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Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

Dream 2 Science’s 1990 release ‘My Love Turns To Liquid’ - reissued on 12” with three mixes from the original and the ‘Cozmic Remixes'. The Cozmic Remix instrumental is pressed on vinyl for the first time.

Ben "Cozmo D" Cenac who's the mind behind Dream 2 Science (as well as Newcleus and Sha-Lor) wrote the track which was “designed to flow and feature Yvette’s (Lady E’s) vocal stylings. He wanted something smooth, laid back, deep and hella sexy!”. It came out on Cenac's own Power Move Records, distributed by Fore Records which was owned by Gregg Fore - he then encouraged Cenac to produce a full EP which turned into the now iconic Dream 2 Science EP (reissued on Rush Hour in 2012).

The Dream 2 Science project left a mark on the deep house scene that went under the radar at first but years later still resonates and represents some of the best music to come out of that famed era.

2026 Edition, black vinyl



Released in 2012, *Rave Age* is Vitalic’s third studio album. With this album, the French producer returns to a more direct, club-oriented sound with some pop influences. Among the standout tracks are “Stamina” and “La Mort sur le Dancefloor,” featuring Rebeka Warrior. Rave Age is an album that pays homage to rave culture while retaining Vitalic’s powerful signature sound.

* 2026 REPRESS *
Handed to the legendary Channel One Soundsystem in exclusivity over a year ago, Don Fe's Jericho has been on constant rotation around the globe ever since. Cut to dubplate by Mikey Dread this tune has been securely locked down and spun exclusively as Channel One's last tune at places such as Notting Hill Carnival and many of the soundsystem's international sessions and festival appearances. After a very patient wait Steppas Records are extremely pleased to be able to offer this plate to the world, pressed to 12' vinyl, featuring two new mixes of Jericho and two exclusive cuts of the equally powerful Weep Not.

UK born musician and producer based in Spain for over 20 years, Don Fe's passion since the age of five has been music, classically trained in piano, flute and theory and as from sixteen reggae. From his humble beginnings in the 80s with a 4 track and a TDK D90 his riddims and productions are now being played by the world's most respected sounds - Channel One, Jah Shaka, Aba Shanti, Iration Steppas and many more all over the world.

"Life Is Beautiful Again" is the debut album of Nadine El Roubi, a Sudanese-born, New York-based singer, rapper, songwriter, and multidisciplinary artist.
The album is the culmination of music created over the last three to four years. While the album can be categorized as primarily neo-soul, its true genre remains fluid — shaped by influences in hip-hop, neo-soul,and indie music.

Both melancholic and powerful, introspective and self-assured, Life Is Beautiful Again explores personal and external chaos, womanhood, belonging, and the determination to maintain faith through struggle. Thematically, it marks a shift from her previous work. Where earlier releases were overtly political, defiant, and outward-facing, this album turns inward. It is softer, more reflective, and rooted in the belief that vulnerability can be its own form of strength.

Written and recorded over three years across four cities, the album carries the imprint of many different versions of a Sudanese woman navigating change, loss, love, ambition, and growth, these songs became a way of making sense of the world.
At its core, the album’s message is simple: even through the ugliest of times, life will always become beautiful again.

“Sacred Aeolian music capturing and harnessing the divine power of the wind”

Aeolian Harp is somewhere between a string instrument and a receiver. Its strings are agitated by the wind without any human interference, producing tones entirely of its own volition. Archer toured the British Isles setting up his harp in various sacred and loosely mystical locations. Where he let the Devaharp transmit an otherwise unknown sacred music that has ALWAYS existed around us.

Listening to the natural swells of the strings and their unusual tonalities, the billowing wind and bird song overhead, it feels divinely calm and comforting. Something like tapping into the natural resonance of Mother Gaia or being back inside the womb.

DELUXE 2LP REISSUE
Housed in it’s original gatefold sleeve with original inserts, 2 new special colour inner sleeves, a new 2026 insert and a BONUS UNRELEASED album recorded in 1983 on Robert’s previously UNHEARD pyramid-shaped Aeolian harp the DEVAHARP 2.

The third release on Uprising pairs a sax-driven rockabilly thumper with one of the coolest dance craze records of the mid-60s. ‘Red Hot Car’ was Bobby Verne’s only recording and came out on the tiny Californian Doc Holiday label in 1962. Judging by the current price and collector demand for an original copy only a small quantity were pressed. This is a powerhouse of a tune that has been filling dancefloors across the globe for some time now.
As for the flip, in 1965, Buddy Wayne added self-penned lyrics to Gary Paxton’s rendition of the James Bond theme. Released on the Big Ben label – that only put out four records − it sat unwanted for decades. Then the rockabilly scene picked up on it in a big way when they discovered that it was the perfect stroller. This was closely followed by the northern soul and mod scenes. Today, it is at last crossing over to a more mainstream audience.

2024 feiern die Broilers ihren runden Geburtstag: 1994 - 2024, 30 Jahre Broilers. 30 gemeinsame Jahre bedeuten Wachsen und Zusammenwachsen. Auch miteinander streiten und zusammen streiten – für die gute Sache. Zusammen feiern und zusammenstehen, in den Besten aller Zeiten und den Schlechtesten aller Zeiten. Und weil es für jede gute Geburtstagsparty auch die passende Musik geben muss, hat die Band zum ersten Mal alle ihre Hits und Lieblingslieder auf einem Album versammelt. Und nicht nur das, die Broilers machen sich selbst ein Geschenk: Zehn der 22 enthaltenen Songs, nämlich alle, die vor 2011 eingespielt wurden, haben sie noch einmal komplett neu aufgenommen. So erstrahlen legendäre Broilers-Klassiker in zeitgemäßem Glanz, ohne ihre Wurzeln zu verleugnen. Die Broilers sind ein Phänomen: Seit über einem Jahrzehnt gehören sie konstant zu den erfolgreichsten Rockbands im deutschsprachigen Raum. Millionen verkaufter Konzertkarten, Nummer- 1-Charts-Platzierungen, Edelmetallauszeichnungen in Folge, kaum ein Superlativ, den die Gruppe sich noch nicht zu eigen gemacht hätte. Ein paar Schulfreunde aus den Vierteln am Stadtrand von Düsseldorf gründeten 1994 eine Band, die sich am ruppigen Sound einer Streetpunk-Variante orientierte, der schon Anfang der 80er-Jahre unter der Bezeichnung „Oi!“ auf der britischen Insel das Licht der Welt erblickte. Die bedingungslose Liebe, die ihnen bis heute von vielen ihrer Anhängerschaft entgegengebracht wird, hat ihren Ursprung in dieser Zeit. Neben den Liedern, mit denen sie über die Jahre ihren Hörern stets aufs Neue aus dem Herzen sprachen, führte aber auch die Kombination der individuellen Charaktere der einzelnen Musiker an die Spitze: Wie fünf Superhelden aus einer Comicserie bündeln sie als Team ihre Kräfte, begeistern so die Fans und können aus dieser Unterschiedlichkeit Kraft schöpfen und spenden. Die Broilers haben keine Angst vor Pathos, Emotionen und Kontrasten: In ihrer Musik sind wuchtige Bläsersätze, Offbeats, da ist Soul und Rocksteady, da sind Flirts mit Power-Pop und Kitsch und das alles, als wäre es das Logischste und Normalste auf der Welt. Diese eklektische Mischung trauen sich nicht viele. Die Broilers wollen es sich anders gar nicht mehr vorstellen. »Jolly Good Fellas – Best of Broilers 1994 - 2024« legt davon eindrucksvoll Zeugnis ab!

The third release on Sapore Italiano dives into the hypnotic and untamable power of fire.

At the heart of the release is Fuoco, a contemporary reinterpretation of Lino Rufo’s composition, reworked by Devozioni into a warm and emotionally driven club anthem.

On remix duties, a carefully selected cast pushes the record into deeper club territory, blending Italo disco, tech house and cosmic grooves with modern production aesthetics. The result is a versatile EP that moves effortlessly between peak-time moments, sunrise sets and leftfield dancefloors.

Essential for fans of: Italo, Cosmic, Indie Dance, Modern Disco and underground house music.

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


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


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


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


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


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

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


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


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


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


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


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

Two decades have passed in the land of Gnod, yet the psychic travelogue only becomes more enthralling as it goes on. And whilst this band has flourished via dauntless conviction, hive-mind magic and a fierce and uncompromising spirit, one ingredient has served as a crucial fuel for the fire – the monolithic singularity of the riff. 



This second chapter of Gnod’s sort-of-anniversary trilogy also originates in the same six day sessions as the first, at Hellfire Studios near Dublin with producer Spud Murphy (Lankum, Black Midi etc). Yet the focus this time is on the transcendental heaviness and repetition that the band have often used as a primary fulcrum of their approach. This volume captures the sound of strings flayed, throats shredded, skins punished by the organic chemistry of this formidably powerful band in a room.


The results are amongst the most fearsome and kinetic material that Gnod have summoned to date. As has often been the case for a band heavily driven by serendipity and intuition, the best plan is no plan at all. “We find quite regularly that spontaneity and the no thought approach works better than over analysis and detailed planning” clarifies the band's Chris Haslam


Maximal yet minimal, claustrophobic yet expansive, free in approach yet mercilessly disciplined in their intensity – Gnod like every truly great band are a mass of contradictions. On Chronicles Of Gnowt (Vol 2), this thunderous paradox has never sounded fiercer. To paraphrase Nietzsche: “Is man merely a mistake of Gnod's? Or Gnod merely a mistake of man?”

Moulded By Industry is William D Drake's six album, his first for ten years and a return to the richly layered sonic texture and epic production of his majestic Briny Hooves. He is joined by long time collaborators James Larcombe, Dean Gaisburgh-Watkyn and Steve Jackson, with the addition of a new crew member, singer Treana Morris. Moving on from his nine years of pianistic and compositional duties in Cardiacs, Drake's solo work has been known for its synthesis of Mellotron-driven grandeur with a surreal playfulness.

But the deep heart of Drake's work is in its powerful evocation of the landscape of the countryside and its connection with love, longing and loss. To this end, his own enigmatic lyrics have rubbed shoulders with poetry drawn from across the centuries. From obscure sources such as Samuel Spree to the poetry of Thomas Hardy and Rupert Brooke, his settings make old words shimmer with human emotion. The texture of his music also reflects an inspirational lack of concern for distances of time. The earthy breath of his harmonium is interwoven with tones teased from archaic instruments by James Larcombe – hurdy-gurdy, dulcitone and melodeon.

But Drake's sound-world is no museum. Here, ancient words and the timbres of ancient instruments become one with the rush of a moment's emotion. Moulded By Industry brings this approach a new sonic depth, intoxicatingly shaded by Treana's lush vocal harmonies and underpinned by Steve's rhythm. Dean's evocative guitar textures give an oceanic sense, tinged with Americana, recalling his work with Drake in their alt country band Nervous. These many layers of sound are drawn together into vivid soundscapes by the painterly mixing of producer Ott. Renowned for his work in electronica and dub, Ott's two decades of experience working with artists such as Sinéad O'Connor, the Orb and Brian Eno bring an organic touch here, more akin to the elemental forces of land and sky than grid electricity. More than any of Drake's previous albums, Moulded By Industry reignites the emotional urgency of old texts. The gorgeous single The Flickering Shade, haunted by glimmers of lost possibilities, is set from words by Thomas Ashe. Turtledove's heady evocation of the blissful madness of love sets the words of an anonymous 17th century ballad. above all, the album is a testament to Drake's love of John Clare, 'The Northamptonshire Peasant Poet'. Clare wrote as the centuries old process of enclosure, in which wild and common land was appropriated commercially, was accelerating.

His works, rather than representing simple sentimentality, are passionate love poems to the landscape and cries from a soul reeling from the creeping unfamiliarity devouring it. This sense of the tension between passion and ill-ease has its most potent expression in Green Shadows. The brooding, slow-tempo energy of Steve's drums drive a horizon-wide lament, alternately lulled by Treana's vocal textures and made restless by James' plaintive hurdy-gurdy and the emotive pull of Dean's slide guitar. The present moment is also a time of enclosure, both metaphorically, as our lives, memories and emotions are drawn into the commercial space of social media, and literally as land and water are swallowed by vast data centre developments. Moulded By Industry celebrates a regained sense of being in the moment in the landscape, in life and in love. The album closes with the utterly delightful single Love In The Universe. The kind of song that could make a cynic use the word 'joyous' without irony, this Harry Nilsson-esque romp reassures us, with a wink, that 'in an infinite universe everything has its place ... even the human race'.

Sudanese rising star and oud player Sulaf transforms her refugee exile into ABA — blending Nubian roots with modern soundscapes in collaboration with producer Maxime Kosinetz (Imarhan, Tinariwen, Gruff Rhys). Drawing on the Sufi poetry of her great-grandfather, she captures loss, identity, and resilience, carrying Sudan’s spirit across borders with haunting power and emotional depth

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

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

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

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

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

Two stripped back downtempo jams from Bristol based producer Jamie Paton up next for SR008. Jamie’s distinctive dubbed out productions have been a firm favourite over the years since discovering his music on Emotional Especial, Hoga Nord, Multi Culti and Club Blanco. He’s a prolific remixer who’s worked with Goat, Plus Instruments, Minami Deutsch, Dâdalus & Bikarus, Blancmange, Johnny Aux, Khidja, Gatos Negros, Food Pyramind, and many more. This release is a perfect fit for Space Ritual and delves into
the darker side of his sound.

Off World is a slow & low spooked out dancefloor trip that meanders through layers of dark, eerie, rattling percussive echos and deep creeping bass. Contrasting atmospheres build throughout entering into a spacious call and response interplay. Fell Swoop's heavyweight bass and haunted sonics take you deep into uncanny space. The raw and swampy bass groove powers through sharp and ominous textures that circle around it.

Pressed to 10” with hand printed artwork on a black reverse board sleeve. Limited to 150 copies.

2026 Repress!

OFF / GRID makes a captivating debut on Life In Patterns with his 'Sonic Spectrum' EP. Previously recognized as an underground gem in the techno scene due to his acclaimed, self-released EP, 'Time To Shine,' the Hamburg-based producer has garnered significant attention in 2023 with EP releases on labels like Planet Rhythm, Uncage, DifferentSound, and Entourage Concept.

On LIP009, he presents four meticulously crafted vinyl tracks and a digital bonus track, each a testament to his remarkable talent for creating hard-hitting, euphoric DJ tools. His music is distinguished by cutting stabs, hypnotic acid lines, and a distinct dub influence, all seamlessly woven together with powerful drum sounds.

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

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

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

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

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

Röhrender Gitarrensound, voluminöser Bass und treibende Drums! Das Powertrio aus Dortmund verbindet perfekt Stoner, Grunge, Psychedelic und Post Punk in ihren abwechslungsreichen Kompositionen. Seit Erscheinen ihres im November 2024 von Muiskmedien gefeierten Debütalbums "Neuzeit", begeisterte LBC Musikfans auf mehr als 60 Shows in ganz Europa. Ihr zweites Studioalbum erklimmt durch die Live-Erfahrung nun ein noch höheres Level, vereint Klangstrukturen so verschiedenster Genres wie Grunge, Post Punk. Hard und Stoner Rock, teilweise in einem Song - das Markenzeichen von Last Bolt Ceremony! Heavy Psych Post Grunge für Fans von Fu Manchu, Daily Thompson, The Picturebooks, Truly, Okay You Win. CD und farbiges Vinyl erhältlich!

Pioneering producer JPEGMAFIA returns with EXPERIMENTAL RAP, an era-defining magnum opus written, produced, and mixed entirely by JPEG, the album is a masterclass in left-field innovation, blending punk, rock, and his signature "no-rules" production. Challenging the boundaries of the genre, this record acts as both a display of power and a gauntlet thrown to the industry, reinforcing his position as modern rap’s most fearless and consistent innovator.

John Coffey built a reputation as one of the most explosive live bands in Europe - even becoming an internet sensation with the legendary “beer catch”. From Graspop to Sziget, Wacken to Pinkpop, Vainstream to Jera On Air, 2000trees and Hurricane/Southside - the Dutch group has played several of the biggest festivals, sold out the Melkweg in Amsterdam and even launched their own punk rock festival - Coffey Fest - to celebrate community and uncompromising music. Never shying away from the world around them, John Coffey actively uses their platform to speak out on social justice and political urgency. The new studio album "Not Alone" is about the power of connection. About discovering that there are other people who feel what you feel. Whether you find that connection through a partner, a friend, a helpline, or a room full of people feeling the same music. Talking helps. Singing helps. Screaming along helps. Armed with new music, a fierce activist ethos, and upcoming European tour dates, the band proves that engagement and heavy rock ’n roll are a perfect match.

Röhrender Gitarrensound, voluminöser Bass und treibende Drums! Das Powertrio aus Dortmund verbindet perfekt Stoner, Grunge, Psychedelic und Post Punk in ihren abwechslungsreichen Kompositionen. Seit Erscheinen ihres im November 2024 von Muiskmedien gefeierten Debütalbums "Neuzeit", begeisterte LBC Musikfans auf mehr als 60 Shows in ganz Europa. Ihr zweites Studioalbum erklimmt durch die Live-Erfahrung nun ein noch höheres Level, vereint Klangstrukturen so verschiedenster Genres wie Grunge, Post Punk. Hard und Stoner Rock, teilweise in einem Song - das Markenzeichen von Last Bolt Ceremony! Heavy Psych Post Grunge für Fans von Fu Manchu, Daily Thompson, The Picturebooks, Truly, Okay You Win. CD und farbiges Vinyl erhältlich!

,Es ist ein Bedroom-Album, das sich aber gar nicht wie eins anfühlt", sagt Glenn Morrow, Gründer von Bar/None Records, über ,Reseda Spleen", das lange verschollene Album von Ventilator aus dem Jahr 1996. Nach Jahren bei Permanent Green Light wurde Matt Devine klar, dass er weiterziehen musste. Devine stürzte sich kopfüber in sein neues musikalisches Kapitel: mit Earle Mankey als seinem musikalischen Mentor, Todd Rundgrens Klassiker ,Something/Anything" aus dem Jahr 1972 als konzeptionelle Inspiration und einem gebrauchten Tascam 388 - gekauft von einem Stuntman bei ,Mighty Morphin Power Rangers" -, den er in seiner Wohnung in North Hollywood aufstellte. ,Reseda Spleen" hätte bei Liebhabern von lautem, gitarrenlastigem Pop eigentlich Anklang finden müssen. Leider blieb die Existenz des Albums, wie bei so vielen Indie-Veröffentlichungen davor und danach, so gut wie unbemerkt - abgesehen von zwei begeisterten Kritiken (von ,The Big Takeover" und ,TapeOp"), die erst lange nach dem Verschwinden von ,Reseda Spleen" aus der Szene erschienen. ,Es ist so ein zeitloses Album", sagt Rob Zabrecky Possum Dixon. ,Es hat nicht diesen schrecklichen Glanz, mit dem damals so viele Bands überzogen wurden, und Matt hat nicht versucht, seine Gitarre wie Nirvana klingen zu lassen oder den Lo-Fi-Weg wie Pavement einzuschlagen; er war so im Reinen mit sich selbst und seiner Vision, dass ihn all das nicht beeinflusst hat. Es ist einfach so schön, dass diese Songs wieder herauskommen, denn ich glaube, die Leute müssen sie hören."

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

Recently unveiled Norwegian Heavy Metal act Avrak was founded in 2023 by guitarists Anders Hegna & Ted Skjellum; himself notable for being half of legendary duo, Darkthrone. The pair had known each other for many years, & with a mutual passion for old, classic rock & metal they finally embarked upon this new journey together under the banner of Avrak.

Ted had declared from the beginning that he would in fact not carry out main vocal duties in the band, & so Anders - with his own voice befitting of the style - took on this task.

Still quite early on within the formative stages, Terje Kråbøl was brought in on the drums &, from there-on, with his percussive presence backing up some thunderous riffing, the creative work accelerated until enough material was produced (and relentlessly refined), culminating in the self-titled, hook-laden & doom-laced rock debut, ‘Avrak’.

Suitably & epically defined as a monumental “Heavy Metal voyage from the peak of the mountains to the depths of the seas”, & delivering themes relating to empowerment in the face of increasingly corrupt times, ‘Avrak’ is a combination of a vast multitude of influences, as the eclectic, deceptively nuanced nine track offering features a classic heavy metal & doom rock backbone, with further experimentation including synth passages, & even some traces of black metal riffing in its DNA.

Avrak subsequently held its debut show in their local town of Porsgrunn in late April 2026, backed by the brand new bassist & final piece of the puzzle, Steinar Gundersen, with more live shows intended in future to support the release.

This edition of ‘Avrak’ is presented on limited silver vinyl, including printed inner sleeve with full lyrics.

Recently unveiled Norwegian Heavy Metal act Avrak was founded in 2023 by guitarists Anders Hegna & Ted Skjellum; himself notable for being half of legendary duo, Darkthrone. The pair had known each other for many years, & with a mutual passion for old, classic rock & metal they finally embarked upon this new journey together under the banner of Avrak.

Ted had declared from the beginning that he would in fact not carry out main vocal duties in the band, & so Anders - with his own voice befitting of the style - took on this task.

Still quite early on within the formative stages, Terje Kråbøl was brought in on the drums &, from there-on, with his percussive presence backing up some thunderous riffing, the creative work accelerated until enough material was produced (and relentlessly refined), culminating in the self-titled, hook-laden & doom-laced rock debut, ‘Avrak’.

Suitably & epically defined as a monumental “Heavy Metal voyage from the peak of the mountains to the depths of the seas”, & delivering themes relating to empowerment in the face of increasingly corrupt times, ‘Avrak’ is a combination of a vast multitude of influences, as the eclectic, deceptively nuanced nine track offering features a classic heavy metal & doom rock backbone, with further experimentation including synth passages, & even some traces of black metal riffing in its DNA.

Avrak subsequently held its debut show in their local town of Porsgrunn in late April 2026, backed by the brand new bassist & final piece of the puzzle, Steinar Gundersen, with more live shows intended in future to support the release.

This edition of ‘Avrak’ is presented on limited silver vinyl, including printed inner sleeve with full lyrics.

Between the late 1960s and the mid-1980s, musicians across the Dutch Caribbean islands of Aruba, Curaçao, and Sint Maarten created music that crossed stylistic boundaries, forming a close-knit network shaped by common histories and identities, while rarely receiving wider recognition.

From the psychedelic funk of local stars Sugar Ice Tea and Cryptus Confession to the Latin influences of visiting musicians like Puerto Rican star Mon Rivera via Surinamese-influenced soul and the garage rock of Los Honda, the islands nourished a huge array of styles and talent.

Antiyano Progresivo unfolds against the backdrop of a rapidly transforming Caribbean. During the twentieth century, oil industries, migration and tourism reshaped the islands, creating unparalleled cultural exchange while deepening social divisions. African, Latin American, North American and European musical traditions intertwined with local forms, producing a rich and distinctive musical landscape. Tambú, tumba, calypso and Caribbean dance music coexisted alongside soul, funk, psychedelic rock, reggae, Latin music and American and British pop. Musicians moved fluidly between these styles, developing sounds that were unmistakably local while remaining connected to wider currents across the Caribbean and beyond.

The period also coincided with growing movements for cultural and political self-determination. Events such as Curaçao's Trinta di Mei uprising in 1969, the emergence of Black Power movements and increasing calls for greater autonomy fostered renewed pride in African heritage, local languages and cultural expression. These ideas resonated through music, inspiring artists to challenge conventions and create work that reflected changing identities.

Marcal has emerged as one of the most distinctive voices of a new generation of techno producers, combining rhythmic precision with an instinct for detail, tension and movement. On Four Small Escapes, he delivers four tracks built around subtle shifts and carefully placed moments of surprise, where intricate sound design and groove remain in constant dialogue. Opening with Smoke from Respawn, Marcal immediately establishes the record's character. Syncopated rhythms, intricate percussion work and subtle sound design details unfold within a streamlined framework, creating a groove that feels both spacious and forward-moving. Wooden rimshots and glassy textures interact across an open arrangement, giving the track a fluid and trippy quality. Arapuca shifts into darker territory while maintaining the same sense of control. Organic percussion, rolling low-end momentum and sharply placed accents continuously reshape the groove, creating a track that feels alive through movement rather than dramatic intervention. On Ultimamente, Marcal introduces one of the record's most immersive moments. Fleeting sonic details appear and disappear throughout the arrangement, while a carefully integrated vocal element adds depth and emotional weight without disrupting the flow. The result is a track that invites complete immersion while remaining firmly focused on the dancefloor. Closing the EP, The Surprise Test delivers its most direct statement. Rough and driving without leaning into industrial aesthetics, the track is powered by rolling energy, syncopated claps and a series of subtle electronic details that continuously animate its surface. The contrast between rawness and precision gives the record a powerful closing moment. Across all four tracks, Four Small Escapes highlights Marcal's ability to create tension through detail rather than excess. Reduced yet expressive, the EP balances functionality with a strong sense of character, allowing small gestures and unexpected shifts to leave a lasting impact.

Ready, set, go!

We're absolutely stoked to welcome Swedish producer Sacred Grove for his second appearance on Parodia.

Four High speed racing tracks that perfectly find the sweet spot between intensity and softness, keeping the groove rolling.

The record set the tone with Earthbound, a percussive heater with an ever going groove, followed by Quest, an eternal eye-closed dancefloor aquatic jam.

B side offers Fever (Mushroom Mix) keeping the energy going, pedal to the metal, certified 4am banger.

Closing the race, "Heart" further cements the atmospheric sensitivity of the record and the enchanting magic that radiates from Sacred Grove power.

As they say, horses (hustlers) don't stop, they keep going!

New artist on the label, the talented Argentinian producer TOBI, who has already made some noise with his own imprint Nila's Quest. For his Slow Life debut, he delivers a powerful mix of tracks that blend genres, showcasing both his dancefloor instinct and his deeper, more atmospheric side.

Dive into the ultra deep field with the fourth release by Alphawaves.
A0910EP showcases Alphawaves' characteristic ability to fuse the organic and the synthetic into a cohesive, hypnotic whole. Across two tracks, a subtle but insistent surge of energy powers both dancefloors and hi-fidelity systems. Dubby and repetitive yet undeniably playful, a sound that feels both intimate and expansive. A sonic space rooted in past, present, and future, echoing far beyond the moment.

2026 Repress

Divorce From New York returns with Jazzthetics, a sophisticated blend of Broken Beat, Nu Jazz and House, where detailed musicianship meets club ready energy. Featuring collaborations with Quiet Dawn, Stickydub, and Carla Luna, the EP explores warm, organic textures and rhythmic depth.
Remixes by K15, GE-OLOGY, and Stefan Ringer expand the sonic palette with future?minded interpretations that connect soulful atmospheres with powerful grooves.

After releasing three LPs and appearing on influential labels such as Nervous Records and Toy Tonics, as well as being featured on the acclaimed Somewhere Soul compilation, Divorce From New York presents his new EP Jazzthetics.
Distinctive fusion of Broken Beat, Nu Jazz, and House. Collaborations with Quiet Dawn, Stickydub, and Carla Luna, plus remixes by K15, GE-OLOGY, and Stefan Ringer.
12" vinyl format with premium finish and digital download included.
Supported on stations such as NTS Radio, Worldwide FM, Rinse FM, The Lot Radio, and Kiosk Radio. Endorsed by influential DJs and platforms including Lefto, Marco Weibel, Mr.Redley, Somewhere Soul, and Brownswood Recordings.
Backed by an international promo campaign and European club tour throughout summer 2026.

or its first release, CRVSH introduces the new 6-track EP by Zaatar, co-founder of the label, entitled First Crush. Zaatar unveils a collection of new anthems that reflect her distinctive sound, standing between club music and live performance energy. Throughout the EP, she blends diverse cultural influences that echo across each track.

With First Crush, Zaatar develops a musical language of her own, where her North African roots meet the rawest forms of electronic music. Percussions borrow from rock’s intensity, while dissonant synths crackle like guitar riffs, all driven by the power of deep bass frequencies.

The voice takes a central role throughout the EP, shifting from a sensual whisper to a mechanical and robotic texture. It creates a constant tension between human and machine, between organic warmth and mechanical coldness.

Do Da Doo' Returns with New Life on Definitive Recordings
SPECIAL VINYL ONLY RELEASE

Definitive Recordings revisits one of its most iconic releases with a fresh reissue of Robotman feat. Marshall Jefferson - 'Do Da Doo', originally released in 1992. A cornerstone of the label's early catalogue, the track returns with newly re-recorded vocals by house legend Marshall Jefferson, bringing renewed energy to a timeless classic.

Robotman, a moniker of Richie Hawtin (aka Plastikman), represents an essential chapter in the evolution of house and techno. As one of the most influential figures in electronic music, Hawtin helped shape the sound of acid and minimal techno while co-founding the legendary Plus 8 label alongside John Acquaviva. His forward-thinking productions and groundbreaking DJ sets have defined generations of dance music culture.

On this release, the original Plastikman Acid House Mix stands as a true highlight. Spanning 12 minutes, it delivers a deep and hypnotic acid journey driven by classic TR-909 drums and a signature TB-303 bassline. The instantly recognizable vocal 'Got the Do Da Doo' sits prominently within the groove, creating a powerful and timeless club moment that defined an era.

On the flipside, Detroit's DJ Minx brings a fresh perspective with a groove-heavy house interpretation. Known as the 'First Lady of Wax' and a key figure in Detroit's scene, Minx reshapes the vocal into a rhythmic element, layering it into a shuffling and classic house framework. Her version adds warmth and swing while staying rooted in the track's original spirit.

With this reissue, Definitive Recordings celebrates a landmark release that continues to resonate across generations, combining legendary artists, timeless production, and the enduring energy of house music.

Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.

What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.

‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.

Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.

‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.

On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.

We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!

As always, play it loud and share the music.

Lars & Maarten

After the sell-out sensation of the album 'Soul Drums’, the Steve White Trio return with a special 7” single, as they take on Deep Purple’s ‘Mandrake Root’. A fitting tribute to Jon Lord, with a Hammond-heavy groove, White shows his range and power from behind the kit. It is backed by the original ‘Sunburn’, written by Joel White and Chris Hague, who complete the brilliant Trio.

’Soul Drums’ was the inaugural release in the new Acid Jazz Jazz Sessions series earlier this year and, remarkably, the first album bearing the name Steve White. After a storied session career and long association with Paul Weller, as a member of the Style Council and as the heartbeat of Weller’s solo band on ‘Wildwood', 'Stanley Road', 'Heavy Soul’ and ‘As Is Now’, the Trio sees Steve return to his jazz and filmic influences, with a true modernist touch.

The 7” release coincides with a special appearance at the 100 Club on 17 September.

Cameron Stockman has risen from the Manchester rave scene to become a new school producer that builds on that background with other influences from US West Coast and 00s UK tech house. As such it's no wonder Chris Stussy and Enzo Siragusa have played his jams, or that Burnski has snapped him up for this new EP. 'Warm Welcome' begins with a slithering groove that works its way under your skin with zesty little synth expressions and rasping bass that never quits. 'Give It 2 Dem' heats up with naughty breakbeats and some bass that wouldn't be out of place on a jungle record, but here powering a future tech sound. RTK Tarantino shuts down with some classic neon organ chords and a quicker, throwback garage vibe that gets works. Effective stuff.

The anime-loving crate diggers behind the Secret Vault series are back with some more disco edits of the highest order, and once again they're aimed squarely at the dancefloor. The A-side transforms an overlooked groove into a peak-time powerhouse, driven by muscular drums, rolling bass and a perfectly paced arrangement that keeps the energy locked as the vocals keep on adding fuel to the fire. Flip it over for a breezy and uplifting, horn-soaked disco workout packed with hooky bass and ever-rising vibes. Respectful of the originals but with the sort of punch needed to cut through. Another doozy from this small but well-formed label.