:

‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.

If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.

House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.

Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.

So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.

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‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.

‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..

‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.

‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.

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If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.

To close, we’ll leave you with this note from James……. told he is cool af.

House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura