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With Sunrise and the Life We Live, John Beltran returns to his ambient techno roots, the sound that garnered him global appeal in the 1990s.

Through ten tracks, the album journeys through lush, aerated textures and beatless expanse. Hypnotic grooves deepen and bloom in a flow of shapes and colors, creating a sound that is both meditative and full of life.

Thirty years after the release of his seminal Ten Days of Blue, Beltran's musicianship, vision and desire to produce remain at a fever pitch. With Sunrise and the Life We Live his gift of extracting emotion from the universe and turning it into
a unique musical experience puts him in a class of his own.

DJ Support by Massimiliano Pagliara, Fabrizio Mammarella, Ally Tropical, Sofa Elsewhere, Alexander Back, G-ha, Secret Soul Society, Olle Abstract, Logan Fisher, Timmy Stewart, Erki

The Vendetta Suite continues to show his broad range on Hell Yeah with the Scrabo Electric EP. Youthful memories, mushroom trips, 80s electro, dub and sleazy disco all colour a nostalgic tribute to early beat street culture in his home town of Newtownards.

Gary Irwin is a label mainstay with a thirst for weird and unconventional fusions that reframe 70s and 80s references through a contemporary lens.

Drawing on memories of breakdancing, dub reggae, and teenage mischief, he channels the spirit of demolished record shops, discos, and local haunts that shaped his musical identity. From tape-swapping electro compilations and local characters to dub influences and teenage discos, each track reflects a personal chapter rooted in 1980s Northern Irish life.

The wiggy rhythms of the title cut to the echo-laden 'A Dub For Dave', the punchy 80s drums of 'Uprock At Digby's Disco' and raw, textured funk breaks of 'Lead Mines Bonus Beats' all mean this EP blends cultural memories and musical history with undeniable style.

Available again for the first time since 1970, Lobo’s melancholy masterpiece epitomizes the experimental evolution of MPB. With new liner notes by Edu Lobo.
Released in 1970, Cantiga de Longe is a defining record in the career of Brazilian singer, composer, and guitarist Edu Lobo and a significant contribution to Música Popular Brasileira (MPB). Created during Brazil’s military dictatorship, the album reflects the subtle, poetic strategies that artists use to convey meaning while subject to censorship. Rather than overt protest, Lobo expresses longing and introspection through refined musical language and evocative lyrics.
Musically, the album captures the sophistication of MPB at the turn of the decade. A foundation of acoustic guitar blends with jazz-influenced harmonies and elegant arrangements. The sound is both intimate and expansive: delicate vocal lines unfold over complex progressions, supported by understated rhythms, rooted in Brazilian traditions. Lobo’s controlled yet expressive vocal delivery keeps the lyrical nuance at the forefront.
A key element of the album’s texture is the involvement of Hermeto Pascoal. His imaginative instrumental contributions add subtle harmonic color and atmospheric depth, enriching the refined arrangements and enhancing the sense of openness.
Thematically, the album explores memory, distance, solitude, and time—personal reflections that resonate with the broader climate of uncertainty that dominated Brazil in 1970. This remains one of Lobo’s most mature recordings, exemplifying the emotional depth and artistic subtlety of Brazilian popular music in a creatively fertile era.

Frankey & Sandrino return to Mule Musiq with a new EP, marking their fourth release on the iconic Japanese label.

For this special release, the duo reunites with Charlotte Riby for “Rock-a-lott”, continuing their creative connection through a shared vision of emotional and timeless electronic music.

Blending melodic depth, organic textures and their signature sound, Frankey & Sandrino deliver another refined addition to their ongoing musical journey.

We are excited to be back on Mule Musiq and to share this new chapter with you.

At the heart of ‘Diese Fragile Praesenz’ lies a melancholic yet propulsive drone, constructed from a field recording and drenched in white noise. Around this softly glowing orb Kelovolt constructs a vast, shifting, sombre soundscape. Lush, magisterial pads, starry-eyed synth work, cold washes of tape hiss and static melt in and out of the mise-en-scène. Crumbling walls of bass and distortion collapse in slow motion even as rich, brasslike harmonies elevate the listening mind. Long keening synth notes emerge from the fog, intertwining with falling tubular figures, a journey through a wormhole of sound both monumental and fragile.
The accompanying reinterpretations approach this deeply rich source material with discerning reverence. Voltmar's version deepens the grain of the original, with sharper percussion and washes of static that blow through the mix like little gales of dust. Anthony Linell's PM and AM remixes delve into a darker emotional core, placing at the centre a low, shadowy synth pulse around which mists of tape hiss and distortion swirl. Black Merlin steers the track down the path of eerie psychedelia, echoing clicks and dubwise space around a groove often found in the deeper chasms of contemporary techno.
Elsewhere, Die Wilde Jagd stretches the original into a mesmeric landscape of drones, occasional distant percussion and heavy fog, punctuated by fleeting moments of melodic clarity and beautifully resonant bell tones. CV313's pair of reworks complete the collection by exploring two complementary dimensions of the original through his signature dub approach. The Gravitational Pull mix feels the most true to the title track, amplifying its starry-eyed, celestial qualities, with a softer, hazier version built around a deep bass groove, while the Dimensional Dub descends into vast caverns of echo, resonance and alien texture - strong dub-techno sensibilities loom large in this mix.
Endlessly contemplative, endlessly exploratory, minimood027 is a trip to its own sonic galaxy that spirals inexorably outward, carrying the mind to ever wider astral planes. But at the core is that ever-pulsing drone, the black abyss that draws consciousness powerlessly back into the great nothingness.

Source Code Memory is a deep and hypnotc house journey built around rhythm, memory and reconnecton. With this new EP, Marcus Raute explores the point where body, mind and dancefoor energy meet, shaping four tracks that move between spiritual refecton, raw groove and soulful release.

Opening track “Reconnect” features legendary Detroit visionary Abu Qadim Haqq, whose spoken words bring a symbolic and cosmic dimension to the record. Hypnotc percussion, warm organ textures and jazzy piano lines create a deep house atmosphere where storytelling and rhythm become one.

“Body Code” moves into a more direct dancefoor space, driven by stripped-back drums, rolling grooves and old-school house energy. On the B-side, “Inner Transmission” brings a warmer and more emotonal tone, with rich chords, vocal cuts and live Rhodes and organ improvisatons inspired by the depth of 90s deep house.

Closing the EP, Giomini reworks “Inner Transmission” into a powerful, tmeless house remix, keeping the soulful spirit of the original while pushing it further into club territory.

Ma Ze Music is just seven releases deep but is already overdelivering on expectations. This latest offering is a second from Yanuka, which is the solo project of acclaimed keyboardist, composer and producer Tomer Zuk. Here he hooks up with Elran Dekel on 'Where Is My Love' for a gently psyched-out and global soul and downtempo fusion that pairs textured guitar riffs with cartoon boings, conscious vocal musings and a blend of romantic and heart-aching moods. It's warm and intimate and then Ma Ze's regulars UV & Nenor take care of the flip with 'Where Is The Dub' which strips the original to a hazy, slow-motion dub.

You know the pattern: someone calls their album "Balearic," and you immediately expect chill-out terraces, pan-flute samples, and the umpteenth return of the Café del Mar sunset. Devi G. refuses this reflex almost maliciously. The title is a trick—an invitation to disappointment for those hoping for postcard exoticism. What is actually being negotiated here is erosion, but that of the body itself: the abrasion one inflicts upon oneself in the excess of the night, when partying turns into wear and tear, and a rush becomes a graze that only becomes visible in the morning. No backdrop, then, but a wound one has voluntarily acquired.

Instead of the usual Ibiza xylophones, Devi G. digs into the rift between idyll and wear. The result reads like a séance—less José Padilla, more as if Kevin Martin had re-recorded a Manuel Göttsching record on a dying four-track deck. The target area lies somewhere between the waterlogged ambient sketches of Huerco S. and the faded dub-afterglow of Actress, but Devi G. remains consistently on his own, grainier frequency.

Balearic Abrasions (title track) opens without haste, demanding almost without impatience: no motif, no rhythmic handhold, just a slowly tilting balance between warm texture and rough surface. The grain never feels forced—it is not a lo-fi costume, but an integral part of the statics themselves. Where other ambient producers strive for perfection, Devi G. consciously seeks the breaking point. Rhythm remains a tool, never an ambition. Those expecting quick resolution will be disappointed; those willing to listen will receive a depth effect that is rarely this vivid.

Exit Through Thee Gift Shop tips into harder territory: dub-techno reduction meets industrial edge, carried by a stoic kick drum that knows no mercy. Metallic textures slice through the sub-bass, while repetitive chords hypnotize like a defective loop. Central to this is a rare Terence McKenna recording, which functions less as spoken-word ornamentation and more as a disruptive spirit between memory and media archaeology. The title—Banksy reference included—turns this into a biting punchline: radical electronic abstraction positioned against the hyper-commercialized art world.

Morning Depth pushes the claustrophobia further, somewhere between post-industrial and deep-sea dub. The track refuses any peak-time logic, preferring to disintegrate into itself, subcutaneously, methodically. At the end, a casual, almost banal vocal sample (“i defiantly prefer chocolate”) breaks into the cool machinery—a small, profane fissure that makes the coldness of the rest of the piece all the more apparent.

Desiré Algorithmic is the album's most calculated moment: a stoic, repetitive bassline as a foundation, topped with fragile melody fragments that flash like glitches in faulty code. The title reads like a promise from nightlife—a figure that suggests much and delivers nothing, because behind the façade there is simply nothing, only simulation. The track carries exactly this principle: promise without substance, desire without body, just rendering. Only in the final third does a melancholic saxophone break into the sterile structure—organic, imperfect, and for that very reason more credible than everything before it. It is the moment in which the real briefly flashes through the surface of the dummy before it closes again.

All-inclusive Residue concludes the album as sedimentation rather than dramaturgy: dub-techno remnants, industrial patina, salty ambient surfaces that settle rather than compose. The refusal of consumption as a sonic principle—brittle, stubborn, with a gravity that lingers long after.

Verdict: Balearic Abrasions is not easy listening with a sea view, but an exercise in patience and friction. The restraint with which Devi G. avoids climaxes will frustrate some—for everyone else, that is exactly where the record's strength lies. No sunset. Rather, what remains on the rocks afterward.

Four-track techno EP by François X on XX LAB.

Rooted in Black American dance music and shaped through European club culture, Bound States combines hypnotic rhythms, warm textures and driving low-end into a cohesive, contemporary club record.

From the dense atmospheres of Bones & Harmony to the driving energy of Type X, the EP unfolds as a journey designed for the dancefloor while remaining deeply personal.

Crossing their distinctive techno practices in the spirit of mutual appreciation and experimentation, DJ Nobu invites JakoJako to Bitta. Each delivering an original track and then remixing each other's work, both artists examine where their creativity converges, and what happens when their differing qualities collide. JakoJako has forged a reputation within techno and electronica circles centred on her accomplished exploration of modular synthesis. While she comfortably embraces ambient projects, she's also firmly entrenched in the club matching a tough rhythmic sensibility with adventurous textures and subliminal emotional content. As Nobu himself describes, "Beyond standard techno functionality, I deeply respect JakoJako's approach to music making, which stems from a pure, unyielding curiosity about sound itself. Her sound aligns perfectly with Bitta's core philosophy--the coexistence of experimentation and physicality." Nobu's own 'Wax and Wane' opens up the release in a melancholic mosaic of bleeping leads and natural-sounding drum tones, patiently laid out over a dense pad and developed with the elegant but driving style he's made his own over many years. JakoJako's 'Nodus' is a more cybernetic affair--lithe layers of frequency modulation moving over the rugged kick drum thump before opening up to celestial arps and jagged flurries of percussion. For the remixes, Nobu immediately reframes 'Nodus's melodic crescendo as the core theme while steering the track towards an immersive, linear arrangement that ebbs and flows with poise. In the process, he finds his own expressive sound design language to put a unique spin on JakoJako's original sound. Meanwhile, JakoJako steers 'Wax and Wane' into a mesmerising lattice of needlepoint percussion and swooning synth strokes, creating emotive swells out of the raw ingredients of Nobu's original melodies. The end result is a record made up of four distinct pieces, all logically compatible but bringing forth different aspects of two dedicated, ceaselessly curious practitioners of contemporary techno.

"Dark Flower" is the new imprint by Robert Babicz, launched in cooperation with Systematic Recordings as a home for his own music. Named after one of the defining tracks of his career, it feels less like the launch of another label and more like the opening of a private room: a place for sound, emotion and instinct, shaped entirely by Babicz himself. With „Electric Love EP" he begins this chapter in full colour. After more than 1.000 released tracks and music on labels such as Bedrock, Kompakt, Systematic and Sudbeat, FLOWER0001 is not about proving anything. It is about freedom.

“Electric Love” opens the EP with punchy breaks, luminous harmonies and choral textures that seem to rise above the beat. It is bold, open and slightly unexpected, electronic music with a pulse and a sky above it. "Cuerpo Con Color” brings things closer to the floor: warm chords, fluent grooves and a calm, driving pressure that slowly pulls the body into motion. Across two versions, “Tease Me” closes the EP with a burning bassline, oriental vocal fragments and a seductive tension running underneath. Strange, physical and unmistakably Babicz.

Diaspora II continues Exit Safe Mode’s evolution with a sound that leans deeper into
dub-influenced textures while maintaining their techno foundation. The album shifts
into noticeably darker territory, embracing heavier tones, more brooding energy, and
a mood that feels both introspective and ominously intense.

2026 Repress

Supported by Cio D'Or, Deepbass, Etapp Kyle, Mattias Fridell, Ness, Samuli Kemppi, Svreca, Takaaki Itoh, Unam Zetineb, Exium, Alessio Pili, Antonio de Angelis, Artefakt, Edit/Select, Jonas Kopp, Kwartz, Mod21, Reggy van Oers, Juho Kahilainen, Eric Cloutier, Johanna Knutsson, Tom Bonaty, Arnaud le Texier, Brando Lupi, I/Y, Iori, MTD, Nima Khak, Par Grindvik, SNTS, The Noisemaker, VSK, Attemporal, Casual Violence, Rasmus Hedlund, Sleeparchive, Terence Fixmer, Eastern Renaissance, Victor Martinez and many, many more.
Luigi Tozzi / Deepbass / Claudio Prc - Deep Blue

The roots of Nightlong can be traced back to Havana in early 2008, where a series of recordings captured some of the most compelling contemporary Cuban singers and musicians. These sessions yielded a striking collection of voices, woodwinds, and brass, all imbued with a distinctive warmth and vitality—material that called for a careful and inspired reinterpretation.

That reinterpretation came from Maayan Nidam. With remarkable intuition and precision, she distilled the essence of these performances and reshaped them into a work that feels both organic and forward-looking. Moving beyond her signature dance floor framework, Nidam explores a wider range of rhythms, textures, and tonal depth, crafting an album that unfolds with subtle complexity and emotional resonance.

The result is a fluid and immersive record—one that transforms its source into something entirely new, while preserving its expressive core.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

Der Komponist, Produzent, Musiker und DJ Floating Points, alias Sam Shepherd, präsentiert „Mere Mortals“, seine erste Ballettpartitur in voller Länge. Das Ballett, das von Tamara Rojo, der künstlerischen
Leiterin des San Francisco Ballet, in Auftrag gegeben und inszeniert wurde, mit Choreografie von Aszure
Barton und Bühnenbild sowie visuellen Elementen von Hamill Industries, interpretiert die Geschichte von
Pandora in einer Verschmelzung von Mythos, Musik und Bewegung neu. Das mit dem San Francisco Ballet
Orchestra für die Deutsche Grammophon aufgenommene Album mit 14 Titeln ist eine kraftvolle Mischung
aus elegischen Streichern, apokalyptischen Blechbläsern und pulsierender Elektronik. Von der lyrischen
Solovioline in „Hope“ über die Dissonanzen und die hämmernden Percussions in „Rage of the Gods“ bis
hin zur exquisiten Harfenmelodie in „Her Gift“ vor der unheimlichen Atmosphäre von „Opening of the Jar“
ist die Partitur reich an Textur und Wirkung. Orchesterklänge tauchen aus einem elektronischen Dunst auf
und spiegeln die zentrale Frage des Balletts wider: Wo endet der Mensch und wo beginnt die Maschine?

a time patterned is Lara Somogyi’s second full-length work: an electroacoustic harp record that maps personal transformation through rhythm, resilience and resonance. Built from loops, pedal textures and electronics, virtuosic arpeggios, stacked tape machines, ambient processing, contemporary extended harp techniques, sweeping symphonic language, and field recordings.

Nearly a decade in the making, Catalyst is Julion De’Angelo’s long-awaited debut album, a bold statement of artistic vision and musical dedication. Released on his Maybee Hill Music imprint, the album blends driving rhythms with rich melodies, from the Beatdown house energy of “The Tundra” and “Antheme” to the expansive jazz textures of “Karma” and “Confused Ones.” Honoring Detroit’s legacy while pushing beyond it, Catalyst bridges soulful experimentation, organic composition, and contemporary dance music into a sound that is distinctly Julion’s own. Spanning six tracks across the double 12″ vinyl with full color double-sided insert, pressed at Mother Tongue Records.

“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.

“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.

“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.

“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.

Lucid Dream Records is proud to announce its very first release: a reissue of four tracks by German producer Trancefeld, originally released on Sunset Recordings and CTM in the early 2000s. Years after their initial release, these productions still sound remarkably fresh on today’s dancefloors. Pure Fiction and Arcade showcase Trancefeld's tight programming, pairing hypnotic rhythms with progressive and trippy influences. On the flip side,
Seaquence explores deeper and more melodic territory before Outroduction closes off the EP with a richly textured and contemplative downtempo cut. Even today, these recordings remain difficult to place within a single category and together showcase the versatility and timeless quality of Trancefeld's musical output

After years of steadily building momentum within the deeper side of drum & bass, Monika now delivers his long-awaited debut album, How We Saw Forever, landing this August on Spearhead Records.

UK-born and now based in New Zealand, Monika has developed a sound that blends deep rolling grooves, soulful textures, delicate musicality and moments of genuine emotional weight. Across the album he moves effortlessly between late-night introspection, euphoric warmth and darker, more experimental territory, showcasing an artist fully confident in his own sonic identity.

Having already made a strong impression through previous releases on Spearhead and appearances across the label’s 20-year anniversary campaign, How We Saw Forever feels like a major step forward creatively. From the haunting beauty of “What Turns Your World” featuring Oktae, through to the nostalgic rave energy of “Mango Pop” and the weightier pressure of “Syndicate”, the album captures Monika’s ability to balance emotion, atmosphere and dancefloor impact without ever feeling formulaic.

At its core, How We Saw Forever is an album about atmosphere, memory and emotion, music designed equally for solitary headphone moments and packed dancefloors at sunrise. There’s a cinematic thread running throughout the project, but also a raw honesty that gives the album its real depth.

Speaking about the album, Monika says:
“This project became a reflection of so many different seasons of life over the last few years. Some tracks came from really emotional places, others were written purely from joy and escapism, but together they tell the story of where I’ve been creatively and personally. I wanted the album to feel immersive, something people could disappear into.”

Released via BCee’s Spearhead Records — a label long celebrated for championing soulful and emotionally rich drum & bass. How We Saw Forever marks another exciting chapter for both Monika and the wider Spearhead family.

Finnish producer DJ Dats returns with the four-track EP “Phuture 3030” on his own label, Allowance Trax. The title track is built on solid 808 rhythms, a sliding 303 bassline and futuristic synth textures, while “Test Drive” is driven by a heavyweight Moog bassline and shuffling house drums.

Detroit’s Nels the Operator reworks “Phuture 3030” with his modular synth setup, giving the track a rawer, more live feel and a richly layered sound. London’s Moroka remixes “Test Drive” in his signature style, blending house grooves with jazz fusion influences.

This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.

Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.

Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).

Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’

Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.

From the depths of Rotterdam's machine soul, Gerd returns with Plasmic Echo - a four-track transmission drifting between submerged dub atmospheres, decayed textures and hypnotic late-night pressure. Released on Frame Of Mind, the EP moves through dense fog, frozen delays and low-end currents with precision and restraint. Deep, spacious and subtly psychedelic, Plasmic Echo balances stripped-down rhythm tracks with immersive atmospheres and pulsing analog textures. Built for dark rooms, long blends and those moments where time starts to dissolve into the groove.

As the thirteenth release on Guy J's Early Morning imprint, this three-track collection unfolds across 25 minutes and 9 seconds, exploring movement, emotion, and introspection through three distinct yet interconnected works.
The release opens with Secret Serv1ce, an uncompromising statement driven by a commanding beat, layered percussion, and psychedelic textures that blur the boundary between reality and abstraction. Its hypnotic momentum earns attention, reaffirming Guy J's command of both studio craftsmanship and musical skills.
At the centre of the release lies Placebo, the collection's longest work. Across nearly eleven minutes, it balances ethereal atmospheres with a meticulously engineered groove. Delicate electronic textures gradually give way to an irresistible melodicmotif that transforms the track's emotional landscape.
Closing the EP is My Existence, an intimate exploration of identity that reflects both the artist familiar to audiences around the world and the quieter dimensions hidden beneath the surface. Synthesizer interplay and forward-looking sound design converge into a navigation through unexplored emotional and sonic terrain while connecting memory, imagination, and rhythm into a unified whole.
With EARLY013, Guy J demonstrates how electronic music can remain both intellectually engaging and physically compelling, inviting listeners to lose themselves on the dance floor while discovering something deeper within the process.

It's fitting that Mike Jefford is both a photographer and a musician, his music career having slowly evolved like a developing photo coaxes Technicolor images out of the shadows. His sonic palette began taking shape in Medway, Kent with darker, grittier strains: teenage grunge and metal turned into drum & bass and IDM, following the Brighton club scene to Berlin as Positive Centre, until he made a nest in rural Portugal where Laguna Seca’s bright, expressive range would blossom.
A longstanding friendship with Chris Clark supported Jefford’s most pivotal artistic evolution yet, jumping from a decade of techno dusk to music practically overflowing with life as Laguna Seca debuted on Throttle Records.
“O tempo” can mean “the time” or “the weather” in Portuguese, two intensely changing powers whose many different connotations Jefford reflects in a highly varied tracklist. The breadth of climatic catharsis permeates through textural production and songwriting experiments, down into the very bedrock of the album’s engineering process where Jefford traces the long signal chain of time: the amps, desks, and tapes of Motown, the vinyl mastering studio’s intricacies, the Akai samplers that gave modern hip hop its “ghostly and impressionistic” sound, the software that drives electronic music today.
Much as 2026’s O Tempo was inspired by vintage tonality, retro aesthetic, and the likes of CAN, Kraftwerk, and Jimi Hendrix, it’s not an exercise in nostalgia; this is music that could have only been made with today’s technological advancements, revelling in anachronisms and collisions between hindsight and present tense.
It’s tempting to view Jefford’s projects as opposites, but they come from the same sonic values. Positive Centre’s “bleak” and “sinister” world is also incredibly detailed, constantly updating pile-driving grooves with microscopic flourishes and vast ambient swells. The flaring psychedelia of Laguna Seca is a continuation of those textural, material, and kinetic explorations, where plate reverb splashes, blistering and crunchy beats, vocal glimmers, and guitar swagger are all glued together by recurrent themes of memory and time. As each of his projects travel to the same destination, all of Jefford’s roads have eventually led to vibrant colour.


Chilean label Soundrive hits double figures with an EP that is as tasteful for house heads as all the other have been. Four serious names step up for this one, starting with Nottingham's DIY man Nail. His 'In The Sky' has all his usual hallmarks - heft to the groove and rawness to the drums, but also an emotional pull that cuts through from the woozy sax notes. Sakro stacks up his kicks into driving, nicely pressured loops on 'Deep In The Street' and runs them through with some thoughtful pad work and Texan Brett Johnson brings his usual off-beat tech house trippiness to 'Beautiful Smurf'. Gari Romalis shuts down with a warm, enveloping dub classic in the form of 'I'm Ya Dancer' complete with smoky vocals and wispy pads that are primed for dead of the night sessions.

Tenampa now turns to French sonic storyteller YokoO, who makes his debut on the Mexican imprint with a three-track workout that perfectly captures his signature sound: deep, refined and effortlessly effective.
Rich in groove, subtle textures and immersive atmospheres, the release unfolds with the unmistakable sense of depth and emotional detail that has become synonymous with YokoO’s productions.
Strictly limited to 300 copies worldwide and available exclusively on vinyl, this release further cements its status as a true collector’s piece.
The artwork once again comes courtesy of the ever-outstanding Manuel Cetina, aka El_Stitch, whose distinctive visual language adds another layer of identity and lasting value to the release, securing its place in any serious record collection.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Valentina Magaletti (Moin), Al Wootton and Susumu Mukai (Vanishing Twin) create expansive rhythmic music that moves freely through dub, trance, free improvisation and cinematic psychedelia. For Basilikum, the trio recorded a series of improvisations in the Swiss Alps and London. Built on the foundation of vintage drum manchines and instinctive interplay they created compositions where no stylistic borders apply.

Dub techniques meet ritual percussion, hypnotic pulse and vast Popol Vuh-esque landscapes. Drawing equally from popular music, experimental traditions and spontaneous interaction, the trio treats playing, recording, editing and transformation as part of the same creative act. Sounds emerge, dissolve and reappear in new forms, creating a music that is both deeply physical and endlessly open.

With no fixed boundaries and no allegiance to genre, their work embraces movement, texture and collective energy. The result is immersive, transportive music that shifts between meditation and propulsion, intimacy and scale, always evolving in the moment

Reissued on Pascal Pinkert's new label 'Phantom Sounds'. Originally release 2019, now remastered with bonus track included! TIP!

Excerpt from the original release text

"On the album, you’ll find a touch of the old and a great deal of new material. ‘Geen Genade’, ‘Wat Voel Je Nou’ and ‘Verloren’ still stand strong in pride of place, reminding us why we love De Ambassade so much in the first place. The opener and title track, ‘Duistre Kamers’ has a dark industrial vibe that is a perfect introduction of what is to come. Somehow ‘Zo Hoog Als De Bogen’ feels warm and cold simultaneously, it maintains an almost spooky tone; ‘Malefica’ in comparison sounds raw, uncut and almost upbeat. ‘Niet Van Mij’ is one of the reasons the album is so special. Its unexpected wavering synths create another contrast of the melancholic and the joyful in one, and the heavy percussion and echoing vocals tie it in with the rest. ‘Laatste Uur’ kicks you in the face, again with this industrial, moody feel and beautifully handled synths. The closing track ‘Wapengekletter’ is elegant, and a new favourite here. The dark vocals, haunting melody and cleverly tempoed percussion conclude the album wonderfully. Overall, De Ambassade has hit the nail on the head and produced this autumn’s must have Amsterdam album."

Four understated house cuts that trade spectacle for subtlety, built on fluid grooves, rich textures, and understated melodic detail. A confident debut for Squid Recordings from one of Eastern Europe’s most quietly compelling emerging producers.

NEUES ALBUM MIT DEN PUNK-ROCK-LEGENDEN CHARLIE HARPER (U.K. SUBS) UND DEL GREENING (PETER AND THE TEST TUBE BABIES) Eine wunderbare neue Punkrock-Partnerschaft! Charlie Harper ist ein langjähriger Bewunderer von Del Greenings Gitarrenspiel und beide leben in Brighton. Da Del nicht mehr mit Peter And The Test Tube Babies auf Tour war und Charlie ,etwas" weniger Gigs mit den U.K. Subs spielte, hatten beide Zeit, etwas Neues und Frisches zu starten. Ohne Proben, ohne Vorproduktion und mit nur ein paar groben Songideen machten sich Del und Charlie zusammen mit Vicky Smith von den Ramonas am Bass und Marley Perez (Charlies Enkel) am Schlagzeug im Oktober 2025 auf den Weg zu den Brighton Road Recording Studios und legten los. Die Songs ,Deadlines", ,Divide", ,Cyber War" und ,Lost" wurden in der ersten sechsstündigen Session geschrieben. Nachdem der Großteil von Marleys Schlagzeug bereits aufgenommen war und er nun auf Tour war, zogen die Sessions in das winzige Studio im Hinterhof von (Toningenieur) Ali Gavin im Dorf Aulburn in Mid Sussex um. ,Ali war für die Tontechnik zuständig. Ich habe Gitarren und Gesang überlagert. Charlie saß hinter uns und warf Ideen, Geschichten, Songtexte oder - je nach Tageszeit - völlige Verwirrung ein. Irgendwie nahm das Album aus all dem Chaos langsam Gestalt an.", so Del zum Aufnahmeprozess. Eine kurze Krankheitsphase von Charlie führte jedoch dazu, dass die Disasters an einigen Songs ohne ihn arbeiteten. ,Wir drei haben schließlich ein paar neue Tracks aufgenommen: ,Scars` und ,The Disasters`. Vicky spielte Bass, während Ali das Mixing übernahm, dann setzte er sich ans Schlagzeug, während ich mich um die Gitarren kümmerte. Wir schickten die Rohaufnahmen an Charlie. Er war begeistert. Bei den letzten Sessions war das Album zu etwas geworden, womit keiner von uns gerechnet hatte. Nicht wirklich ein Subs-Album und auch nicht wirklich mein oder Charlies Soloalbum. Etwas völlig anderes." ,Derik & The Disasters" besteht aus vierzehn Songs, die sowohl an Charlies als auch an Dels musikalisches Erbe anknüpfen und gleichzeitig einen einzigartigen, lebendigen Sound schaffen - mit Texten, die sich nicht scheuen, die vielen Probleme anzusprechen, mit denen die Welt heute konfrontiert ist. Das ist Punkrock im Jahr 2026. Laut abspielen.

NEUES ALBUM MIT DEN PUNK-ROCK-LEGENDEN CHARLIE HARPER (U.K. SUBS) UND DEL GREENING (PETER AND THE TEST TUBE BABIES) Eine wunderbare neue Punkrock-Partnerschaft! Charlie Harper ist ein langjähriger Bewunderer von Del Greenings Gitarrenspiel und beide leben in Brighton. Da Del nicht mehr mit Peter And The Test Tube Babies auf Tour war und Charlie ,etwas" weniger Gigs mit den U.K. Subs spielte, hatten beide Zeit, etwas Neues und Frisches zu starten. Ohne Proben, ohne Vorproduktion und mit nur ein paar groben Songideen machten sich Del und Charlie zusammen mit Vicky Smith von den Ramonas am Bass und Marley Perez (Charlies Enkel) am Schlagzeug im Oktober 2025 auf den Weg zu den Brighton Road Recording Studios und legten los. Die Songs ,Deadlines", ,Divide", ,Cyber War" und ,Lost" wurden in der ersten sechsstündigen Session geschrieben. Nachdem der Großteil von Marleys Schlagzeug bereits aufgenommen war und er nun auf Tour war, zogen die Sessions in das winzige Studio im Hinterhof von (Toningenieur) Ali Gavin im Dorf Aulburn in Mid Sussex um. ,Ali war für die Tontechnik zuständig. Ich habe Gitarren und Gesang überlagert. Charlie saß hinter uns und warf Ideen, Geschichten, Songtexte oder - je nach Tageszeit - völlige Verwirrung ein. Irgendwie nahm das Album aus all dem Chaos langsam Gestalt an.", so Del zum Aufnahmeprozess. Eine kurze Krankheitsphase von Charlie führte jedoch dazu, dass die Disasters an einigen Songs ohne ihn arbeiteten. ,Wir drei haben schließlich ein paar neue Tracks aufgenommen: ,Scars` und ,The Disasters`. Vicky spielte Bass, während Ali das Mixing übernahm, dann setzte er sich ans Schlagzeug, während ich mich um die Gitarren kümmerte. Wir schickten die Rohaufnahmen an Charlie. Er war begeistert. Bei den letzten Sessions war das Album zu etwas geworden, womit keiner von uns gerechnet hatte. Nicht wirklich ein Subs-Album und auch nicht wirklich mein oder Charlies Soloalbum. Etwas völlig anderes." ,Derik & The Disasters" besteht aus vierzehn Songs, die sowohl an Charlies als auch an Dels musikalisches Erbe anknüpfen und gleichzeitig einen einzigartigen, lebendigen Sound schaffen - mit Texten, die sich nicht scheuen, die vielen Probleme anzusprechen, mit denen die Welt heute konfrontiert ist. Das ist Punkrock im Jahr 2026. Laut abspielen.

Rooted in raw, minimal, dubby and emotional music, the Amsterdam-based Label Delver focuses on expressive recordings rather than polished productions, with releases that wander across genres.
The label’s first vinyl EP grew out of a shared passion for hardware jams between three friends, who regularly come together for live performances. Recorded in the afterglow of the summer of 2025, Delve Deeper Vol.1 brings together four tracks that combine from deep and hypnotic to more ambient and experimental territories.

Vand joins the roster with a collaboration with Holotropic, adding his singular interpretation of techno to the record. Each artist brings their perspective and while dub techno is the common ground here, the record explores a variety of its expressions.

Holotropic opens with “Sabra”, a patient, raw dub techno cut with subtle traces of the deeper Vril catalogue. Sasemoi’s “Those Who Seek” heads into more ethereal territory, its rhythm gradually surrounded by layers of sound that seem to pull the track upwards. “Binary” goes further into Sasemoi’s more experimental side, with broken rhythms and a heavier dub presence. Closing the record, Vantropic’s “Rift” shifts towards ambient and IDM, built from textured sounds and open space rather than a conventional dancefloor structure.

Born from a summer of shared sessions, Delve Deeper Vol.1 carries something of that time with it: the closeness of playing together, the freedom of improvisation, and a shared love of dub techno.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.